Impact case study database

Prior to this project Wood’s DPA photographs were not only unseen but uncatalogued as they had effectively lain dormant since the unedited deposit of photographic film negatives, contact sheets and work prints; Linkman reflected upon the way that this process formed part of the agreement, which all the photographers entered into upon being commissioned (10). Even Wood had not had occasion or time to revisit his own work before Quayle instigated this project. The exhibitions also included Quayle’s skill in crafting handmade, darkroom and digital photographs as fine prints. The curation of exhibitions included archival documents and photographs, and the edit and design with Wood of new books, incorporating new writing and poetry, which Quayle commissioned (11).

As an under-utilised resource, the DPA’s seminal commissions includes a selection of the UK’s leading ‘documentary’ photographers of the last fifty years, including Martin Parr (7). The context of Wood’s commissions has been redefined to not only to highlight the significance of Wood’s work when it was first made, but to also establish the curatorial relevance and meaning revealed in its reconfiguration. The performative nature of photography as embodied practice was highlighted in Leo Fitzmaurice’s exhibition review of the Rainhill exhibition at CASC: ‘But by looking carefully, which Wood does, at the movements of the person, and then by looking carefully at the recordings of these movements, Quayle has put Wood’s time to use. Quayle understands that it is the time and the space that gives this work meaning. For it is the study of these prosaic movements within time and space, which communicates the poetry of what might lie beneath the surface’ (6).

With reference to Quayle’s research and its interrogation of Wood’s work ‘shot at a poignant time for Liverpool city region’; Sarah Fisher (1) has stated how: ‘there is still much to uncover about peoples history through unseen works – which is evident in the audience numbers to his [Wood’s] exhibitions in Liverpool […] which attract ‘a high percentage of local people who are not generally gallery goers (as evidenced through the Open Eye Gallery’s audience survey evaluation which captures postcode information).’ Fisher further described the impact as follows: ‘The research is important to the Open Eye Gallery because as a charity we have no funds to support research into the impact of historical gallery programme has had on its communities. Open Eye Gallery particularly recognises Quayle’s rigour in working with Wood’s archive. Undoubtedly, this research, together with Quayle’s post-production work [exhibition & book outcomes] led to public impact through the curation of previously unseen works embedded within the presentation of bodies of work in two exhibitions that revealed new social insights’ (1).

Quayle was able to rearticulate the presence and aesthetic representation of Wood’s subjects, which has opened up new insights on a social and political level (6). The tangible visibility felt in the material presence and histories of people’s lives is given new meaning. Quayle’s research and reference to Walter Benjamin is echoed in Shaw’s involvement as an interpretative voice in the way that the institutionalised lives of those photographed and represented have been ‘re-voiced’ (12). Each individual’s story is also a collective one, which is still raw in its currency in the way that work and life-after-work is played out on a personal, societal and ethical level. Alongside the audience at large, the demographic of ‘non gallery goers’, who visited the Open Eye Gallery and the Williamson Art Gallery, still feel and remember the impact of the decline of industry and unemployment in their recognition of these images as historical as well as highly emotive documents (8). The context today is pertinent – the Cammell Laird images foreshadow a period of mass unemployment and recession in the 1980/90s. In the midst of the Coronavirus pandemic in 2020 the spectre of mass unemployment and recession looms large once more as issues of wellbeing, mental health and the care of the elderly are foremost in the public mind, and the consequences of this were felt regionally as well as nationally – then as well as now.

The project also had a heritage-based and cultural significance through the collaboration with museums, galleries and archives. Archivist William Meredith described how Quayle’s research the Cammell Laird material at Wirral Archives Service was particularly: ‘important in promoting and increasing the visibility of the Cammell Laird collection (and of Wirral Archives, as the holder of this collection), and the background information drawn from the collection was crucial in providing historical context to Tom Wood’s photographs’ (2). Having seen the DPA Work exhibitions, which Quayle curated at CASC in 2013, Principal Museums Officer Colin Simpson collaborated with Quayle and Wood to bring the exhibitions to a ‘wider audience’ as part of the Liverpool City Region Borough of Culture in 2018: ‘Many of the prints were hitherto unseen and Cian and Tom together curated a remarkable and revelatory selection. A large gallery was dedicated to this work (53.6 linear metres) and the opportunity was taken to explore the Williamson’s archive of related B&W prints and glass negatives taken by Cammell Laird photographers in the first two decades of the 20^th century, several of which were scanned and printed [by Quayle] at the University of Chester for the exhibition. In addition, it was possible to expand the selection of work on display to include a painting, a half-block model, archive material and ship’s plans, items drawn from both the Williamson’s own collection and Wirral Archives. The selection of Tom Wood’s prints on display numbered 70+ from postcard to A0 size. The response from the public was very positive, as an appreciation of the history of an important local industry when it was at a particularly low ebb: between 6^th July and 2^nd September 2018 the exhibitions at the Williamson drew 5,775 visitors. Building on the connections made in the development of these exhibitions, the Williamson presented in 2018 a major selection of British documentary photography Distinctly, with work by ten photographers including Chris Killip, Martin Parr and Tish Murtha and, subsequently, exhibitions with Stephanie Wynne and Craig Easton as part of the LOOK 19 photographic festival. In addition, the major Arts Council England-funded photographic project with Alan Ward Photographs from Another Place came to fruition in 2019. (3).

Notwithstanding the significance of the outcomes generated through Quayle’s research and collaboration with Wood (9), the project has benefitted others whom he either engaged creatively, influenced, employed or commissioned. From the outset of the research Quayle involved the participation of BA Photography students at Chester including Claire Davies, who worked with Wood on a residential Experiential Learning placement. Following graduation and postgraduate study Davies exhibited in The Guernsey Photo Biennial (2014). Tony Hayes also described the origin of his socially-engaged photography project at Heathside Mews Care Home in Warrington, and his sensitivity to the vulnerability of the residents, and how via Quayle’s guidance provided ‘the opportunity to discuss these issues with an established practitioner [might] not only benefit the project, but also aid my development as a photographer’, leading in turn to Hayes’ own exhibitions and books which followed in 2018 (5). Natalie Meer was employed as Operations Manager at the Open Eye Gallery, which also incorporates the opportunity to take on ‘curatorial work’ (1). St Clare has stated how Quayle’s research and introduction to Wood’s working methods was the ‘catalyst’ for her socially engaged project, which has ‘given vulnerable young women the opportunity to participate in photographing, editing and curating their own high profile exhibition’ at the Williamson Art Gallery and Sailing School Gallery in New Brighton [in 2019] (4).

The Open Eye Gallery subsequently commissioned St Clare and Fisher commented: ‘In 2019 Suzanne developed a significant project called Women of Iron, uncovering the untold stories of women engaged with Cammell Lairds which was exhibited at the Williamson – an interest of St Clare’s which grew out of the research she did with Quayle’ (1). St Clare reflected on the success of the projects which followed: ‘The opportunities that have materialised as a result of the Cammell Laird exhibition have been varied and have had positive outcomes for the young women who participated. British Atlantic Survey supported the exhibition at the Williamson Art Gallery and this enabled the group to participate in a VIP private view launch where they presented and discussed their work to a wide and professional audience. The exhibition ran for several months at the Williamson and the young women were able to take relatives, friends, social workers and discuss their involvement, technical skills and artistic input into the project. The group received the prestigious Ambassadors of Wirral awarded to those who have made a significant contribution to Wirral culture. This was not only a momentous occasion for the group but it has been beneficial to the young women when they have applied for jobs, college and universities (4).’

The project was further enhanced through the collaboration with the publisher Steidl as the pre-eminent publisher of artists’ photobooks, which will extend the reach of the project and its impact through their reputation and expertise in fine printing, worldwide sales and distribution (11).

A. Libraries (Guildhall Library, British Library, City of London and 3 private collections) decided to make use of their holdings in a publicly accessible way, through The Archive [1], enhancing cultural heritage preservation and interpretation, adapting to changing cultural values and challenging conventional wisdom among stakeholders.

B. Non-academic publishers Myriad Editions, Atlas Obscura, The Beat and Illustration Magazine decided to publish the research, enhancing cultural heritage preservation and interpretation and providing new ways of thinking that influence creative practices. Sales of Marie Duval and The Inking Woman (Myriad Editions 2018), have reached 1,650 (July 2020). A typical comment from critic John Freeman: “A superb study…combining fascinating insight with honesty and appraisal, we’re treated to an extraordinary journey into the world of late Victorian humour… positively glorious.”

C. Academic publishers Manchester University Press and Palgrave decided to publish the research, enhancing cultural heritage preservation and interpretation, and challenging conventional wisdom among stakeholders. Pre-orders of the Manchester University Press publication had reached 164 in July 2020.

D. Non-academic exhibiting Institutions (Guildhall Library, Illustrative Festival Berlin, Society of Illustrators New York and Contemporary Art Space Chester) decide to present the public touring exhibition, enhancing cultural heritage preservation and interpretation, stimulating cultural tourism and enhancing the quality of tourist experiences. Visitors to the exhibition at Illustrative Festival Berlin numbered 4,200 between 14 – 27 October 2016. The opening event was attended by 500 people. Visitors to the exhibition at Guildhall Library Gallery, London numbered 1,630 between 09 January – 17 March 2017 and the opening event was attended by 110 people. Visitors to the public touring exhibition at The Society of Illustrators, New York numbered 8,456 between 10 January – 14 March. The opening event was attended by 240 people

E. Non-academic authors reading the research decided to write publicly about Duval’s work, enhancing cultural understanding and shaping public attitudes and values. The Archive occasioned a major extension of the scope of a new history of nineteenth-century comics by David Kunzle (2020). Author Jessica Campbell commented in 2020 “I found myself wishing someone would write a book about her, and then I found The Archive and books. [They] have truly been invaluable tools in writing about Duval's work.”

F. Visitors to the touring exhibitions changed their opinions. At Berlin, typical comments included “I never knew that women were drawing in the papers in the 1870s” and “The influence of Busch and burlesque is really clear.” At Guildhall typical comments included “A pioneer of the art of comics – I’d never heard of her,” and “The drawing style is extraordinary.” At New York, typical comments included “I felt I was exactly the target audience… I wasn’t aware of Duval.”

G. Nine UK Literature Festivals decided to include ‘guest speaker’ presentations on the research in their festival programmes, enhancing cultural understanding and shaping public attitudes and values. Public comments included: “My understanding of the history of comics has been transformed by seeing Duval’s work.”