Trip to Valance Archive

Valance archive has some good stuff about Ford and their machinists strike.

Notoriously Militant, The Story of a Trade Union Branch. Sheila Cohen.  2013 Merlin Press. London

p84. 1966 New pay and grading structure introduced.
5 new grades.  Women machinists in B grade.

Even by 1985, machinists were still in B grade

Removed condition allowances (eg dirty money);
Removed merit allowances (merit awards were hated because they were dependent on your supervisor liking you!).
Moved to service increments. (annual increments)
Womens jobs deemed to be in 'appropriate' grades, without sex discrimination.

Job Evaluation exercises carried out by Urwick, Orr and Partners.

August 1967 Machinists submit claim for skilled C grade.

p86.  Ford made a long delay before responding.

Prototype machinists (2) got C grade.  (from Eastside Community Heritage oral history interview from Christine Oliver - These were men, who worked nights.  Women on days did about 20 seats an hour.  Men on nights did 20 seats a shift.  But the men were deemed to be more skilled because they worked on innovative materials like vinyl)


Trade Union Shop Steward Rosie Boland "When we go into the Ford Co, we have to pass a test on 3 machines.  If we don't pass that test, then we don't get the job.  So why shouldn't they recognise us as skilled workers?   Freedman & Meredeen, Dynamics, p129.

p87 Still no answer at May 1968, so machinists downed tools.

Categorically a grading dispute.  Women were not going down the equal pay route - as there were no male comparators - but skill.  It's about skill.

Rosie Boland " What we're concerned with is proving we are skilled workers ... last week they were really ready for another fight, but only for C grade - not for equal pay".    Sabby Sagall, Socialist Worker, 21/9/68 pp2-3

Scamp Enquiry August 1968

Described discrimination against the machinists as 'symptomatic of the company's more general discrimination against women'.

Fell short of 'equal pay for work of equal value' demanded by women trades unionists and the Women's lib movement.

Daily Telegraph August 22 1968 Scamp Inquiry rejects Ford Women's claim. 

Job profiling conducted on 28 characteristics.
Points allocated were not made known to workers.
Joint Divisional Review Committee received recommendations from the Union for higher markings but was ignored.
Machinists felt that on 5 characteristics the markings were too low.

Ford Bulletin July 5 1968 pp7-10

All women pre 1968 on Wage Grade 4.
6/8d per hour. 7d less than the lowest male grade worker (labourer)!
Machinists had to be multi-functional to cover the higher C grade bench hand, but the C grade benchhand did not have the skills to cover the junior machinist role.
Urwick Orr and Partners recommended full disclosure of job evaluation weightings as 'full knowledge gets full acceptance'.
Ford promised disclosure to unions but did not deliver.

Workers Liberty Organisation 14/7/08

"13 pieces for a head rest ... she has to use her mind"
"Women's speed and dexterity was unequalled in the company and had been significantly undervalued"

Successful Trip to Coventry

Today I had a tutorial in Coventry.  I was worried about my essay feedback, partly because I could not read the advice on my computer - not loading properly - but on the train I accessed it on my phone, and although it was tiny script, the feedback was less negative than I expected.  I also took my newly finished sampler.

I wanted to show it to the Interserve Supervisor at Liverpool St, but did not want to run up and down platforms while hurrying to cross London.  So I decided, that if my train came in to platform 18, I'd go to the supervisors office on the platform, and if it didn't, I'd go straight across London.  We came into platform 18, so I went into the office, and met Leon, a supervisor I'd not met before.  He was surprised to see me, astonished at the work involved and delighted that I wanted to represent his staff this way.  He took some photos, and wanted Gifti, Mavis and Sarpong to see it, but understood I needed to get a move on.  I floated the idea to get an article about my work and his staff in their staff magazine.  I rushed off to get my next train.

Tutorial 18.10.18

Attendees:  Jill Journeaux, Cathy MacTaggart

I showed Jill my Migrant Worker Woman sampler, which is now finished. She liked the different drawing styles and said I needed to explain in my Making Chapter about why I used all different styles, and how it utilised different making cultures (Hockney’s Chinese scroll format, Asanti line drawings, scribbly lines).

Jill was keen for me to be the subject of an interview that explores my making process.  This is the original part of my thesis, and currently under-investigated within Academia. 

Purpose – to better explain my thinking process.  Elucidate the:

- How of my creative making; 

- How my drawing relates to my stitching

- Why drawing is a prerequisite to stitching

For the essay, both she and Imogen were pleased with progress to date and felt I was ahead of the game.  I was relieved to hear this, as it gives contingency time for illness or upset. This means I am about on track. 

Things to consider for my writing are:

Explore narrative in samplers

Explore intelligent story making and pattern making

Explore my art media preferences - lino cuts, monoprint, drawing with identity cards/tools

What I chose to draw – objects owned by the women; similar objects from toilets but not the actual ones, because of sensitivity about taking images in toilets etc; NOT from photos.

The use of time intensive, slow making  and slow viewer interpretation – against fast moving modern lives bombarded constantly with text and moving images.

We spoke about my possibility to do a drawing class with Caroline Bartlett.  I would need to get objects used by Ford Machinist women.  Jill came up with the phrase ‘drawing attention’ which would make a lovely sketch book title.

We discussed exhibition spaces for next year.  We both ruled out off-site locations because of security of artworks.  3 options: Elm Bank, Lanchester Library; Alan Berry reception area

Actions:

Date of next tutorial: Wednesday 7 November

Look up Hockney making philosophy

Speak Vanda re interview or identify another available skilled person.

Check availability West Dean Course with Caroline Bartlett 

Talk to Doctoral College at Elm Bank.  Useful to them to show how Masters student work can lead to PhD. Talk to Lanchester Library re space – Jill Evans – subject Librarian.

Talk to  Alan Berry Building – has large reception area – speak to receptionist.

I then went on to lunch with Darren.  He's getting really excited about Derrida's and Foucault's mirror theories and hopes to draw original conclusions for his work on the selfie.  We discussed him coming to stay for a few days in Essex, which is inconvenient because he now has lecturing work (at last!  Hurrah!).  Then I discovered he's no longer going back to South Africa for Christmas, and neither is his brother coming over.  So I invited him to stay with us, and he appeared pleased and delighted to have an invitation!  I suggested some day trips to Cambridge, Lavenham, and a walk along Frinton seafront, and this went down well.  

Textile Galleries at the Knitting & Stitching Show

I liked this logo, using a needle to form the 'I' of Jessica.

Melanie Kay, Embroiders Guild scholar

A Question of Value - Redefining Worth.  Melanie uses familiar objects to conceal deeper meanings.  She disrupts preconceived ideas about perception of value while playing with concepts of what is/was or could be visually appealing.  She merges the domestic and mundane with fine art and design.  Melanie explores embroidery as a means of communication and as an aid to communication, while using new materials such as cellophane.  Thus, she plays with concepts of transparency while depicting items from the throwaway society. 

Melanie Kay, embroidery taken from her sketchbook page where she tests her marker pens

Melanie Kay working on her stand.

Embroidered disposable cups and cigarette cellophane

Nigel Cheney with the quilt of his father in his naval uniform.

I thought Nigel had some interesting things to say about his remembrances of the Naseby 11.  The Nasty 11 were the 11 men lost from the village he was brought up in.  He recognises the enormity of wartime losses and the consequential huge stone memorials.  But he wonders about the individuality of the people lost, and the consequences for the families and individuals impacted by these bereavements.  Thus going from the macro to the micro.  He's not bothered by mistakes in representation from memory - how things get forgotten, distorted, airbrushed for convenience, hidden from shame or embarrassment.  What matters is the individual narrative with all its imperfections.  Thus he has created fabric collages from uniforms (that make the point that the individual is not a uniform repetition) with distorted arms, pieces from UK\US uniforms, from various wars etc.  

Nigel Cheney, section of the Naseby 11, Body Bags

Nigel Cheney artist statement.  

I asked whether he used archives for this project.  Only a tiny part.  His research technique is very idiosyncratic.  He uses a pick and mix approach.  He uses old photos, (his own and others), bits of uniform, visits to some military sites.  Some sketchbook work and experimentation.  Then starts making, but may leave some part made, more experimentation, back to making etc.

Nigel Cheney, hand stitch on digital print. 

I very much liked Helene Carpenter's work with poly-monoprint.   She uses one sheet of paper, does one layer of print with lots of fine lines in one colour.  Then presumably lets it dry, then registers it carefully for another layer of mono print, but in another colour.  Her images had 3 layers.  Lovely.  How can I use this?  Inspiring.

Helene Carpenter, section of zigzag sketchbook

"I have been far more inspired by the concept of the process, rather than making the objects.  It has allowed a playfulness and a chance to experiment and grow.

I like this stuff about process.

Studio Group at the Granary

I felt like a bad student when I got to class.  I felt I had not done enough homework!  I'd not found many artists who acknowledged using archives.  I had looked at a couple of artists, Lubaina Himid, and Nigel Cheney, but was not sure how to use what I'd seen from these artists who used archives.  I'm not particularly struck by Himid's style of work, but I loved the work I saw at Knole NT, where she had researched a 'blackamoor' laundrymaid, and put small artworks on the drainpipes.  It represented an unseen and undervalued woman, and put her skills and talents in an unusual place, in full view.

Lubaina Himid, 

Lubaina Himid

Nigel Cheney is working on WW1 army uniforms.  I'm not inspired by war commemorations but I do like how he works with materials symbolic of specific people.  I will get photos from Knitting & Stitching show this weekend - as I am failing to lift them from the internet.  The series is called Body Bags - using repurposed WW1 uniforms - so I like the play on words. 

In class we looked at inspiring artists who had exhibited this week at the Triity Buoy Drawing Prize.  I was inspired by Tim Shore, who had made a double spine book, and who is "grounded in materials, making and process".  I thought about my Ford Machinist women, and how their work was undervalued in comparison to men.  What about a double spine book with a man's side and a woman's side?  I had bought a 1968 Haynes Guide for a Ford Cortina, so I had some 'man paper' and some dressmaking pattern with words related to women, for 'woman paper'.  I cut 10 sheets of man paper, and 8 sheets of woman paper, as the women were on 84% of the equivalent male rate of pay.  I used the cover sheet of the Haynes guide for the man's cover to my handmade book, and punched paper with the 'he can't even thread a sewing machine' design for the woman's side. I folded the pages to have a two-third to one third spacing for the spines for the right and left pages.

Haynes Guide for a Ford Cortina, ready for cannibalising

Book making with men's and women's papers.

Exhibition: "I am a Woman and this is my Legacy" 4/10/18

Having closed the show at Thaxted on the Sunday, I had to get one of the samplers to Barking for an exhibition the following day.

I had been sent the call-out by Sarah Jackson, from the East End Women's Museum, who thought my work might be on topic for it.  I submitted 3, and one - Argumentative Woman -  was selected.  They were seeking 40 artworks - and ended up with 50.  Sponsored by Weston Homes, with prizes of £1000, £500 and £200.  These were drawn by lottery, not by preference of the sponsor - which meant less conservative artworks stood a chance.

The Laura I gallery is in Barking.  A small gallery, which was stuffed with artworks by the time the show was staged, and absolutely crammed with people for the private view.  I was delighted that my friend Denise (a 20 year since work colleague) was my guest, and she has a daughter who is studying art & design foundation, who she will take to see the show during its run.

Me and Argumentative Woman at Laura I gallery

Laura I - feminist gallery owner

There was some interesting work on display.

Deanna Beverley, God is a Woman, mixed media, A2

My personal best in show.  I've never seen anything like this before.  I'm not normally into anything like childbirth/pregnancy imagery, but Deanna painted this while she was expecting.  She attended the Talk Show event on the Saturday, and had travelled down from Solihull especially, and brought her toddler as well!  How's that for commitment!

Kate Kelly, Emily Thomas, the last Governor of Holloway, oil on canvas, 80 x 100cm

I like portraits of women - particularly ordinary looking women who do tough, unpalatable jobs.

Donna Riddington, Dignity, 2018

Donna is an New Zealander performance artist who publicises the discriminatory practices of healthcare providers towards women.  A thoroughly good woman!

Deanna and her work.
This shows how closely the artworks were positioned.

The artist who won by being picked first from the lottery
- and I can't remember her name!

Her work - acrylic, print, drawing.  All significant symbols to her.

Reflections on the event are around how my work was staged, and how crowded it was.  I have chosen not to frame my work.  But I was bothered about my work being right at the entrance, on the end of a 2 foot wide partition.  Very accessible for viewing - but also for being brushed against and leant on!  People had red and white wine - would any get spilled on it?  So do I continue to say 'it's textile and it takes its chances, because samplers were handled, and meant to be soft' or do I work out how to get them framed so they are treated more preciously?  My decision.  Not sure what my answer is yet.

Tutorial 2/10/18

NOTES OF TUTORIAL - JILL JOURNEAUX/CATHY MACTAGGART

Tuesday 2 October 2018 

First tutorial of the university year. I explained I had nearly finished the Migrant Worker Woman sampler, but was hesitating over stitching the bristles on the toilet brushes, because they need to be really accurate.  To get this right, I will trace onto tissue paper, tack in position, and stitch.  Time for a brave pill!  Manual Worker Woman will be next, and I’m starting the artwork soon at class,  and research via contacts with Eastside Community Heritage and East End Women’s Musuem.  I have ideas about contacting the Ford Archive Dagenham, and Detroit. Jill suggested Halewood too.  

Argumentative Woman is being exhibited at the ‘I am a Woman and this is my Legacy’ exhibition in Barking.  I had staged it on 1 October -  Private View is on Thursday 4 October.  

We discussed progress on writing. I observed that it appeared that a lot of the reading and research had been done, and now it was a question of how to use it.  Jill advised Schon, Reflective Practitioner to consider the outcomes of my making practice.  I am starting to get my head around a ‘writing up year’ which had always seemed quite alien to me before.   Jill suggested I use the essay template listed in my presentation to structure and collate all my writing so far, to create the thesis first draft, for next tutorial.  Then we can annotate it, for me to develop and evolve it.  This will make a large and unwieldy document, so I will create separate documents for each chapter.  ( I will send this early as I have a family wedding on 11 October and guests the week after). 

We discussed drafts.  I said a useful tip from Writing Week last year, was that FAR too many theses submitted were at the 1^st/2^nddraft stage and that competent theses tended to be at the 12^thdraft! Jill said 6/7 drafts would be acceptable!  I find it really helpful to have the critique in order to get it right!

Jill said she had just been notified that the Lanchester Gallery was out of commission with immediate effect due to building works.  We needed to find an alternative location for my exhibition.  This will be a solo exhibition as no-one else is finishing their studies at that time.  On site or off site to be considered.  Immediate thoughts are:  libraries; council offices, Herbert Art Gallery.  Groups to invite/publicise to: WI, women’s groups/refuges, council/university cleaners, migrant groups …

Jill suggested I get someone (Vanda?) to interview me about my practice and include a 1500 word interview in the thesis.

Actions:

Next tutorial – Thursday 18 October 1230.

CMT to read Schon, Reflective Practioner.

CMT to create first thesis draft, and send to Jill by Wednesday 10 October.  One email, with separate documents for chapters.  CMT to bring hard copy to tutorial.

JJ to read and comment/annotate by tutorial on 18 October

CMT to consider exhibition venues.

Six Artists, One Exhibition, at Thaxted Guildhall

I was part of an art exhibition at Thaxted Guildhall, put on by the Monday group at the Shedio.  Participants were Lynne Harris, Cherry Vernon, Liz Ward, Margaret Johnson, Norah Stocker, and me.  It was a really useful learning exercise - the main conclusion of which is that I appreciate, even more, the efforts of exhibition organisers, and understand why they have entry fees for juried shows.  There is a LOT of work in organising a show, and the team I worked with here, did most of the leg work before the event. (I was busy at uni over the summer, and hope I pulled my weight by staging, doing 2 full days of stewarding, and striking the show).

Staging the show took a full day.  Each of us agreed which section of the room we would like.  We used colour to move people through the show - Cherry had a bright quilt that pulled people through the first room, then Lynn's watercolour flowers pulled people through to the end of the second room.  Other positions had exhibiting difficulties, but we chose work that could cope with the problems.  Liz's glazed assemblages faced the windows, so had some reflection, but her work is bold and clearly formed, so coped with it.  Margaret's was in the shadow of the window, but her Scotland prints (exquisite) were clear because there was no glare.  Cherry's quilts were bold enough to cope with the shadows, but also formed a good backdrop for my samplers which were hanging against the open wall made from wooden pillars.

Liz carefully labelling her work.

Lynn and Margaret hanging heavy, framed artworks

I find hanging really stressful, but with the help and confidence of the more experienced exhibitors (Cherry and Lynne) it looked hot.

As a pop-up show, I did not expect us to sell any pieces.  But we did!  Cherry sold a quilt, Lynn sold a painting and a folio piece.  Plus lots of cards.  I think we had a couple of hundred visitors over the 3 days, and each of us had invited friends and family to attend.

First sold piece!

We worked well together, and I was knackered by the end of it.  Well done us!