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Join us for the launch of a new exhibition featuring over 120 works by contemporary working-class artists and photographers.

Curated by photographer, writer and broadcaster Johny Pitts, After the End of History emphasises the perspectives of practitioners who turn their gaze towards both their communities and outwards to the wider world. Find out more.

‘After the End of History: British Working Class Photography 1989 – 2024’ is a Hayward Gallery Touring exhibition curated by Johny Pitts with Hayward Gallery Touring.

We caught up with moving-image artist and researcher Onyeka Igwe ahead of her forthcoming show, history is a living weapon in yr hand which launches on 12 January, and runs until 2 March 2024.

A woman standing outside in front of a bush.
Onyeka Igwe portrait by Yasmin Akim.
  1. Where are you right now?
  1. How would you describe your forthcoming exhibition, history is a living weapon in yr hand to someone who is unfamiliar with your work?
    I’d say it was an exhibition about rehearsing the future through the lens of the history of black radicalism in 1940s London.

  2. How did you first become interested in moving image work?
    I always loved going to the cinema when I was a kid, it was a pleasure and distraction. I made films as a hobby at university but then my friend Thea said, “why not be a filmmaker?” in the last months of my final year of a politics degree. I thought I’d make documentaries but I was disappointed by the documentary world, and then I discovered art when I lived in a project space called Limazulu and that felt like the setting I wanted to explore the moving image in.

  3. What’s been the most rewarding part of creating your film, A Radical Duet?
    Working with all the cast and crew, the feeling I had on the set, and the very fact that my words on a page became real.

  4. What’s your favourite thing about being an artist?
    That my job is to think, follow my curiosities and share that.

  5. Which bands or musicians are on your playlist at the moment?
    I recently got my record player working again and so was listening to something I bought in the pandemic but haven’t spent so much time with, African Acid is the Future.

  6. What do you do when you have a day off?
    Pretend I know how to relax! I’m trying to find a new hobby after roller derby took over my life.

  7. What works or shows do you have in the pipeline?
    Next year I’ll be in the Nigerian Pavilion at the 60th Venice Biennale and touring history is a living weapon in yr hand to other galleries in the UK. I want to make the feature film version of A Radical Duet so trying to rustle up some funding!

Join us for a free workshop reimagining an alternative history of Nottingham School of Art – one that rejected the government strategy of 1843, and embraced local radical activism and self-organisation.

Get hands on with editing and remixing existing and new source material, and help create and expand this parallel universe.

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Free and open to all. The structured workshop will run from 1–3 pm, followed by an informal opportunity for further exploration until 5 pm.

In a fictional parallel world, the Nottingham Independent Arts School is a thriving institution focused on people, planet and possibility. It offers space to think, to make and to share skills. The school is deeply integrated with the local community and guided by a focus on care and cross-disciplinarity.

This fictional vision was created by a group of participants who came together a few months ago to imagine an alternative history for Nottingham School of Art & Design. While the real-world School is rooted in a government plan to support British manufacture, the origins of its fictional equivalent lie in Nottingham’s radical history.

You are invited to this afternoon workshop to contribute to the next instalment of the parallel-world thought experiment. We will build on and extend the Nottingham Independent Arts School fiction, editing and remixing historical materials from the real-world Nottingham School of Art & Design via hands-on exploration to create a series of speculative documents that illustrate the history of the invented School.

An exhibiton of women’s artwork being produced now, and influenced by Feminism in the 1980’s. Exhibiton selected by Sutapa Biswas, Sarah Edge and Claire Slattery. This show toured from Cooper Gallery, Barnsley. Part of Anne Frank in the World Programme.

Curated by Joshua Lockwood-Moran

To accompany The Art Schools of the East Midlands exhibition in our Gallery by John Beck and Matthew Cornford, our Vitrines and Foyer will feature historical materials relating to the history of Nottingham School of Art & Design.

The School was first established in 1843, and counts painter Dame Laura Knight, Desperate Dan creator Dudley D. Watkins, BAFTA nominated director Jonathan Glazer, comedian Matt Berry and visual artist Hetain Patel amongst its notable alumni.

Come along to discover photographs, artefacts, aural histories, press cuttings and more from the art school’s rich 180-year history. Uncover some of the lesser known histories, and hear memories from those who worked and studied here over the years.

This exhibition has been assisted by Researcher & Assistant Curator: Lee Chih Han, Art Museum and Gallery Studies placement from University of Leicester.

Photographs by Jules Lister


Come along to our launch night on Thursday 21 September, 6 pm – 8 pm for a first look round, alongside Art Schools of the East Midlands in the Gallery.

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A photographic exhibition focusing on the region’s art schools, and the vital role that they play in the cultural life of our cities.

This exhibition is the latest iteration of John Beck and Matthew Cornford’s ambitious Art School Project, to track down and document all of the UK’s art schools – including the iconic Waverley building at Nottingham Trent University.

Featuring new photographic work depicting all the art school buildings of the East Midlands, or the sites upon which they stood, the exhibition raises questions about the role of the arts in relation to education, community and history and offers a space to reflect on what the future may hold for cultural institutions in our towns and cities.

There will also be a programme of public events exploring the themes of the exhibition, that will be announced soon. In our foyer space, our Vitrines exhibition, Art [School] Histories will present materials dedicated to the history and future of the Nottingham School of Art & Design here at NTU.

Launch event

Come along to our launch night on Thursday 21 September, 6 pm – 8 pm for a first look round the exhibition. Book your free tickets

Photographs by Jules Lister

Join us in the gallery from 6 – 8 pm for a first look around Cedar Lewisohn’s exhibition Patois Banton and Spaces of Translation – European Magazines, 1945-65 in our Vitrines.

NTU staff and students are welcome for a first look round from 5 pm.

Book your free ticket now.


Jamaican inspired curried lamb with, squash, ginger and natural yoghurt (GF)

Sweet potato and black bean curry (V, Vg, GF, DF)

Rice and peas (V, Vg, GF, DF)

White cabbage, red onion, yellow pepper, pineapple and parsley slaw (V, Vg, GF, DF)

V = Vegetarian
Vg = Vegan
GF = Gluten free
DF = Dairy free

“In 1978, prompted by my interest in people’s attitude to photography, from beyond the primitive notion of your soul being stolen when you have your photograph taken, to whatever was the contemporary notion, I mailed an image of myself to the 84 people who at that time shared my surname in the London Phone Directory, hoping that having this in common would serve as an introduction. I asked for a photograph in return, with their name on the back so that I would know who was responding, and a very large percentage complied, but most were also accompanied by incidental information.  There were exceptions; a letter saying that there were no photographs in existence of Doris Jewell, an octogenarian living in Barnes, but I was welcome to go and take one.

This outcome led to me producing ‘London Jewells’, a poster size, four-colour lithographic letter containing a montage of all the photographs received and a précis of the written response. I mailed this poster out to my original list, but omitting the names that the Royal Mail had returned to sender as ‘’unknown at this address’’. This secondary mail out solicited a mixed response, photographs and “wish I’d taken your original letter more seriously” from some of those who had not initially responded and “thanks” from those that had.

I then repeated the process but this time with a similar number of Jewells in the USA, utilising the Los Angeles and Miami phone directories. The response was markedly different, not in volume but by the amount of lithographically produced photographs in the form of Christmas and model agency cards etc., and also far more information on lineage with family trees going back to Bishop Jewell of Salisbury in the 16th Century. 

I then framed and exhibited all this material at the 1983 Summer Show at the Serpentine Gallery in London.

In 2009 a publisher enquired of me if I had any plans for another book. I was considering returning to the ‘Jewell’ concept but this time making contact via the internet rather than the postal service; with the development of the world wide web and digital photography, our personal attitudes to portraiture had moved on, the days of Doris Jewell living a long life without a single image of her existence seemed a thing of the past. However, instead I initially ran a Google search of ‘Jewell’ for images, this subsequently also led me to video and audio material baring my surname. The items collated in alphabetical order became Jewell, a Film By Dick Jewell April-August 2010 (133mins), rather than a book it imitates the aspect of multitasking on a computer screen.

My iPhone flower portraits alongside the vitrines, seemed fitting, not only as a traditional subject for wallpaper but in our focus on genealogy when considering the juxtaposition of similar sized subject matter.”

Dick Jewell, 2019.

Pool by Lorna Green was a gallery-filling installation accompanied by music composed by Mark Hewitt on display at the Bonington Gallery from 19 October – 11 November 1992.  As each of Green’s sculptures are site-specific, her ideas and designs for the sculpture changed throughout the planning process, as demonstrated by the archival drawings, correspondence, and even a packet of sample materials.  In the end, the over 4,500 whole and smashed bricks sprayed with the aquatic colours of blue, green and purple, created the gallery-wide impression of a draining pool.  About the exhibit, Green wrote, “My first impression of the Bonington Gallery was that it was like a swimming pool.  You enter by going down the steps, the echoes are reminiscent of a pool and the shape and scale of the gallery confirms that impression.  I hope viewers will walk through and around the forms, absorb the sound and the colours and gradually let the installation work for them.”  NTU students helped Green install the sculpture.

Curated by Brianna Frazier Selph

Work continues in the gallery with the extension and re-clad of certain walls. Here’s Josh and Bruce fitting sound-dampening plasterboard to the left hand wall…

Bruce and Josh fitting the final layer of plasterboard over the left hand wall.