Comment Home is where the art is
decoration of the circuses.
Here was a celebration of the new ways devised for pedestrians to get around the city without the car – and the art was a gift to the people.
In Old Square, in Corporation Street, we find Kenneth Budd’s representational fibreglass mural from 1967.
This work, in contrast to the more abstract pieces, reflects other less visionary aspects of the city’s self-image at this time.
The narrative portrays the square’s history from the 13th to the mid-19th century.
Originally sited in the public space under the roadways, this mural was designed to hang on a larger wall.
Today the impact of this piece is diminished as it blends into a grey background. You need to get up very close to begin to appreciate the story.
Continuing our search for other pieces by Kenneth Budd we find ourselves in Floodgate Street in Digbeth looking at the Kennedy memorial mosaic.
The original was created in 1968, commissioned by the Irish community through public subscription and sited in St Chads Circus. In 2007 the original fell prey to major roadworks.
What you see now is a recreation which was overseen by his son Oliver.
This has been salvaged but another mosaic mural in Holloway Circus, again by Budd, is in a very poor condition.
Who is responsible for maintaining these pieces of subway art? Difficult to be sure, but probably the Highways Agency. Has responsibility for maintenance been written into the contract with Amey?
In contrast, abstract works of art were commissioned from nationally distinguished artists of the period.
John Piper and William Mitchell were responsible for iconic murals which still exist today in Birmingham... just.
The Climbing Frame under Hockley Flyover is a series of three monumental and stunning walls of concrete abstract relief actually designed to be used as a play sculpture.
What has been described as “the best public art in Birmingham” is in a place that no one visits.
Could it be moved to another location where its splendour would be appreciated?
The new development of the Smithfield market area springs to mind.
The John Piper mosaic mural in the foyer of the Chamber of Commerce building in Edgbaston is a work of outstanding exuberance and virtuosity expressing the hopes and aspirations of the time.
However, the Chamber of Commerce building is under threat and we fear for the future of this masterpiece.
Another little-known gem and one of our all-time favourites is the abstract relief hidden away in the Zara shop under the Rotunda, The Rotunda Relief.
Go to the first floor and look up at the central column. There you will see an abstract concrete mural by John Poole, a local artist.
The sculpture is made of a series of huge curved panels, each different but connected. The impact is visceral. It is, in fact, two storeys high, but what a pity that you can now only see a section at the top.
Luckily this one is protected by the statutory listing of the Rotunda.
Our public art is to be valued and celebrated.
New commissions have the protection of a maintenance plan but who is looking after the treasures of the 1960s?
Is this another case for improving the local listing policy?
Next time our walk will take us around Aston University where there are some amazing examples of the art and architecture of the late 20th century.
Brutiful Birmingham is a campaign group established to raise awareness of and fight for the retention of the best of late 20th century buildings.
We welcome your views: www.facebook.com/BrutifulBirmingham, follow us on twitter: twitter.com/ brutifulbrum, or email us at : brutiful2015@gmail.com Mary Keating represents
Brutiful Birmingham
They quickly became familiar to us and then are only noticed by their absence...