This collection presents some artists who have been inspired by the intertwining of work and our everyday lives; our horizons, our emotional life, the accessibility of leisure time, and our agency as political members of society. It also presents some documentation of the world of work specifically related to the industrial past in and around Glasgow.



Film still: Kate Davis,  Weight, UK, 2014, HD Cam, B&W/ Colour, Stereo, 11:06 min. Courtesy of the artist.

Kate Davis lives and works in Glasgow, she works across a range of media, including film/video, drawing, printmaking, installation and bookworks. Questioning how to bear witness to the complexities of the past, Davis’ artwork is an attempt to reconsider what certain histories could look, sound and feel like. This has often involved responding to the aesthetic and political ambiguities of historical art works and their reception.


The film Weight, which was a co-commission between LUX and the BBC, takes a 1961 BBC documentary about Barbara Hepworth as its starting point. It explores how televised depictions of creativity constructed our understanding of artistic production and other forms of labour. Weight re-imagines the value systems that this documentary is predicated upon and proposes an alternative vision.

Reversibility (Militant Methods), 2011.

Framed pencil drawing and silkscreen print on paper
135 x 80cm. photo: Ruth Clark. Courtesy of the artist.

The Militant Methods of the NWSPU is a transcription of a speech made by Christabel Pankhurst in 1908, which detailed the NWSPU’s need for, and use of, a militant approach to their endeavours. Davis discovered this small pamphlet in one of Glasgow Museums’ archives and was startled by its damaged state and the fact that the portrait of Christabel Pankhurst printed on its cover had been defaced and her features somewhat eradicated.

Here we can see the artist’s attempt to capture in a drawing every detail of Christabel Pankhurst’s defaced portrait. This tender yet disturbing reclamation is framed by the text from the pamphlet’s cover (in its original font and layout) and displayed as a largescale poster. (Glasgow Museums)

More of Davis' works can been seen here.



Dorothea Lange was an American photographer. During the Great Depression of the 1930s, she used her photography as a way of reporting the plight of the unemployed and hungry, this is seen in one of her most well known photographs, Migrant Mother (1936).


“Her concern for less fortunate and often overlooked individuals, and her success in using photography (and words) to address these inequities, encourages each of us to reflect on our own civic responsibilities. It reminds me of the unique role that art—and in particular photography—can play in imagining a more just society.” (Sarah Meister)



Workers leaving the Singer Sewing Machine Factory. Public domain image.

Originally made for the BBC by Maurice Smith, this documentary looks at the story of Clydebank, and a homage to its great product, the Singer sewing machine. A social and economic history of one of Scotland's great former industrial towns, and the people who made it famous.



Wake-Work is a 16mm film that explores what it means to work. Its subject matter is one building, Shacklewell Studios, a converted warehouse, and the people employed there. As a cinematic portrait the film cuts across genres of documentary, art and drama to provide an intimate social document of the changing working patterns taking place in east London at the start of the twenty-first century. 




"Oscar Marzaroli is arguably Scotland’s most notable documentary photographer. His photographs and films of Glasgow from the 1950s through to the 1980s captured a period of enormous change with images of people going about their lives in the city, at work and at leisure.

Many of the black and white images depict children playing in the streets, and many simply capture the city in bygone days. Some of his most well known images detail Glasgow's Gorbals community in the 1960s. He was a photographer of great ability who captured the nature of the city and people with sensitivity and empathy. Whilst many of Marzaroli’s photographs of Glasgow are instantly recognisable, such as ‘The Castlemilk Lads’ or ‘The Golden Haired Lass’, Marzaroli worked all over Scotland and further afield as a photographer and filmmaker" (Streetlevel Photoworks)

CLICK HERE information about the Marzaroli Archive.

CLICK HERE to watch Glasgow 1980, a documentary directed by Marzaroli in 1971, speculating on how Glasgow would look in the 1980's after the redevelopment of its traffic system and the construction of new housing developments.



Click on the vide above to watch a BBC documentary about Duke Street, Britain's longest street, running from Glasgow city centre through the heart of Glasgow's East End. Elegant Victorian tenement blocks line the road to the south of Duke Street. Yet just 40 years ago, those tenements were under threat. This is the story of how a group of pioneering residents took on the Glasgow Corporation in a battle to save their homes.



Sylvia Pankhurst was a prominent Suffragette, and later an anti-fascist campaigner, as well as being an artist. She trained at Manchester School of Art, winning the prize for best female student in 1901, going on to win a scholarship to the Royal College of Art, London. In 1907 she travelled around England and made portraits of working women, including those in Staffordshire potteries to the Glasgow cotton mills. 

Her artwork - and work made by others involved in the Women's Social and Political Union (WSPU) - has similarities with its contemporary, the Arts and Crafts movement in that it fuses functional crafted items with political ideas. She designed tea sets and banners amongst other things.

Pankhurst's artwork was recently displayed at the Tate as part of the centenary of votes for women.

More information can be found about her work HERE and HERE.



Watch the video above to hear about the textile design and production of the famous Paisley patterns at the Paisley Museum and Gallery.

The patterns stem from Persian and Indian designs; the teardrop shape growing from stylised flowers and other natural forms. In the 18th and 19th centuries, in the wake of continued British colonisation and oppression throughout the world, old silk trade routes were used to transport goods, and shawls from Kashmir patterned with the teardrop designs made their way to the UK. They were very popular. By then weaving had become the main aspect of Paisley's industry, and versions of this fabric were produced, eventually using Jaquard looms, which enabled more colours of thread to be used in one piece. (Sources here and here)


Background Artwork by Lily Ross 'Untitled'  Watercolour on paper 2019

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