The Museum of Contemporary Farming: an impossible project
Georgina Barney with Alice Carey, in development
Photograph by Alice Carey showing an agricultural diorama in
the Science Museum, London
How is the Countryside Sold?
Georgina Barney with Alice Carey and Matthew Hoyland, 2011-2012
Featured in ‘Always Greener: Views of the Contemporary Countryside’ curated by
Rosemary Shirley at the Pitzhanger Morris Gallery, London, 2012.
Commissioned by Radar Arts, Loughborough University for Green Days, and
supported by the European Cultural Foundation.
How is the Countryside Sold? is an installation which may include some of the
following: a historic livestock portrait; film ‘Walkin’ Progress’ by pig farmer and
photographer Matthew Hoyland showing a walk from his farm to the nearest
supermarket; a Nat West collectible piggy bank and accompanying research
material; timeline; a life‐size drawing of a bull; mobile phone films showing the
Blackbrook Longhorns, a prize‐winning herd of Longhorn cattle.
The installation draws upon research into the legacy of the agricultural revolution.
In the eighteenth century, at Dishley Grange near Loughborough in Leicestershire,
Robert Bakewell pioneered new breeding methods to develop the modern farm
animal. Today, a farm close to the site of Bakewell’s experiments is home to both
the Blackbrook Longhorn herd of cattle and the Blackbrook Gallery. Dealing in
historic livestock portraiture, the gallery is testament to Bakewell’s contribution to
modern agricultural science in a period of rapid progress. Meanwhile, Blackbrook’s
prize‐winning Longhorns, Bakewell’s favoured breed embody his legacy in the
aesthetic pursuit of breeders. In the display of idealised profiles, farming returns to