The provision of public toilets has always been a rich seam for local journalism to tap: it seems to be one of those recurring topics that’s a surefire win for letters to local papers or calls to radio phone-ins. The seam of discontent has only grown richer as Conservative Chancellors have chosen to make cut upon cut to Local Authority funding, badly reducing the money available for non-statutory services. The resulting closure of public toilets has had upsetting consequences: disabled people and carers restricting the activities they undertake; further exclusion of the homeless; and more besides.

Here in Newcastle, we’re about to reach a decade since a lack of cash forced Newcastle Council to close its last remaining public toilets.

In a fabulously esoteric response, the City Library has worked with Newcastle University to mount an exhibition: ‘The Rise & Decline of Newcastle’s Public Toilets’. For those not able to make it to the Library (which has toilets, btw) there is an online exhibition with much of the same content.

The exhibition is very small, but a visit—even if only to the online version—is very worthwhile. I was previously ignorant of the historic gender issues associated with public toilet provision (historically, toilets for men were more prevalent than those for women). I learned for the first time the sparkling anecdote about as historic netty being re-built at Beamish Museum, but having to be closed because people assumed it to be a working facility rather than an exhibit. I had no idea that in the 1800s, the urine from public urinals was often collected for use in tanneries.

This is a wonderfully unusual small exhibition, which I’d thoroughly recommend.

‘The Rise & Decline of Newcastle’s Public Toilets’ continues at Newcastle City Library until 14 August. I’m not certain how long the online version runs for, but I hope it will be maintained for posterity.

I’ve walked past this sign many hundreds of times, often feeling a wry smile creeping onto my face at the phrase “invalid carriages”.

It sounds like a relic from a past century, conjoining images that are a hybrid of a sedan chair, a gun carriage and a stretcher. I’ve long wondered why on Earth it would be included on a road sign, and what exactly the sign prohibited.

As so often, it turns out that I was simply ignorant of the law: “The Use of Invalid Carriages on Highways Regulations” were passed well within my lifetime, coming into force in 1989. The term basically refers to things like manual wheelchairs (Class 1), motorised wheelchairs and slow mobility scooters (Class 2), and faster mobility scooters (Class 3).

Intriguingly, it’s perfectly legal to drive Class 2 and 3 invalid carriages—including simple motorised wheelchairs—on a dual carriageway. Good luck with that.

All of them are banned from motorways, though, hence the sign.

I’ve mentioned Newcastle’s Town Moor many times on this blog, most recently as it was the site of The Hoppings only days ago. Walking across it to the city centre today, those scenes feel like they might have been from a fever dream, so different are my surroundings. What a difference a fortnight makes.

As this ruminant pulled its tongue at me as I passed, I was reminded of an occasion where some friends from London visited us and remarked on how lifelike the ‘cow sculptures’ on the Town Moor seemed to be… and also of this Sunday Times article from a couple of weeks back.

As I’ve written many times over the years, The Hoppings has descended on Newcastle’s Town Moor for a week or so in the summer of most of the last 150 years. For some years now, it has formed the largest travelling funfair in Europe.

Wendy and I went for our annual wander. A close comparison of the carousel compared with last year’s photograph reveals a 17% annual rate of inflation on rides.

This exhibition aims to show three different approaches to representing nature through painting.

It opens with pre-Raphaelite paintings, showing their highly detailed, almost photo-realistic approach to capturing the world. We move through rustic naturalistic paintings, which are still fairly realistic in style but concentrate more on character and atmosphere than fine detail. And we close with paintings by British Impressionists, who forwent the realistic to concentrate almost entirely on the wider experience of the places featured.

To give you an idea of my level of ignorance, before I went to this exhibition, I couldn’t have told you anything about the Pre-Raphaelite ideals or their approach to representing the world. I therefore felt educated by this exhibition: it was very well-curated, combining clear text with a plethora of well-chosen paintings which underlined each of the points the text made.

As you’d expect, some paintings struck me and others didn’t. I usually enjoy more abstract works, and was particularly taken with Samuel John Peploe’s On the Brittany Coast and Moses Adams’s Harbour Scene at Night, Runswick.

I thoroughly enjoyed this exhibition.

‘Essence of Nature’ continues at The Laing until 14 October.

When I decided to post every day in 2023, I didn’t expect to be on my third Egypt-themed post by March. Yet, last year’s centenary of the excavation of Tutankhamun’s tomb has sparked a renewed fascination in all things ancient Egypt, and so after Hieroglyphs and a coffin, I’ve been to see some art.

This exhibition by the Sainsbury Centre explores artistic responses to ancient Egypt, including all sorts of objects from paintings to pottery, and dresses to neon lights.

The first pair of objects in the exhibition make a clear statement of intent for the exhibition as a whole. Joshua Reynolds’s 1759 oil painting, Kitty fisher as Cleopatra Dissolving the Pearl (to demonstrate her wealth) shows Cleopatra as we hear about her in Western myth: an extravagant, white seductress. Using the same medium in 1992, Chris Offil paints Cleopatra as a black African queen, shorn of the imposed Western myth.

This exhibition taught me how much of what we imagine to be ‘ancient Egyptian’ is anything but: much of it is actually reflective of other cultures. Before this exhibition, I didn’t know how much of ‘Egyptian’ style was actually Roman, the Romans having conquered Egypt in 30BC and Roman objects having been misattributed to ancient Egypt. Wedgwood, who pioneered ‘Egyptian’ designs in pottery, was actually (unknowingly) working from Roman artefacts–and never actually visited Egypt himself.

Before I visited this exhibition, I think I vaguely knew that The Times had an exclusive deal with Howard Carter for the photographs of his excavation of Tutankhamun’s tomb. It’s the sort of thing newspapers like to celebrate. But I hadn’t previously understood that this exclusivity applied even within Egypt, depriving Egyptians of coverage of one of the most significant archeological findings in their country’s history… hardly something to be proud of in retrospect.

This exhibition features several watercolour paintings by Howard Carter, recording decorations that he uncovered during excavations, necessary in his early career as photography wasn’t an option. I had no idea that he was a talented artist, and I’d never really considered the necessity for archeologists to be able to paint and draw.

The exhibition closed with David Hockney’s 1961 Egyptian Head Disappearing Into Descending Clouds. This was an inspired choice. I wandered through the doors and tried to ponder exactly how I’d think of ancient Egypt in the future, given that all of my existing pre-conceptions had been blown away.

This was an exhibition that taught me things, corrected my misconceptions, and made me think: more than either of the other Egyptian things I’ve seen this year. I thought it was excellent.

Visions of Ancient Egypt continues at The Laing until 29 April.

A quick note about the photos in this post. The one at the bottom is a picture I’ve ‘borrowed’ from the David Hockney Foundation. The one at the top is a photo I took during the exhibition, before I realised that photography was banned… oops. I’m ummed and ahhed about whether I should include it given that I shouldn’t have taken it, but decided that it was such a great piece of curation that it deserved celebrating. Sorry, if you think I shouldn’t have done that.

Let me say up front: I’m not a fan of a pasty. You can keep your flaky pastry. But I do like a Greggs hot baguette, or a coffee, or a cake or two.

Greggs is based here in Newcastle, and I walk past the original Gosforth High Street shop most days. One of the interesting aspects about living in Greggsland has been watching their gradual transformation from a bakery to a takeaway-cum-coffee-shop.

Greggs has long had a handful of ‘Greggs Café’ branches: a large seating area with a pretty standard Greggs counter. These exist mostly, or perhaps even exclusively, in big shopping centres.

If I remember rightly, their first recent major push into a coffee shop model was the launch of ‘Greggs Moment’. This was a short-lived North East chain of coffee shops similar to a high street Costa or Caffé Nero, which also carried a range of Greggs food. These didn’t work. I don’t have any great insight into why, but I suspect the business model was flawed in that the sales volume wasn’t high enough to make a decent profit at the Greggs pricing level. Coffee shop customers tend to hang around.

The next push was into a chain of Greggs branches that were given a bit of an upmarket makeover and had seating installed, branded as ‘Greggs Bakery’. These seemed to work pretty well, combining the high-throughput of the bakery counter with the option for people to buy and eat hot stuff on the premises. A version of this—more extensive hot food plus some seats, minus the upmarket makeover—has now been rolled out to a large proportion of Greggs shops.

‘tasty by Greggs’ seems to be a new approach to creating a coffee shop style business. They are located within Primark stores, and I popped down to the third branch, which has just opened in Newcastle. This branch replaced and extended a former Costa concession within Primark, and the clothing shop has placed a range of Greggs-branded apparel for sale right by the café.

The branch I saw—which I’m assuming was representative—was filled with ‘Instagrammable’ features, like the large neon bridge pictured above, a themed phone box, a branded swing, and seating booths designed to look like giant doughnuts. Beyond the decor, though, they seem to be a standard Greggs outlet with much more seating (114 seats at the Newcastle one). They heavily advertise that ‘take out’ is available, but I can’t imagine this being a roaring trade: nobody is going to trek up to the second floor of a Primark for a Greggs takeaway when the shop is within spitting distance of three ordinary ground-level Greggs branches.

It was very busy, and I didn’t stick around for food or drink, though was disappointed to note that they use disposable coffee cups, even for those dining in. Emmanuel Macron would not approve, though it may be the least of his worries.

Logically, this would seem destined for the same outcome as Greggs Moment given the lack of passing traffic… except for the fact that I don’t think these branches are designed for cash generation. They seem like they are actually there as brand-building tools, generating positive associations with the brand and building cachet through people sharing social media posts.

This seems to play into the Greggs strategy at the moment, which seems to be all about building the brand. It seems to be working for them… but it does feel a bit time-limited to me. Fashions change, and it’s hard to see a bakery riding that wave for long.

But what do I know? I’m only in it for the okay coffee and the alright southern fried chicken baguette.