I can’t attend, but very much recommend the symposium For the People, a day focused on modernism and everyday design, which takes place in Manchester on Saturday 9 November. It features Dawn Pereira and Rosamund West talking about the work of William Mitchell, and public art commissioned by the London County Council for the city’s housing estates, among a stellar line-up of speakers.
For more information visit http://modernist-society.org/events/paul-mellon-talks.
I recently attended the International Standing Conference for the History of Education at the University of Porto, which was themed ‘Spaces and Places of Education’. Although I didn’t attend as many sessions as I would have liked because it was doubling as a holiday and a chance to explore the city, it was a really good opportunity to talk about my research in a different contexts and to hear international perspectives on histories of education.
Of particular interest was the session ‘Educational history and the challenges of justice: Contested spaces and their legacies’, featuring papers by Emily Barker (University of Greenwich), Jona Garz (Humboldt-University Berlin) and Eleanor Simpson (University of Winchester). Covering topics from migrant children’s access to play spaces in post-war Britain, to schools for learning disabled children in Germany, to tabloid moralising around Section 28 and sex education in the 1980s, they explored concepts around justice and justice, ideas about ‘educability’ and who can be educated, socially defined categories of identity and inclusion, acceptance and intersectionality, the construction of social norms around ‘ordinary’ behaviour and family life, the othering of those who do not conform to this, and the spatial borders and boundaries placed around education.
Another session I enjoyed was ‘Transnational entanglements of Educational Spaces: Material, Affective and Imaginative Connections’, which explored transnational influences in progressive education. I was particularly pleased to hear from Lottie Hoare (University of Cambridge) about ‘Vanishing Primary Schools & 1970s Yorkshire’. Hoare’s paper focused on the Open University programme Balby Street Kids. Featuring leaders from the West Riding of Yorkshire education authority (disbanded the year before following the 1974 reorganisation of local government), including the recently-retired Director of Education Sir Alec Clegg, the programme was discussed as a defence and representation of progressive education and its aspirations for an imagined audience. The programme featured children at a school in a West Yorkshire mining community. As well as paying attention to their surroundings, through projects such as creative writing, the programme showed them engaged in movement, giving them physical confidence, as well as drama, in a re-enactment of Beowulf, presenting both a translocal and transnational picture at the same time as presenting a particular vision of English education. Although the programme was a documentary, the question and answer section highlighted its creative approach.
My paper took place in the session ‘Material, Textual, Imagined and Virtual Spaces of Education’. I was particularly interested in a joint paper by Nelleke Teughels and Wouter Egelmeers (KU Leuven) about ‘Lantern Slide Projection in the Classroom: Virtual Spaces of Education (c.1880-1940)’.
Teughels and Egelmeers discussed the use of magic lantern slides in Belgian schools, as objects of direct and indirect observation. In subjects such as history, such visual aids were a way of bringing the inside and outside together, and the object into school. Used for ‘virtual travel’, magic lanten slides were both a substitute for and complementary to field trips, opening up new horizons for students. They highlighted the limitations of the sources they used – two educational journals published from different religious perspectives, which mentioned magic lantern slides without discussing them in detail.
The resulting discussion included comments about the link between photography and ‘truth’, the role of magic lantern slides in classification and the creation of pre-defined categories, and how educationalists wanted to see the world.
Some of the questions directed at the paper could as easily have been asked about Pictures for Schools, such as ‘how did the schools access the materials’ (through catalogues)? Was it possible to find out about the experiences of the students? What was the relationship between the magic lantern slides and object lessons in the 1920s, and educational ideas around intuition and sensing? How widespread was the use of these educational resources (it was often affected by a lack of funds)? How did these resources relate to new technology, such as radio and cinema?
The questions I was asked following my paper also gave me several perspectives to consider, such as:
- How did Pictures for Schools fit into earlier school museum projects?
- The children who answered questionnaires at Pictures for Schools appeared to use sophisticated vocabulary – what preparation did they have for the exhibitions?
- Were all the answers this enthusiastic?
- Was there any relationship betweenPictures for Schools and Elliott Eisner, who was also interested in critical education (and was very important in Brazil, where the asker was based)?
The conference had a strong strand to support early career researchers, and it was particularly beneficial to attend a session about publishing in journals concerning the history of education, such as History of Education Quarterly and Paedegogica Historica. The three pieces of advice that stood out to me were to 1) look at who’s on the reviewing board 2) consider how your work is internationally relevant and make it relevant to people in other countries and 3) that interdisciplinarity is encouraged.
Paper at International Standing Conference for the History of Education, Porto, 19 July: Pictures for Schools: Critical education in the art gallery and the classroomPosted: July 10, 2019
I am delighted to have had the following paper accepted for the International Standing Conference for the History of Education at the University of Porto next week.
Pictures for Schools: Critical education in the art gallery and the classroom
Pictures for Schools was founded by the artist and educationalist Nan Youngman (1906-1995) to sell affordable works of art by contemporary British artists to educational establishments across the country, including schools, teacher training colleges and local education authorities.
One aim of the scheme was to change the physical spaces in which children’s education took place by making them visually stimulating. Another, equally important motivation, was to develop children’s skills as critical observers, which could then be applied to the places which surrounded them, and the consumer choices they would make as the citizens of the future.
At the first Pictures for Schools exhibition, which took place in 1947 at the Victoria and Albert Museum, children who visited were asked to express their preferences by voting for their favourite exhibit. These preferences were later discussed in accounts of the exhibitions by the organisers, and received with great interest by the press. At later exhibitions, which took place annually at various London art galleries until 1969, visiting school groups were given questionnaires which aimed to encourage them to look closely at the artworks on show, with the questions varying slightly each year. Some questions placed the artworks in relation to children’s own experiences of creating art, encouraging respondents to identify and compare elements such as technique, media, subject matter, styles and genre. Others positioned children as critics, asking them to discuss the artworks they felt were most successful. Children were also encouraged to imagine themselves as future patrons and consumers of the arts, by stating which artwork they would like to take home with them if they were able to.
This paper will explore the ways in which Pictures for Schools offered children a critical education across two types of educational spaces, the art gallery and the classroom. It will visit a series of educational spaces where, in the decade leading up to the Second World War, Youngman established the value of the active, participatory form of art education which would be promoted through Pictures for Schools. These include Youngman’s teacher training at London Day Training College, her time teaching art in girls’ schools in the 1920s, and the decade she spent as peripatetic art advisor to Henry Morris, Director of Education in Cambridgeshire, from 1944 onwards.
The critical education offered through Pictures for Schools will then be placed within a wider context of post-war Britain. After the Second World War, the formal education system was extended. At the same time, opportunities for informal education and cultural experiences went beyond the school, museum and art gallery to encompass public and leisure spaces such as town centres, shopping centres, libraries and housing estates, where citizens were asked to be critical observers of the places and objects which surrounded them every day. This paper will explore the role of artworks as a pedagogical tool and argue that Pictures for Schools played a part in developing the skills of future citizens who were required to play an active, critical part in post-war reconstruction and society.
For more information about the conference visit http://www.fpce.up.pt/ische2019.
I will be taking part in session 4.10, which takes place on Friday 19 July from 9am-11am.
I was really pleased to be able to discuss my Pictures for Schools work at the History of Education Society annual conference over the weekend, and to hear about the work of other researchers.
I particularly enjoyed the opening keynote by Jane O’Dea from the University of Lethbridge, Canada who, as well as discussing the social, cultural and political forces that have shaped education and the distribution of literature in Ireland historically, reflected on the place, form and nature of academic writing and the work of the historian. Her advice to find your voice, be yourself, avoid jargon and prioritise quality over quantity – as well as the notion of the historian as a kind of artist – certainly resonated with me.
I was pleased to hear from Laura Newman at Royal Holloway University, who discussed some of the findings from an ongoing research project in collaboration with Kew Gardens looking at nineteenth-century school museums. Newman focused on the teacher-curators who drove the collection and display of objects, as well as writing articles advising teachers on the care and use of collections. Newman described how some teachers collected not just botanical specimens, but took opportunities to obtain items relating to manufacturing. They encouraged a culture of collecting in students and their families, and got former students to send artefacts relating to their eventual careers. However, the use of such museum objects varied – whilst some students were taken out onto nature rambles, and given object lessons, others were not allowed to touch!
Also fascinating was a talk by Catherine Sloan, a PhD student at the University of Oxford, about nineteenth-century school magazines. Sloan described in detail the operations of one magazine in particular, relating to a middle-class and hierarchical Quaker school in Croydon in the mid-nineteenth century, which was created, distributed and subscribed to by pupils, who encouraged each other to take responsibility for its content. She showed how school magazines were a means by which students obtained status in schools as cultural producers and ‘autonomous sculptors of school culture’, circulating knowledge and creating a ‘juvenile archive’. Although some researchers have debated the extent to which school magazines are a valid resource and encapsulate students’ authentic voices, she showed the value of such school magazines.
I got several really interesting comments and questions relating to my paper, including comments about how the need to teach critical skills is important now more than ever. One question prompted me to consider something I had never thought about before, and didn’t really know how to answer: were the organisers of Pictures for Schools concerned with the illustrations in textbooks, as part of a wider culture of visual communication, and did the exhibiting artists get any such commissions on the back of the scheme? Other questions related to aspects of the operations of Pictures for Schools that I should perhaps have made clearer: did the scheme cover the whole of Britain, or just England, and were northern schools beneficiaries or did schools in London and the south east benefit in the main? I was asked about the focus on Nan Youngman, and whether her work as an artist and an educationalist was equally important (the answer is that this was due to the availability and focus of archival material, and the stories that emerged from it – and that despite a split in the material between Youngman’s work as an artist and an educationalist, I believed these two sources of material benefited from being read alongside one another as part of a wider career trajectory). Finally, it was interesting to hear from a woman who was surprised to hear about Marion Richardson’s work in the sphere of art education, as she knew of her only as a ‘victim’ of her methods for teaching handwriting, for which she is better known!
I’m looking forward to presenting at the History of Education annual conference in Limerick, Ireland, next week, which is themed ‘Revolution, Remembrance and Re-vision: Charting the Path of Education’. My paper will be part of the session ‘Education and periods of social, political, civil and cultural unrest’, on Saturday 10 November. My abstract is as follows:
Education through Art: Nan Youngman and Pictures for Schools
Between 1947 and 1969, Pictures for Schools aimed to embed art in Britain’s schools by selling affordably priced artworks at annual exhibitions. Although it emerged at the same time as state-sponsored patronage schemes, Pictures for Schools operated both within and outside of this context. Despite benefiting from a receptive educational and funding climate, it was initiated and driven by the personal, artistic and political convictions of the artist and educationalist Nan Youngman (1906-1995).
Youngman studied at the Slade in the 1920s before training as a teacher. She taught in girls’ schools and worked as Art Adviser to Henry Morris in Cambridgeshire for ten years, alongside running evening and residential classes for painters and teachers. She remained active in education until the end of her life, at the same time as continuing to paint, exhibit and sell work. These two aspects of her life and work sat alongside one another, and both influenced the shape and direction of Pictures for Schools.
Paying attention to Nan Youngman’s life and career through biographical research, drawn from archival collections relating to both her educational and artistic work, enables a history of Pictures for Schools to be told that is individual rather than institutional. It also shows how Youngman’s personal beliefs and actions intersected with wider cultural, social and political shifts in attitudes and educational priorities. Furthermore, it places post-war developments in art education in a longer lineage that was deeply rooted in the experiences of those working in art and education in the interwar years.
For more information visit www.hesc.mic.ul.ie.
Something I’ve really not done enough of during my PhD has been speaking about my research – which is a shame as it’s been one of the aspects of my work I’ve found the most rewarding. For this reason, I was really pleased to be invited to speak at a symposium at the University of Derby exploring the surrealist painter Marion Adnams, as part of the university’s International Women’s Day celebrations.
The symposium brought together academics and practitioners in order to explore both Adnams’ life and work in detail, and the artistic milieu of which she was a part, as well as issues around collecting and exhibiting women’s work more broadly.
My paper was more loosely connected with Adnams than some of the other presentations. As Adnams sold work to school loan collections in Manchester, Derbyshire and Leicestershire, I used Pictures for Schools and the work of Nan Youngman as a way to introduce some of the ideas and motivations behind the development of post-war educational art collections. My presentation attracted a lot of interest. Partly this was due to the local connection, and concerns about current-day threats to these types of resources; I was even interrupted by a local keen to point out that the Derbyshire School Museum Service was under threat of closure! It also prompted some discussion about the extent to which my discussion of progressive post-war education tallied with the experiences of those in the room who had been at school in the post-war period. Whilst one man said he didn’t benefit from the supposed educational reforms which took place in post-war schools, a woman who had been at school in rural Leicestershire said she looked back on her schooldays now and was ‘amazed’ at what she did in school, saying it had a ‘profound effect’ on her, and that her teachers believed passionately in the arts and educational reforms at that time. Another man, who had been at school in Hertfordshire in the 1960s, told me that art had been a huge part of his education. I also got some good questions, asking why I think my research is pertinent now, and how I feel education today contrasts with post-war attitudes to creativity.
For me the highlight of the day was a presentation by Jane Stanton, Head of Design at the University of Derby, which showed the value of personal experiences, storytelling and biographical approaches to historical and artistic research. Stanton knew Adnams, who was a friend of her family, as a young woman growing up in Derby. Her presentation was centred on a journey, as a learner driver, with her father to the south of France to collect Adnams from her second home there in the early 1970s. It was illustrated with photographs of Stanton – at that time just eighteen, and about to embark on a foundation degree and career in art – hand-in-hand with an elderly and almost-blind Adnams. It told the story not just of Adnams’ impact on Stanton, the significance of which is becoming apparent decades later, but of intergenerational exchange and friendship, and the ways in which we frame and reflect on our work and experiences at different stages of our lives. Stanton’s presentation prompted some interesting questions about provinciality – Adnams spent her entire life living and working in Derby, and the day’s presentations gave both a sense of her connectivity within the East Midlands, as part of the Midland Group in Nottingham and the Derby cultural scene, and her sense of distance from London, and desire to escape the constraints imposed at different stages of her life, from the war, to the necessity of earning a living through teaching, to caring responsibilities. As someone who was sometimes characterised as a ‘difficult’ character, the presentations also raised the issue of personality – as one person asked, was every woman of that generation defined by her relationships with others?
I also particularly enjoyed hearing from Colette Griffin, Assistant Curator at Nottingham Castle Museum and Art Gallery, about the challenges of curating a woman-only show from a collection containing only a small percentage of artworks by women, and the factors which influence the ongoing acquisition of more work by female artists.
The symposium was a starting point for further explorations into Adnams and other artists by the newly established Women Artists in History Research Group at the University of Derby; I’m really looking forward to seeing how it develops.