Guest lecture, Bradford School of Art, 15 November: ‘The Campus as Art Gallery: The Past, Present and Future of Educational Art Collections’Posted: November 1, 2017
I will be doing a guest lecture at Bradford School of Art at 12 noon on Wednesday 15 November, drawing on an emerging interest in further/higher educational art collections, which has arisen from my PhD research into Pictures for Schools and post-war art education. The lecture, which takes place as part of the ‘Random Lecture series’, is free and all are welcome.
The Campus as Art Gallery: The Past, Present and Future of Educational Art Collections
Like many institutions, universities and colleges often publicly display portraits of grandees such as chancellors and vice-chancellors in order to convey a sense of tradition, heritage and prestige. Less common but more interesting are those further and higher education establishments which have sought to display works of modern art around campus, turning the educational environment into a gallery space. Universities that have chosen to collect and display contemporary art range from modern, post-war universities, where brutalist 1960s architecture is offset by landscaped grounds filled with sculpture by artists such as Henry Moore, to redbrick Victorian universities, to former technical colleges which attained university status in the 1960s. Here (primarily) paintings were purchased for display in communal areas such as corridors and lecture rooms, as well as more privately in staff offices. Between the 1940s and the 1960s, many teacher training colleges also became enthusiastic buyers of contemporary art as part of a broader culture of artistic patronage among educational establishments such as schools, and art became a part of the training context for a future generation of educators.
Some educational establishments continue to take pride in these collections, make a point of promoting public awareness and access, and continue to actively acquire work. In other cases artworks have been lost, faded into the background or become hidden in the everyday fabric of the institution as universities and colleges have merged, been expanded, modernised and redeveloped over time. This has been due to insufficient documentation and knowledge about the optimum conditions for the display of artworks, a lack of dedicated resource and staff time, or a lack of planning around care and maintenance for the future.
This lecture will explore the historical establishment and development of some of these educational art collections in colleges and universities in the twentieth century. It will explore their perceived educational impact and appeal, the types of artworks that were considered to be of value and use for display in educational settings, and what this says about changing ideas about the nature and purpose of education. It will ask what an educational art collection might look like now and what it might add to the educational experience of today’s students.
I recently spent some time in the store of the University of Salford Art Collection, which has been acquiring contemporary art since the university’s inauguration in the late-1960s, and finding out about its history and future plans from curator and assistant curator Lindsay Taylor and Steph Fletcher.
To read my interview visit http://theshriekingviolets.blogspot.co.uk/2017/05/an-education-through-art-university-of.html.
Exhibition visit: Picturing Faith: An Exhibition of the Methodist Modern Art Collection, the Beaney, CanterburyPosted: March 5, 2017
Unsurprisingly for a collection of twentieth century artworks developed in the 1960s, there is some overlap in the artists represented in the Methodist Modern Art collection and Pictures for Schools. At a time when much was being down to improve the appearance of both public and corporate spaces, and attempts were being made to introduce art to a wider section of the population, the collection was developed to enhance the visual environments of Methodist churches, and to increase the church’s visual appeal. Today it tours to venues in different towns and cities, from churches to art galleries to libraries, to ensure many people can see and access it.
Much of the work in the collection isn’t exactly to my taste, being slightly intimidating to the casual viewer not overly familiar with the stories, histories and teachings depicted. Much of it is literal and narrative, depicting scenes from the Bible, although it incorporates developments in modern art.
The freer, busy shapes and spliced up watercolour imagery of Norman Adams, whose colourful Stations of the Cross are a modernist intervention into the ornate overdecoration of catholic church St Mary’s the Hidden Gem in Manchester, is interesting, but the work that engaged me most is that which steers away from storytelling to depict emotion and expression. Among the most powerful works in the collection are Elisabeth Frink’s 1956 drawing Pieta, which presents a face full of knowledge in her signature big-nosed style, framed with a subtle crown of thorns, statuesque and suffering yet stoical. In a similar way a sombre and still oil painting by Philip Le Bas, who sold work including a painting of The Last Supper at Pictures for Schools, The Stripping of Our Lord (1962) is cracked as if betraying the experiences behind its creation.
Another highlight is Theyre Lee-Elliott’s Crucified Tree Form – the Agony (1959), in a sickly, ghastly end-of-the-world yellow and black that almost has the quality of surrealist painting or a black and white photographic documentary print. The anthropomorphic tree of the title teems with the barbs created both by humans and by nature.
A more recent highlight is Maggi Hambling’s Good Friday: Walking on Water 2006, which is dominated by the churned tumult of the waves; Christ’s small, ghostly figure floats across the water, barely perceptible in contrast to natural forces.
Some of the most significant British artists of the twentieth century are represented in the collection, including the wonky perspective of Patrick Heron’s Crucifix and Candles: Night 1950, Ceri Richards’ caricature-esque The Supper at Emmaus (1958), Graham Sutherland’s skeletal, entombed Christ in the Deposition (1947) and Craigie Aicheson’s starkly floating yet pop figure on a cross, Pink Crucifixion (2004).
One artist who sold artworks at Pictures for Schools is Dennis Hawkins, long-serving art teacher at Repton School, who transforms the lid of a school desk into Pentecost I (1962) with the deceptively simple depiction of a large circle and block lines, suggesting the intervention of Christ into everyday life. Hawkins’ paintings and reliefs, inspired by subjects such as the moon landings and space travel, were among the most modern in form and subject matter sold at Pictures for Schools, making their way into educational collections in Oxford, Carlisle, Southampton and Wales in the mid to late 1960s as well as various schools and teacher training colleges; his print Blue Night Flower still hangs in Manchester Grammar School.
However my favourite work on display is The Cross Over the City (1962), a tactile relief by the architect and artist Michael Edmunds, who worked for the Greater London Council. Reminiscent of an aerial view, the piece incorporates mosaic, repetition and pattern, suggesting rooftops in its materials and dusty colours yet remaining abstract and inviting contemplation close-up and from afar. Apparently Edmunds did an exterior relief for a church in Stockport; there are several Methodist churches in Stockport so it’s going to be a challenge to track it down!
Picturing Faith is at the Beaney, Canterbury, until Sunday 23 April.
To find out more about the collection visit www.methodist.org.uk/prayer-and-worship/mmac.
One of the first books I read when I started my PhD, to gain some context of the experiences of interwar women artists and art education, was Pauline Lucas’s Evelyn Gibbs: Artist and Traveller. It’s a biography of the painter and art educationalist Evelyn Gibbs, a contemporary of Nan Youngman’s who was involved in Pictures for Schools as a submitting artist as well as a member of the organising and selection committees in early years.
Gibbs settled in Nottingham after evacuation during the war and was a founder of the Midland Group, which organised travelling exhibitions around workplaces, such as ‘Art for All’, as well as producing murals in public and commercial settings such as factory canteens. She also, like Youngman and many Pictures for Schools contributors, exhibited with the Artists’ International Association, including a still life of cake treats lined up on a canteen counter included in the ‘For Liberty’ exhibition in the basement canteen of the Blitzed John Lewis.
Lucas has now co-curated an exhibition at Nottingham Castle Museum and Art Gallery focusing on two periods of Gibbs’ work. The first highlights her time studying in Rome in the late 1920s and early 1930s, where she produced delicate etchings exuding human experience and emotion. The second is a body of work produced as a war artist, documenting women’s work at the Raleigh Factory in Nottingham, in a blood transfusion unit, and in a women’s voluntary centre in Leicester which encompassed activities such as a swap shop and clothes exchange. Elsewhere, she documented the jumbled disruption of bomb sites.
It’s the latter set of works that I find more compelling. In the Raleigh factory, women workers are dwarfed by machinery, towering stacks of boxes and components. Other paintings created during the 1940s capture the more mundane: streets, reflections, facades, trees, windows and huddled figures.
Gibbs’ work is represented in county collections including Leicestershire, Derbyshire, Nottinghamshire and London. Nottingham Castle, too, contains a body of mid-twentieth century paintings in its collection, in which several names familiar from Pictures for Schools are represented, including John Piper, LS Lowry and Ben Nicholson. Men of Straw demonstrates Richard Eurich’s strange, narrative storytelling, which was popular with child visitors to Pictures for Schools. Marion Adnams lines up the backs of terraced houses and rows of gravestones, overlooked by the tall order of a church spire. Carel Weight’s African Girl 2 is a striking portrait of a model in an artist’s studio. It’s here, too, that I found the Gibbs work I liked the best: Industrial View of 1953, in which a blur of blue, red and grey chimneys, swept with wispy smoke, blend into an overhanging dusky sky.
Evelyn Gibbs in Peace and Wartime continues until Sunday 9 October.
For more information visit www.nottinghamcastle.org.uk/explore/exhibitions/evelyn-gibbs.