Guest lecture, Bradford School of Art, 15 November: ‘The Campus as Art Gallery: The Past, Present and Future of Educational Art Collections’

Bradford College posterI 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.

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Article about Henry Collins and Joyce Pallot’s BHS murals in the latest modernist magazine

DSC_4359For the latest issue of the modernist magazine, themed ‘Gone’, I’ve written about the visual legacy of the (now-gone) BHS in the form of a series of murals by the Colchester-based husband and wife team Henry Collins and Joyce Pallot. Together they made a prolific team, creating work for the Festival of Britain as well as other high-profile locations.IMG_0185I’ve spent the past eighteen months or so visiting their murals for BHS and Sainsbury’s in Harlow, Colchester, Stockport, Newcastle and Bexhill (there are others I’ve not seen in places including Oxford, Gloucester and Southampton), which incorporate shopping imagery as well as visual references to the history of the town in which they are situated.

12983371_1775660349322143_8265186271096196655_oBoth Collins and Pallot were practising artists and members of Colchester Art Society outside of their collaborative practice and exhibited paintings at Pictures for Schools; Collins sold work, including Essex scenes, to Essex Education Committee.

11016115_1716968421858003_2888935922560100705_oTo buy the magazine click here.


Visit to the Bangor University art collection

This week I found out by chance, before a day trip to Bangor, that the University has an art collection. I was fortunate to be given a brief, last-minute tour and history by the Storiel Museum and Bangor University Collections Officer Helen Gwerfyl.

The collection was established in the nineteenth century for educational use in the university. The university has a number of educational collections for use in teaching, with others comprising zoological and musical artefacts, and offering a history of ceramics. A number of ancient Mexican musical instruments from another of these collections, made of pottery and shaped like animals, are currently on display in the Storiel gallery as part of a doctoral research project.

Bangor University’s art collection has benefited from a number of bequests over the years, and is still acquiring work: in recent years, the winners of student art awards have been added to the collection. In addition, work acquired and commissioned for a teacher training college has now been accessioned into the university collection.

The majority of the work is paintings, although there are also statues and busts, and a small number of sculptures. Whilst lots of the collection hangs in offices – some of these usually unseen paintings were the subject of an exhibition at the museum – other are displayed around the university in lecture theatres, corridors and stairwells.

A 1940 bequest by William Evans, a bank manager in Chester and Holywell, enabled twelve paintings by leading British artists to be purchased, including Edward Wadsworth, Frances Hodgkins, Paul Nash, Winfred Nicholson and John Aldridge, ten of which are displayed in a lecture theatre. There are also several mountain landscapes by leading Welsh artist Kyffin Williams.

The university collections benefited from a Heritage Lottery Grant, which enabled condition surveys and cataloguing work to be undertaking, as well as a programme of events to raise the public visibility of these ‘hidden collections’. The Storiel museum took over responsibility for the art collection, which was previously administered by volunteers. Some of the work has had to be moved from the foyer, where doors constantly opened and closed and subjected the work to the wind, rain and cold. Other work has been moved to places with better light conditions. Interpretation has also been added to some of the work which is on display.

For more information about the history of the art collection visit www.bangor.ac.uk/community/history-collection.php.en.

Paintings from the collection can be browsed online at https://artuk.org/visit/venues/bangor-university-6854.

 


Visit to the University of Salford Art Collection

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.


Sale of the Cambridgeshire Collection of Original Artworks for Schools

I was recently contacted by Cheffins Fine Art of Cambridge with the news that they are handling the sale of the Cambridgeshire local authority collection, which includes 400 pictures by artists including Malvina Cheek, Robert Tavener and Tirzah Garwood.

The collection was established in 1947 – the year the first Pictures for Schools exhibition took place – under the aegis of Pictures for Schools Chairman Nan Youngman, who worked for Director of Education Henry Morris as the county’s art adviser from 1944 to 1954.

Although not entirely unexpected – since I started my PhD I’ve had a lot of difficulty finding out about the location and status of the collection, and I understand that individual works from it have been sold previously – it’s sad if it’s true that not enough schools in Cambridgeshire are interested in making use of the service, especially as Derbyshire School Library and Museum Service is still lending pictures to schools and has been reaching out of late via a social media presence.

Read more about the rationale behind the sale in this Cambs Times article from August 2015.


Recording Britain artist Malvina Cheek

I’ve been thinking a lot lately about the visual atmosphere of Pictures for Schools, which was largely dominated by realism and familiarity (though there were a few more bold or abstract artists, such as Tadek Beutlich). A high proportion of the artists who sold and exhibited work had been war artists, or involved in projects such as Recording Britain, to document places at risk of disappearing due to war and modernisation. One of them (and the best-named!) was Malvina Cheek, who primarily sold and exhibited paintings of trees at Pictures for Schools. I recently found at that she died last year, at the age of 100, making her one of the longest-surviving artists of that era. Read her obituary in the Guardian here.


Exhibition visit: Picturing Faith: An Exhibition of the Methodist Modern Art Collection, the Beaney, Canterbury

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.