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.
Guest lecture, Bradford School of Art, Wednesday 31 October – Woman’s Outlook: A Surprisingly Modern Magazine?Posted: October 15, 2018
I’ll be talking about my research into the twentieth-century co-operative women’s magazine Woman’s Outlook, published by the Co-operative Press from Manchester between 1919 and 1967, which combined political campaigning and information with domestic tips and knowledge.
Henry Moore Institute in Leeds is holding three talks this month which look like they’ll be of great interest to fans of twentieth century art and design. The first, on Wednesday 13 June at 6pm, is by Lynda Nead, author of the recent, excellent book Tiger in the Smoke. The second, on Wednesday 20 June, is by Margaret Garlake, author of the essential book New Art, New World, and concerns emigre artists and their work for patrons such as the London County Council as part of the post-war reconstruction effort in Britain. Finally, on Wednesday 27 September, Gordon Johnston will discuss the work of the sculptor Peter Peri, whose work was exhibited at Pictures for Schools as well as in numerous public contexts.
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.
Guest lecture, Bradford School of Art, Wednesday 31 January – Bradford’s brutalist masterpieces: William Mitchell’s murals in Bradford, Bingley and IlkleyPosted: January 17, 2018
Bradford’s brutalist masterpieces: William Mitchell’s murals in Bradford, Bingley and Ilkley
Born in 1925, the artist and industrial designer William Mitchell’s work can be seen in towns and cities around the world. However, it does not hang on the wall of art galleries, but is an integral part of the buildings in which it is found. These range from everyday places such as schools, libraries, pubs, subway underpasses and the foyers of post-war towerblocks, to flagship buildings like Harrods and the Metropolitan Cathedral of Christ the King in Liverpool.
The talk will give an overview of Mitchell’s work and career, focusing in particular on three artworks by William Mitchell in the Bradford area which demonstrate his post-war work in municipal and civic contexts as well as for corporate and commercial clients. Using innovative techniques and working in media such as moulded concrete and fibreglass, all three murals are distinctively of Mitchell’s style, yet take different stylistic approaches, from abstracted pattern-making to incorporating elements of the history of the area in which they are located.
It will explore a series of concrete murals in Bradford’s Kirkgate market, built in 1973 to replace a previous Victorian market, by Mitchell or an assistant; thirteen fibreglass panels, commissioned for the former Bradford and Bingley Building Society headquarters in Bingley in the early 1970s and depicting the architectural and engineering landmarks of the area; and a large mural for the Ilkley Wool Secretariat, completed in 1968, which explores the history of wool manufacture locally.
These case studies will be used to highlight wider changes in attitudes towards post-war architecture, and the ways in which these types of artworks are regarded: whilst a new home has been sought in recent years for the Bingley murals, which were removed as the highly unpopular building in which they were situated was demolished, Mitchell’s Ilkley relief has been widely feted and was celebrated with Grade II listing by Historic England in 2015.
I’m looking forward to attending a discussion about creating art and gallery experiences for children, which takes place at the Bluecoat in Liverpool next Thursday (18 January, 6pm, free). It’s the second in a series of panel discussions entitled ‘What We Talk About When We Talk About Work’, bringing together UK and international artists, curators and other practitioners.
For more information and to book visit www.thebluecoat.org.uk/events/view/events/3798.