Exhibition visit; Joy For Ever: How to use art to change the world and its price in the market, Whitworth Art GalleryPosted: June 4, 2019
Marking 200 years since the birth of the writer, critic and teacher John Ruskin, Joy For Ever brings together archival material and historic and contemporary artworks to profile and interrogate Ruskin’s ideas, question whether they have relevance today, and ask what a ‘socially useful’ art might look like now and in the future.
Although it’s not exclusively focused on Manchester, some of the most interesting content in the exhibition relates to the ways and places in which the people of the city have been exposed to and encouraged to interact with art, craft and design over time, including during the city’s nineteenth century industrial heyday and resultant population explosion. This includes material relating to the Art Treasures exhibition which was held in Old Trafford in 1857, in the vein of the Great Exhibition of 1851 at Crystal Palace in London, and the Horsfall Art Museum in Ancoats. I discovered that the latter set up a picture loan scheme in 1890, lending sets of pictures to schools including Manchester Grammar School. Ruskin himself was a teacher as well as a prolific writer and lecturer; particularly interesting was a section relating to his teaching of women, at a time when women’s education was not encouraged, and the types of topics he considered it necessary for them to study, including science, ecology and economics.
Nevertheless, the exhibition acknowledges that many of Ruskin’s ideas now appear old-fashioned at best. For example, it shows how Ruskin and contemporaries such as William Morris sought to influence people’s taste, and the way in which they lived, by designing and promoting products and furnishings aimed at introducing ‘good’ craft and ‘design’ into the home. Aside from the problem of who gets to decide what and what isn’t ‘good’ design, these were, of course, priced well beyond the reach of the workers at which they were aimed.
Joy For Ever is at the Whitworth Art Gallery until Sunday 9 June: www.whitworth.manchester.ac.uk/whats-on/exhibitions/upcomingexhibitions/joyforever/
Over the next two weeks, Ruth Mason (one of the editors of Visit1862.com, a collaborative research site which explores the previously overlooked Great Exhibition held in London in 1862 through its design history) and I will be entering into a conversation about the process of taste formation sparked by my paper on ‘aesthetic citizenship ‘at the RGS-IBG summer conference in London in August.
Ruth and I first met in November 2013 at the Historical Geography Research Group’s annual Practising Historical Geography conference at the University of Central Lancashire in Preston. Although studying very different periods, individuals and institutions it became apparent that we were both interested in the process of taste formation and how ‘good taste’ has been considered a value that can be communicated to the general public both in the Great Exhibitions of the nineteenth century and in twentieth century projects such as Pictures for Schools.
This week my post explores Pictures for Schools and its stated aim of developing children’s taste. Next week, Ruth will consider the role of the 1862 International Exhibition in forming Britain’s taste in the nineteenth century.
Both Ruth and I will make a short response to each other’s posts and we encourage more comments, questions and further discussion points.
Read the first post, ‘Taste’ and its creators: 1962 and beyond, here.
Read the second post here.
Although I talked about my PhD project at an internal research seminar for my school at UCLan (the Grenfell-Baines School of Architecture, Construction and Environment) earlier this year, the paper I presented at the RGS-IBG (Royal Geographical Society – Institute of British Geographers) annual summer conference was a great opportunity to share my research and get more specialist feedback among researchers in my field – cultural and historical geography.
Despite only attending one day of the three-day conference (partly due to cost and partly so I could use my time in London to spend a day in the Tate Archives either side), which was spread out over the premises of the RGS and Imperial College around Exhibition Road in London, I was able to spend a stimulating and enjoyable day dipping in and out of other sessions. Whether or not they related directly to my research, this gave me a real flavour of the diversity of practitioners, topics and approaches encompassed within geographical research, from hearing about different methodologies such as walking, and how it can inform experiences and understandings of place, to learning more about the study of ‘childhood geographies’. I particularly enjoyed some of the sessions in smaller meeting rooms, which had a more informal feel than those which took place in lecture theatres.
The session I took part in, which was one of three entitled ‘New and emerging research in historical geography’ and organised by the Historical Geography Research Group (my Director of Studies, Dr Hannah Neate, is on the committee of this group), was specifically aimed at researchers at a similar stage to me. It was beneficial to hear and see how other PhD students both went about undertaking research in historical geography, and presenting their research – I was relieved to discover that I was not the only presenter to read from a script, although I did feel that the one paper in my session which was not read out benefited from a more natural and less stilted style, and I hope that I will have the confidence to do this in future without relying on a written-out paper. Another thing I observed was that other presentations dwelt far more on archival research and empirical findings, whereas I really tried to explicitly situate my research in a wider thematic context, in relation to previous or similar research in the field, something which other speakers seemed to focus upon less.
As my presentation was only fifteen minutes long (I think it actually lasted slightly less time than this, maybe 12/13 minutes) I aimed to really focus on one aspect of my research, calling my paper ‘Pictures for Schools: Educating the aesthetic citizen 1947-1969′. In this, I discussed Pictures for Schools and art education in relation to ideas of taste and aesthetic appreciation. Despite a phone going off for what seemed like ages during my paper (every presenter’s worst nightmare!) people commented that they found my paper really interesting, and I received some perceptive questions. Although I only had five minutes to answer questions, so could not provide answers as fully as I would have liked, they have given me useful points of consideration to bear in mind as I start to write up my research. These included questions about how many children were involved in Pictures for Schools over its lifespan and how the success of the project can be evaluated; whether I had looked at similar schemes such as the Victoria and Albert Museum’s ‘Circ’ collection, and notions of engaging with art through schemes such as Pictures for Schools and how this differed from owning art; how Pictures for Schools was linked to or differed from schemes circulating reproductions of artworks and what happened to the artworks sold through Pictures for Schools. It was also great to hear from an audience member who had attended one of the Cambridgeshire Village Colleges set up by innovative Director of Education Henry Morris, who I discussed in my presentation – Comberton School – in the 1980s (the school was the last village college to be built, opening in 1960, a year before Morris’ death in 1961). He commented that he didn’t like it at the time, but that since he left the school he has had memories of being surrounded by sculptures and other artworks which gave the impression of a cared-for environment, which was crafted and designed. He asked whether there was a legacy of this kind of approach being taken forward after Morris died. I have also continued conversations started at the conference over email, and have been invited to contribute a collaborative piece of writing for the Visit 1862 research blog, drawing parallels between post-war ideas of taste and nineteenth century ideas of raising standards of taste through exhibitions of design.
All in all the RGS-IBG conference provided a really valuable and useful introduction to presenting at conferences and has given me lots of ideas and pointers to put into practice in future – I look forward to the next time!