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.
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.
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.
My PhD concerns not just the changing experience of post-war education, but the changing places in which it took place and the significance of educational environments, including the incorporation of examples of original and contemporary works of art and design into school buildings. This week I’ve been thinking about an educational environment that has been significant to me, the University of Manchester’s former UMIST campus in Manchester, where I lived as an undergraduate. UMIST is currently subject to a Manchester City Council consultation around a proposed Strategic Regeneration Framework, which would see a loss of the campus’ modernist heritage as well as areas of green space. Manchester Modernist Society is currently encouraging interested parties to comment on and object to the proposals that have suggested in the SRF. Here the comments I submitted:
“I would like to comment on the North Campus as a longstanding-resident and user of the city centre, including as a student, and a visitor to the city centre. As an undergraduate student at the University of Manchester (2005-2008) I spent three years living in Fairfield Hall, part of North Campus, and found it a very attractive and pleasant place to live, and also to undertake student activities. For example, I played in the University of Manchester Fellows Orchestra, which rehearsed in the Renold Building, and performed in the Sackville Building, and as a student and alumni of Manchester University I have also made use of the Joule Library, also based in Sackville Building. I found North Campus a very pleasant place to live as a student, well-connected but peaceful due to the lack of road traffic and used in the summer for outdoor activities, particularly in Vimto Gardens, a well-known landmark and meeting place. I found it to have a strong sense of place, both due to the campus architecture and sense of coherence of the campus plan and landscaping, and due to the use of public art referencing the area’s history and the way in which the university had shaped it. Its identity is both strong and distinct from other areas in Manchester City Centre. I consider those formative years spent living on North Campus to have piqued an interest in twentieth century art and design that stay with me to this today – I am now undertaking a PhD on the subject at the University of Central Lancashire (co-supervised by Dr Hannah Neate of Manchester Metropolitan University), and write regularly on public art, planning, landscaping, education and design, including for the modernist magazine.
Immediately following graduation I spent five years living in M1 (in the vicinity of Piccadilly Station), followed by eighteen months living in Castlefield, and continued to visit UMIST, particularly in the summer, as a quiet and green place to sit, read and have picnics. I also used UMIST regularly (and continue to do so) as a traffic-free pedestrian and cyclist route from the Piccadilly area to Oxford Road. I have also visited on a number of occasions as part of Manchester Modernist Society tours and events, and learnt about the significance of the architecture and the campus plan; I myself used to take visitors to show them Hans Tisdall’s mosaics in the Faraday Building, and they have been featured in my magazine the Shrieking Violet: https://issuu.com/natalieroseviolet/docs/the_shrieking_violet_issue_3
I no longer live in the city centre, but I work there and continue to visit UMIST, both as a green space and as a traffic-free pedestrian and cycle route heading out of the city centre for South Manchester.
I am concerned that the North Campus SRF focuses on the heritage of Sackville Building (and rightly so) but fails to take into account the architectural significance of a number of the mid-twentieth century ‘modernist’ buildings, which have both architectural significance (particularly the Renold Building) and as a cluster of buildings developed at a time of scientific, educational and technological expansion, which represents a significant shift towards modernity for Manchester’s cityscape. This demonstration of modernity and innovation is reinforced by North Campus’s proximity to the Mancunian Way, itself an innovative and high-profile example of Manchester’s post-war planning.
I am concerned about the removal of Hans Tisdall’s the Elements mosaics and I am particularly concerned that the mural in the Renold Building is not highlighted as a heritage asset, despite the fact that it is by one of Britain’s most important mid-twentieth century abstract artists, Victor Pasmore, who also contributed significantly to the development of British post-war art education through the Basic Design movement. Pasmore’s Renold Building mural is a rare example of a publicly accessible and viewable work by an artist by that stature in Manchester – indeed, his most celebrated work, the Apollo Pavilion in Peterlee, County Durham, has been the subject of extensive restoration and renewed interest in recent years. The mural is particularly significant, I feel, due to the post-war historical context in which it was commissioned, when educational and state bodies (including a number of universities) assumed responsibilities for patronage of contemporary art.
At a time when English Heritage is promoting the listing and retaining of post-war public artworks, I am also concerned that Anthony Hollaway’s Hollaway Wall is underlooked in the report, and that there are suggestions to shorten or move this Grade II listed structure, which acts as both an artwork and as a sound buffer. I consider the Hollaway Wall to be a rare and significant example of an architectural sculpture in Manchester, by an artist who built up a considerable reputation for his work across the country in the post-war period, particularly as an in-house design consultant for the London County Council. Along with William Mitchell, he was innovative in his experimentation and exploration of the use of materials for artworks in public places, including concrete, and was versatile in his media (for example, he designed a modern stained glass window for Manchester Cathedral). Hollaway’s work in Manchester, including the Hollaway Wall, commissioned with the local architects Fairhurst and Sons, is also a good example of a post-war emphasis on collaboration between architects, artists, designers and builders.
Finally, as alluded to previously, as a longstanding user of the space, I am concerned about any loss of green space in the North Campus area, including a reduction of space in Vimto Gardens, particularly in a city where parks and green spaces are in short supply. Although Sackville Gardens is nearby, it attracts a considerably different demographic and has a different atmosphere, due to its proximity to the clubbing area of Canal Street, where outdoor drinking is much more established. I consider the area’s landscaping, including mature cherry trees, to be one of the most successful aspects of the campus, which gives it a strong sense of place.
I would welcome a reuse of existing buildings, including railway arches and Sackville Building, and feel that an increase in the number of people living, working in and visiting the area would justify the retaining of significant areas of green space and make it an attractive place in which to live, work and visit.
I am also extremely concerned about any proposal to add roads through North Campus, and to increase the flow of vehicle through it, as I have appreciated and regularly used it as a quiet, traffic-free route as a pedestrian and cyclist. I am concerned that a road would both damage the atmosphere and landscaping of the campus, as well as leading to increased traffic, noise and pollution. The area is already bounded by several major roads, from the A6 to the Mancunian Way.”
Exhibition visit: We Want People Who Can Draw: Instruction and Dissent in the British Art School, Manchester Metropolitan University Special Collections (until 31 July)Posted: July 16, 2015
Though it’s not directly related to schools, as part of the contextual reading for my PhD I have also read a lot about the history and development of art education, specifically art schools and colleges in Britain, from the municipal colleges of art that were set up in industrial towns and cities in the nineteenth century, to the changing status of provincial schools of art and art degrees following the Coldstream Report of 1960, to the student protests and occupations sparked by that at Hornsey in 1968, where students demanded more say in the direction of their education.
The current exhibition at Manchester Metropolitan University’s Special Collections brings together an impressive, stimulating and inspiring range of materials relating to the last of these aspects of the history of British art education, borrowed from individuals and institutions including the Women’s Art Library in London. They encompass manifestos, books, magazines, pamphlets and student journals, including material from Art & Language in Coventry and King Mob at Goldsmiths in London, along with exhibition publicity, films, some evocative photographs of demonstrations and occupations, and prints and posters relating to these demonstrations, and correspondence between students and university officials. Through these artefacts, the exhibition draws out links with wider and international movements for change such as the Situationist International and radical feminism. Many of the publications were amassed and distributed by Ron Hunt, the librarian at Newcastle University, who must have some tales to tell!
Many of the objects, as well as being fascinating documents of the time and a particular educational and social moment, raised important questions about the purpose and uses of art in the post-war context, a period in which the government and other authorities had started by promoting the potential and responsibility of art to take on an explicitly social role in both educating and improving the lives and leisure of the masses. Should art, and the critical and technical skills students developed at art schools, be used for the good of society, as in the street theatre workshops discussed in the exhibition, or should it be enlisted into the commercial services of advertising, against which students at Hornsey were partly protesting? One of the most intriguing items in this regard was Ken Garland’s 1964 First Things First manifesto, recently updated fifty years on, which enlisted the signatures of several designers to rail against advertising and call for design which worked for the public good. It would be interesting to know what came of the signatories, and where their future careers led them …
At a time when the value – and cost – of studying arts subjects, not just at school but at degree level, is being questioned, and when university buildings are still being occupied through student protests, it was strange not to see present-day imagery and examples in the exhibition, despite this providing the starting point for the exhibition catalogue.
The catalogue is well worth a read and is accessible as PDF at www.specialcollections.mmu.ac.uk/files/wewantpeople_guide.pdf.