I’m very excited to have been invited to speak at Oxford University about my PhD research into Nan Youngman and Pictures for Schools as part of the Gender, Women and Culture series, which is themed ‘Gender, Women and the Arts’ this term. My talk is taking place in the History Faculty on Tuesday 19 February from 12pm-1.30pm.
It was a really nice opportunity to revisit many of the previous projects I’ve done, many of which have shared an interest in place, from self-publishing ‘zines to collaborations, research projects and public events. It was also interesting to see my PhD as part of a continuum, which had both been informed by and affected the types of writing I do.
I took along lots of examples of publications which have inspired me, and we had a really good discussion about what makes us hold on to or keep a publication in a world where we’re surrounded by printed matter and information, and what effect does good writing have on us – does it make us want to learn and research more, or go out and visit an exhibition or place?
We also discussed the form and function of art writing. How and where can you be critical, and who has the space to be critical? What is the role of conversation and dialogue in criticism?
In 1944, a young man named Gordon Hodkinson embarked on his architectural training at the Manchester School of Architecture (MSA). Although his training was, like many of his generation, interrupted by military service, Hodkinson graduated in 1951 and spent his working life as an architect. Now, more than seventy years later, Hodkinson’s student work has been deposited with the Special Collections at Manchester Metropolitan University, and a small selection has gone on display in the Special Collections gallery space.
This is thanks to the enthusiasm of Richard Brook, Reader in Architecture, who recently finished his PhD on Cruickshank and Seward, the Manchester-based architectural partnership for whom Hodkinson went to work, and who has himself taught for many years at the MSA.
At the time of Hodkinson’s training, the MSA was regarded as offering a more modern architectural education than some of the other schools, looking towards the Bauhaus for inspiration. As a student who would graduate to work on building post-war Britain, Hodkinson’s student drawings offer an insight not just into the architectural training of the time, but into the types of buildings that architects might work on – or aspire to work on – once they had graduated. Early work includes day sketches for small-scale projects such as an architect’s retreat, an author’s workroom and a fisherman’s rest pavilion. Other projects include the intriguing and generously proportioned (especially by today’s standards!) single-person bungalows and student study bedrooms, a swimming pool stepped into the landscape, a hostel, a café, a reform school for boys and, more ambitiously, a modern art museum.
These are displayed alongside the project briefs, which highlight the considerations students needed to bear in mind, from materials to contractors. Students were also encouraged to consider the types of clients and contexts that were likely to provide commissions: they were asked to design for the City of Manchester plan, which saw post-war redevelopment as an opportunity for the comprehensive redesign of large areas of the city, and the Expanded Towns project which provided infill housing in the interwar years.
Hodkinson’s student work is also contextualised by the conclusion of a number of books and journals from the time – available to students in Hodkinson’s day, and still available in the MSA library today – which highlight many of the new developments in modern architecture and building techniques taking place at the time, both in the UK and internationally, and showcase pioneer projects such as schools, offices and housing.
On leaving university, Hodkinson went on to work on buildings including universities – both in Manchester and further afield – and offices for light industry on the outskirts of the city. These are celebrated through the inclusion of photographs of the finished results; Brook brings our attention in particular to a series of elegant staircases.
Hodkinson’s student drawings are crisp and precise, yet muted in their palette, perhaps due to the constrictions of wartime restrictions in materials, which continued in the immediate post-war period. In spite of this, they’re rich in detail, from vernacular materials, landscaping and the differentiated uses of trees, to cycle parking for swimmers and washing blowing on the line, showing the mark of someone who’s not just designing for abstract futures, but for buildings to be lived in, enjoyed and used.
Drawing the Modern is at Manchester Metropolitan University Special Collections until Friday 5 April 2019.
I recently submitted my PhD thesis, nearly five years after I started my studies. To say it was a challenge to reach this point – and that, frankly, it was a point I often thought I would never reach – is an understatement. Whilst I’ve loved my research, and spending a considerable amount of time immersed in my subject, it’s made me realise how unprepared I was in many ways to start a PhD. This is something I’ve thought about a lot and, as the 31 January deadline approaches for applications from prospective PhD candidates, I’ve written a list of reflections on my experiences for anyone who is currently considering applying for a PhD.
- Choose your university carefully
Think very carefully about the university and department you are applying for. Is it an environment where you feel comfortable, both academically and socially? Is it somewhere you can imagine spending a considerable amount of time over the next few years? Is there a strong research culture, and postgraduate support network, and are there students working in similar areas to you? Don’t get into the situation I did; I lived in a different city, and spent the train journey to each supervisory meeting trying to ward off feelings of having a panic attack, as everything about visiting the university, department and city in question filled me with such dread.
- Be aware of the financial commitment
Make sure you are fully aware of the financial commitment a PhD involves, and think very carefully about accepting a studentship that is only partially funded, or funded below the levels granted by research councils. My studentship was just £4,000 a year, meaning I felt obliged to continue working alongside my studies (outside of academia, in an unrelated field). Ultimately, spending three years working for an amount that represented less than minimum wage didn’t just present a financial challenge but a psychological one, as it made me doubt the value of my work.
- Be clear about why you are doing a PhD
A PhD is not something to be entered into lightly. Like any other kind of study, never embark on one just because you don’t know what else to do, or want to defer looking for a job.
- Make sure you are prepared academically
Having a Masters degree isn’t necessarily a requirement for being accepted for a PhD. I didn’t have one and spent the first year catching up – getting my brain back into the mode of reading academic articles, and producing academic writing.
- Don’t expect to finish in three years
Make sure you plan for the possibility of failing to complete your PhD in three years (mine took nearly five years, for various reasons). Although this varies from university to university, you could get hit by fees ranging from hundreds to thousands of pounds per term.
- Understand the conditions of your studentship offer
Make sure any promises of financial support are set out in writing at the start. When I accepted my studentship I was told I would have a £1,000 annual allowance to travel to conferences, undertake fieldwork and pay for training. Once I started my PhD I was informed it was in fact £500 per year, and that only £250 of this was guaranteed – the other £250 came from elsewhere in the university and was discretionary. Although this might sound like a lot, all of these activities are expensive, particularly when conference fees and accommodation are factored in.
- Ask about extra-curricular opportunities
Make sure there is encouragement and support for the other academic activities that go alongside your research – will you have opportunities for teaching, to present at conferences and to submit to journals? All of these are essential for finding a job afterwards.
- Understand your limitations
Be realistic about your expectations of yourself. I put a lot of pressure on myself to finish in three years, at the same time as working and undergoing several major life changes. The result was that I burned out and had to take a year out to get my life back on track – supported by my university. It made me realise that I needed to go at my own pace, both for the sake of my research and the sake of my health.
- Most people won’t understand what you are doing
Most people outside of academia don’t understand what a PhD is or what it entails. Get used to deflecting questions about how your ‘course’ is going and when you will be finishing (I used to confuse people by answering ‘how long is a piece of string?’).
- Love your subject
You are in a PhD for the long haul. Believe in what you are doing, and that you will get there eventually if it is worth doing. At the same time, don’t be offended when you find that very few other people are really interested in your research – family and friends are usually more concerned about what you’ll do afterwards, if they ask anything at all!
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.