Teaching Collections and Fine Art Pedagogy

Lead Research Organisation: Newcastle University
Department Name: School of Arts and Cultures

Abstract

I will be undertaking my research in the context of a collaborative project which is examining art education and the culture of the North East between the 1930s and 1970s.
My research will consider the role, rationale, and influence of teaching collections within Fine Art Departments in the 20th century. I will focus on the Hatton Gallery Collection at Newcastle University as a case study, particularly concentrating on the teaching collection formed in the 1940's to 1960's under the guidance of professor Lawrence Gowing and art historian Ralph Holland.

I will examine the pedagogical significance of the teaching collection and the evidence for its influence on specific examples of artistic production and consider the notion that a collection of objects in the North East of England may have influenced the story of art in the 20th and into the 21st century.

Proposed research process:
I will take the approach of working through from an overview of teaching collections in general, to concentrating on the specifics of the role and significance of the Gowing and Holland collection and then focus on the impact of individual objects within the collection.

Step 1 - To understand the Hatton Teaching collection in the context of the history of fine art teaching collections per se, through a literature review of the existing research.

Step 2 - To establish a time line for the evidence of the use of teaching collections, eg from the influence of collections of classical art and antiquities on the development of Renaissance ideas, onwards to the origins of the Hatton collection and through to the Gowing and Holland acquisitions.

Step 3 - To focus on the content of the Hatton Collection by gaining an understanding of its content through review of the current catalogue and studying the archives.

Step 4 - to gather information and gain an insight into how the Hatton Teaching collection is currently being used.

Step 5 - To identify, from my personal experience of Step 3 as a user of the catalogue and from possible research undertaken with existing students, how the information in the catalogue may need improving in its role as a resource for understanding and accessing the collection.

Step 6 - To research what evidence exists that can identify specific reasons for the inclusion of each object in the teaching collection and thereby gain a better understanding of the role of each object within the collection and its pedagogical purpose.

Step 7 - to undertake (or collate information gained through steps 1 - 5) a literature review of the Gowing and Holland collection and its role in the studio and art history teaching of the Fine Art Department.

Step 8 - to gather further evidence of the role and influence of the teaching collections from accounts gathered through interviews and surveys on artists and art historians who have worked in the Fine Art department.

Step 9 - to consider how we may involve the wider North East community in contributing their views on what they know about the Hatton teaching collections.

Step 10 - to consider how the role of the Hatton teaching collection can be preserved as an integral part of art education with the Fine Art department but also maintained and promoted as a resource across the North East community.
(A possible collaboration with Tyneside Cinema, University of the Third Age? Collaboration with Equal Arts and other organisations to involve hard to reach communities, eg people living with dementia).

Step 11 onwards - to work with the fellow studentships to promote the research undertaken, through seminars, film, conferences and exhibitions.

Publications

10 25 50
 
Title TWAM Re-frame/Re-model:Reconstructing the archive - Hatton Gallery exhibition 
Description Please see the entry under 'Engagement Activities'. This exhibition showcases the evolving and developing processes of my research and is the result of a collaborative, creative process with my Fine Art practice-led researcher colleague, Harriet Sutcliffe, taking place in an art gallery and exhibiting installations of written texts and visual displays alongside art works. The primary aim of this exhibition is to help inform and progress my research through engagement with gallery visitors through the display of texts and images. This is why I have chosen to describe it in detail under its primary function. 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2018 
Impact Please see entry under 'Engagement Activities' 
URL https://hattongallery.org.uk/whats-on/re-frame-re-model-reconstructing-the-archive
 
Description It is too early in the timescale of the award to clearly identify how this award has contributed to any non-academic impacts. However, a significant part of my research has been involved in engaging and interviewing former students and staff of the Fine Art Department in the 1950s and 1960s - some of them now in their late 70s and early 80s. This has resulted in people reviewing and reflecting on their experience of the art school, on their past and current art practice and re-visiting their own archives. Some of the people I have been in contact with have continued to engage with my research which has resulted in an ongoing dialogue and sharing of information which, in some cases, I believe, has had the effect of re-connecting them with the activities of the Fine Art School and the University. Some of them have re-engaged with the activities of the Hatton Gallery and so I would like to think, that along with the work my Collaborative Doctoral Award researcher colleague and I have undertakendirectly in the Hatton Gallery my research may impact on the numbers and diversity of visitors to the gallery thereby raising the profile of its collections and exhibitions, locally, nationally and, possibly, internationally.
First Year Of Impact 2016
Sector Culture, Heritage, Museums and Collections
Impact Types Cultural,Societal

 
Description NICAP - Hatton Gallery 3 Exhibition, Marketing, Contingency
Amount £3,600 (GBP)
Funding ID NICAP C0300D4001 OSR/0341 
Organisation Newcastle University 
Sector Academic/University
Country United Kingdom
Start 12/2017 
End 05/2018
 
Title Hatton Exhibition Catalogue Record 
Description I assisted my CDA researcher colleague to collate and record the details of exhibition catalogues created between the 1950s - 1970s held in the Hatton Gallery Archives into a document which can be referenced by Hatton Gallery staff and volunteers. This data set is the outcome of the collaboration recorded under Collaborations and Partnerships - TWAM Hatton Gallery Exhibition Catalogues. 
Type Of Material Database/Collection of data 
Year Produced 2016 
Provided To Others? Yes  
Impact This data set will provide other researchers with searchable information to help inform their understanding of exhibition catalogue production in the 1950s and 1960s, particularly that undertaken by Richard Hamilton and his students. 
 
Title Newcastle Fine Art School Timeline 
Description I have created an Excel spreadsheet recording significant events in the history of the Newcastle Fine Art School alongside those of its parent institution, Durham University/Newcastle University, other Fine Art Schools and institutions and developments in art education. The information has been collated from archival records, books and publications and is informing my understanding of relationships between policies, institutions and individuals. 
Type Of Material Database/Collection of data 
Year Produced 2016 
Provided To Others? No  
Impact It has provided me with a very helpful reference tool for my specific research and, when completed, I will make it available to the Hatton Gallery and the Fine Art Department. 
 
Title The Charlton Lectures 
Description I have created an Excel spreadsheet which collates information on all the Charlton Lectures - a series of annual lectures on art subjects, that are recorded as taking place at Durham University/Newcastle University since their inception in 1919, with their associated publications and publication location, if any, in the Newcastle University Library and information on the lecturer. This information has been collated from a range of sources and is aiding my understanding of how the subject of the lecturer or the presenter of the lecture may have had a role in the choices of works acquired for the Hatton Gallery Permanent Collection in the 1950s and 1960s. 
Type Of Material Database/Collection of data 
Year Produced 2016 
Provided To Others? No  
Impact This data set will be available to Newcastle University Public Lectures administrators and organisers for reference in the planning of any future Charlton Lectures and commemoration of any relevant anniversaries in the University lecture programme. 
 
Description TWAM Collaborative Doctoral Award non Higher Education Institution Partner 
Organisation Tyne and Wear Archives and Museums
Country United Kingdom 
Sector Public 
PI Contribution Tyne and Wear Archives and Museums (TWAM) are the non Higher Education Institution Partner in this Collaborative Doctoral Award. I have been working with TWAM/Hatton Gallery to research the acquisitions of art works by Professor Lawrence Gowing, Professor Kenneth Rowntree and others for the Hatton Permanent Collection in the Fine Art Department of King's College, University of Durham/University of Newcastle upon Tyne during the 1950s and 1960s. I have undertaken a range of projects on behalf of the Hatton Gallery (described separately) which are contributing to the recording and cataloguing of the archive and understanding of the contents of the archive. Aspects of my research are bringing the Hatton Gallery Archive and the Hatton Gallery Permanent Collection of art works to the notice of a wider public.
Collaborator Contribution TWAM has provided access to the Hatton Gallery Archives, experience of working with its collections and working with its staff. Each of these activities is described under separate entries. TWAM has contributed financially and in kind to the award (£3000 over the three years of the award and a pass which provides free entrance to fee paying TWAM exhibitions, estimated value of £60).
Impact Please see separate entries under: Collaborations and Partnerships: TWAM Hatton Gallery Pioneers of Pop Exhibition, TWAM Hatton Exhibition Catalogue Collection, TWAM Hatton Poster Collection, TWAM Hatton Closing Show. Engagement Activities: TWAM Re-frame/Re-model:Reconstructing the archive - Hatton Gallery exhibition Research Databases and Models: The Charlton Lectures Newcastle Fine Art School Timeline Hatton Exhibition Catalogue Record Other Outputs and Knowledge/Future Steps: TWAM Hatton Exhibition Posters Information Sheets
Start Year 2015
 
Description TWAM Hatton Closing Show 
Organisation Tyne and Wear Archives and Museums
Country United Kingdom 
Sector Public 
PI Contribution I worked with the Keeper of the Hatton Gallery Collection and with my fellow Collaborative Doctoral Award PhD researcher colleague to curate part of the closing show of the Hatton Gallery, managed by Tyne and Wear Archives and Museums (TWAM) prior to its closure for renovation in February 2016. This entailed choosing the placing and display of sculpture and archival material in the exhibition, including the arrangement of objects and images in display cases.
Collaborator Contribution TWAM provided experience in curation and exhibition display and working with the Hatton Gallery/TWAM team in the preparation of an exhibition. The URL relating to this collaboration refers to information relating to the closing exhibition, it does not specifically link to examples of the work in which I was involved. Please note that the financial and in-kind contributions described in this entry are the total amounts provided by TWAM over the three years of the CDA for all activities undertaken during the period of the award.
Impact I have gained an understanding of the issues involved in setting up and displaying an exhibition and handling art works and archival material. The collaboration has given me a greater knowledge and understanding of the content of the Hatton Gallery Collection and the archival material in the collection. The collaboration was multi-disciplinary in respect of working with my fellow PhD collaborative researcher colleague, who is an artist and practice-led researcher, with the Keeper of the Hatton Collection who is an art historian and curator, with a range of TWAM staff involved in the practical aspects of organising exhibitions and the gallery staff who work as the public face of the Hatton Gallery.
Start Year 2016
 
Description TWAM Hatton Exhibition Catalogue Collection 
Organisation Tyne and Wear Archives and Museums
Country United Kingdom 
Sector Public 
PI Contribution In May/June 2016 I assisted my Collaborative Doctoral Award (CDA) PhD researcher/colleague to create a photographic record of the Hatton Gallery Exhibition catalogues from the 1950s - 1970s held in the Hatton Gallery Archive. This record provides a physical description of the exhibition catalogues and details the content, designer and publisher (where identified) of each catalogue. This work has resulted in our deciphering the coding used in the publications produced by the Fine Art Department so that the date of publication and the number of catalogues in the production run can be identified. These records will enable future researchers to have to access to information on the artists/designers and publishers of the catalogues held in the archive and support the increased interest in post-war exhibition production and the associated development of catalogue design of the 1950s - 1970s. It will be specifically helpful in identifying and understanding the development of catalogue design within the Fine Art Department of King's College University of Durham/University of Newcastle upon Tyne, during this time frame by artists/tutors such as Richard Hamilton and his students.
Collaborator Contribution TWAM provided access to the Hatton Gallery Archives and to the collection of exhibition catalogues. Please note that the financial and in-kind contributions described in this entry are the total amounts provided by TWAM over the three years of the CDA for all activities undertaken during the period of the award.
Impact My direct collaboration has been with the PhD researcher who is part of this CDA with the Hatton Gallery/Tyne and Wear Archives and Museums. She is a fine art practitioner so I have gained an understanding of how the archives are informing her practice and vice versa - providing a different perspective on approaches to research in contrast to that of my thesis-based research. The exhibition catalogue recording process has provided me with a more in-depth understanding of the content of the Hatton Gallery Archives and of the development of catalogue design through the 1950s to 1970s, particularly the contribution to and influence of the artist and lecturer Richard Hamilton to exhibition catalogue design, while he taught in the Fine Art Department of King's College, University of Durham/University of Newcastle upon Tyne in the 1950s and 1960s.
Start Year 2016
 
Description TWAM Hatton Gallery Pioneers of Pop Exhibition 
Organisation Tyne and Wear Archives and Museums
Country United Kingdom 
Sector Public 
PI Contribution I worked with my Collaborative Doctoral Award (CDA) PhD researcher/colleague to curate a display cabinet for the Hatton Gallery 'Pioneers of Pop' exhibition which launched the re-opening exhibition of the renovated Hatton Gallery in October 2017. This involved selecting photographic images, exhibition catalogues and newspaper articles to design a cabinet display to inform gallery visitors of aspects of exhibition history and life within the Fine Art Department at King's College, University of Durham/University of Newcastle during the time of artist and lecturer Richard Hamilton and others in the 1950s and 1960s. We worked with Tyne and Wear Archives and Museums(TWAM) staff on the practical activities and issues of setting up the display cabinet and with Newcastle University Special Collections staff in the handling of archive material for display. The URL links to images of the other two display cabinets in the room in which our display cabinet was situated but which does not appear in the photograph.
Collaborator Contribution The TWAM exhibition organising staff provided us with experience in the physical setting up of the display cabinet. Support from Newcastle University staff within the Library Special Collections Department contributed materials and provided experience in the handling, care and presentation of archive material within the display cabinet. Please note that the financial and in-kind contributions described in this entry are the total amounts provided by TWAM over the three years of the CDA for all activities undertaken during the period of the award.
Impact The ongoing close collaboration and working relationship with my CDA PhD Fine Art practice-led researcher/colleague has provided me with a better insight and increased understanding of the practice-led approach to research. This collaboration has been multi-disciplinary with regard to the involvement of TWAM curatorial and exhibition staff and Newcastle University Special Collections librarians and archivists.
Start Year 2017
 
Description TWAM Hatton Poster Collection 
Organisation Tyne and Wear Archives and Museums
Country United Kingdom 
Sector Public 
PI Contribution I worked with my fellow Collaborative Doctoral Award (CDA) PhD researcher colleage and a Tyne and Wear Archives and Museums (TWAM) paper conservator to audio record details of the collection of Hatton posters from the 1950s and 1960s held in the Hatton Gallery Archives. This involved recording the conservator's narrative description of each poster image and manufacture technique to support the creation of a photographic and written record of this section of the Hatton Gallery collection.
Collaborator Contribution The TWAM conservator provided knowledge and understanding of paper handling and poster making/printing techniques which were used in the 1950s and 1960s. Please note that the financial and in-kind contributions described in this entry are the total amounts provided by TWAM over the three years of the CDA for all activities undertaken during the period of the award.
Impact This collaboration provided me with a better understanding of the curation and content of the Hatton Gallery poster archive. The collaboration was multi-disciplinary in providing an opportunity to exchange skills and knowledge with the TWAM Archives and Museums paper conservation staff member and with my fellow artist and practice-led PhD researcher.
Start Year 2016
 
Description TWAM Re-frame/Re-model:Reconstructing the archive - Hatton Gallery exhibition 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach National
Primary Audience Public/other audiences
Results and Impact This is an ongoing event which is running in the Hatton Gallery from 3 February - 19 May 2018, made possible by Tyne and Wear Archives and Museums (TWAM) and Newcastle University Institute for Creative Arts Practice (NICAP). My Collaborative Doctoral Award (CDA) researcher colleague and Fine Art practitioner, Harriet Sutcliffe and I are showcasing the developing and evolving processes of our research into aspects of art education in the Fine Art Department of King's College, University of Durham/University of Newcastle in the 1950s and 1960s in the form of an exhibition. This has been a collaborative process from its inception - we have worked together to create an environment/installation which can provide a semi-permanent infrastructure for the duration of the exhibition in line with the health and safety requirements of the gallery, but which we can alter and adapt to display images and texts or other media which support our research. The specific intended purpose of my contribution to the installation is the display of texts and images inspired by or related to the subject of my research - the Hatton Gallery Permanent Collection created by Lawrence Gowing, Kenneth Rowntree and others in the 1950s and 1960s. I have been able to select and hang 16th century paintings from the Hatton Gallery Collection which are not usually on show and which indicate aspects of the collection created by Lawrence Gowing, alongside reproductions of art works from the Fine Art Image Library which have not been seen or used within the Fine Art Department for many years . I have created texts to display beside the paintings describing their position and significance in the collection and texts which provide a commentary on how art works were experienced at the time the collection was being created - mainly through black and white reproduction. I have also created a text which references the development of our collaborative installation in relation to the collaborations which produced the innovative exhibition design in the Hatton Gallery in the 1950s. The display of texts and images will develop and change over time as I have the opportunity to reflect on the content of the Hatton Collection, the Fine Art Image Collection and other archival material, as well as any comments which we receive from public engagement in the exhibition. The exhibition coincides with a exhibition of work by internationally acclaimed artist Sean Scully, who studied in the Fine Art Department in the late 1960s - early 1970s, a Hatton site-specific commission by the artist Kate Liston and an exhibition of collages by Kurt Schwitters showing alongside the permanent installation of his Merzbarn Wall. These exhibitions are anticipated to attract large numbers of visitors locally, nationally and possibly internationally, along with the numerous school visits which take place in the Hatton Gallery's learning space. The outcome for me has been the opportunity to work with my fine art practitioner colleague to create and curate an exhibition space, including the physical construction of the infrastructure, to gain experience in writing texts to explain my research to the general public, undergraduate and postgraduate students and staff from across the University and to work with TWAM/Hatton Gallery staff, conservators and technicians to install the exhibition. I am delivering a presentation to a special interest group - the Friends of the Hatton Gallery, in April, on the exhibition and my research. The final outcome in terms of visitor numbers will not be known until the end of the exhibition. Initial outcomes are the engagement in discussion about the research with TWAM/Hatton Gallery staff and engagement with visitors through comments in our Visitor's Book.
Year(s) Of Engagement Activity 2018
URL https://hattongallery.org.uk/whats-on/re-frame-re-model-reconstructing-the-archive