engage International Summer School 2009
Resources
Talks and visits
Katy Fitzpatrick, Education Curator at Dublin City Hall Gallery, The Hugh Lane gave a presentation and a tour of the Gallery and education
department. You can download Katy's presentation here.
Workshops
Delegate-run workshops were grouped into themes and then split up between the breakout sessions to ensure maximum choice. Delegates were asked
to select one workshop to attend from each group for the breakout sessions.
Session 1
Tuesday 14 July 11.30am-1.00pm
1a Lindsey Fryer
Artist and Public as catalysts for change
Artists are at the core of our work in publicly funded galleries in every way. Their work is the basis upon which our organisations
are founded. There is immense investment in the acquisition and conservation of art works, extensive academic research, the
development of collections, exhibitions, learning and engagement programmes, employment, online resources and publications,
all on 'behalf' of the artist and the public. I would argue that the artists and the public have little or no say in any decision
making regarding any of the categories above.
This workshop focussed on and explored the roles the artist and the public can have in challenging and shaping new curatorial and
learning practices in galleries. Taking the example of The Fifth Floor: Ideas Taking Space (Tate Liverpool December 14 2008- February 1 2009)
as a starting point the group worked together to examine the artists role as a catalyst for change and how organisational structures within
galleries can incorporate collaboration, co-operation and co-production with their communities.
Session notes
Powerpoint presentation
1b Erica Burton
Art in Rose Hill: audience development commissions and institutional change
A presentation of ongoing research about Modern Art Oxford's Art in Rose Hill programme; an audience development commissioning programme
working on the Rose Hill Housing Estate in Oxford, initiated by the gallery's education team and supported by the gallery's curatorial team.
Erica explained what Art in Rose Hill is and its aims, and continue by looking at how Art in Rose Hill has changed Modern Art Oxford and how
Modern Art Oxford has impacted on Rose Hill. The workshop concluded with a discussion on the current political context based on examples of
audiences considered in the commissioning process, focusing on the importance of organisational change, and the breaking away from traditional
education / curatorial frameworks to embrace new audiences and types of working.
Session notes
Powerpoint presentation
1c Helen Charman
Exploring the 'problematique' of the contemporary museum as a learning organisation
This workshop adopted Althusser's notion of the 'problématique' as a sensitising concept through which to explore the value of specificity in
characterising the contemporary museum as a learning organisation.
The problematic describes the theoretical or ideological framework within which a concept gains meaning and currency. The problematic of a
theory can also refer to its 'unconscious', that is, the absences and silences that it does not acknowledge, which are revealed through a
'symptomatic' reading which pays attention to what is not said rather than what is said.
When considering the characteristics of the contemporary museum as a learning organisation, Helen's contention is that three significant
absences can be found in relevant museum studies literature. These absences form the three cornerstones of her current doctoral research.
Each was further explored in the workshop with direct reference to participants' professional institutional contexts.
The workshop opened with a lively ice-breaker. This was followed by a 30 minute academic presentation and discussion based on practitioner
enquiry at the Design Museum, London. The second half of the workshop was devoted to participant exploration of the 'problematique' of their
own institutional contexts, with the aim of better understanding the value of specificity in moving towards the contemporary museum as a
learning organisation.
Watch Fran Wilde's video interview with Helen here
1d Frances McCourt and Sean McGlashan
Social Justice, Contemporary Art and Human Rights
The Gallery of Modern Art, Glasgow Museums began a series of biennial exhibitions and programmes in 2003 concerning Social Justice/Contemporary
Art and Human Rights. All of these programmes have had the backing of Amnesty International. In 2003 the topic was asylum seekers, 2005 was
violence against women, 2007 was sectarianism and this year it is Lesbian, Gay, Bisexual, Transgender and Intersex art and culture.
These groundbreaking exhibitions, outreach and associated education programmes have been very successful both aesthetically and politically.
Frances and Sean gave an illustrated talk about these (sometimes challenging) shows with an illustrated talk from their perspectives as curator
and education and access staff.
Session notes
Powerpoint presentation
Watch Fran Wilde's video interview with Frances and Sean here
Session 2
Tuesday 14 July 2.00pm-3.30pm
2a Emma Smith
Crossing Professional Borders: points of duality, separation and convergence
This workshop explored the positioning of boundaries between job roles within the sector, to question the significance of categorisations
and to discuss the pros and cons of an interdisciplinary approach.
The group looked at the rise of interdisciplinary positions such as artist-educator, educator-curator and artist-curator as well as roles
whose job descriptions cross skill sets and knowledge within the sector. Discussion was contextualised within the current financial
climate and the impact of this upon the development of such an approach.
This was a practical workshop in which each member of the group created a 3-D drawing of their profession as a means of working through,
understanding and reflecting on their own priorities and interests within their own job role. The process of constructing these drawings
and considering their interconnectivity formed the basis of a group discussion on the ways in which different professions overlap,
separate and connect.
Session notes
Watch Fran Wilde's video interview with Emma here
2b Angelica Vanasse
Mapping the Gallery as a Hybrid Space: Roles, Relationships, Interaction and Learning in the Gallery
In this workshop Angelica presented research, initiated group discussion and led a creative exercise in Gallery Mapping.
This session focussed on learning and interpretation within the gallery, and the development of viewing the gallery as 'hybrid space'
with merged roles and diffused boundaries. Using the idea of the gallery as a hybrid space, the group discussed the roles and boundaries
present within the gallery, how they are involved in learning and interpretation, and the potential for merging and expanding the roles
currently in place.
Generating collaborative concepts, definitions, and approaches for learning in this merged way within the gallery was one area of focus,
as well as creating visual maps for interaction in the gallery environment.
Session notes
Watch Fran Wilde's video interview with Angelica here
2c Gill Nicol and Susan Lamb
Under the theme of organisational change and the positioning of learning within gallery education, this workshop focussed on Learning at
Tate St Ives, and recent cultural shifts in the last year. Through presentation and discussion the group covered:
The rural context of Tate St Ives
Tate as an organisation and a brand
Tate St Ives and its audiences
Who is it for?
Aspects of Leadership, Research and Dialogue
Celebration of achievement alongside critical evaluation
Susan Lamb has worked at Tate St Ives for 13 years, through three different Directors and different kinds of vision. A new era is taking place
at Tate St Ives, with a new focus on audiences embedded in creative programming. Susan talked about this shift and how and why it has happened.
Gill Nicol has been based at Tate St Ives on a seven-month cultural leadership placement since January 2009, with a focus on audiences and the
development of an audience development plan. Gill looked at how she has been perceived as a catalyst for change, and how cultural organisations
can reframe themselves to become more responsive and effective over the next x years, through a focus on research and dialogue.
Session notes
2d Veronica Sekules
Personal-Political
The purpose of this workshop was to explore issues that arise when we negotiate between different personal, artistic and institutional
agendas for education projects in art museums.
The group was tasked with devising an education project that engages the public with art in an active way. They created posters to illustrate
their projects, and discussed and presented their thought process regarding their approaches to personal and political issues as well as the
art object and the institution.
Watch Fran Wilde's video interview with Veronica here
Session 3
Tuesday 14 July 4.00pm-5.30pm
3a Zoe Partington-Sollinger and Dr. Jos Boys
Too close for comfort?
This workshop was an opportunity to have open discourse about inclusive centred learning, in relation to disabled and deaf people.
Zoe and Jos facilitated an exercise for delegates in how to practically utilise the space around them to investigate and draw out contemporary
meaning in relation to access and learning. The workshop was designed to share experiences and develop new ways of working with disabled and
deaf artists and audiences. Delegates were encouraged to devise methods for developing access and learning in their own settings, challenge old
clinical practice and promote contemporary approaches.
Zoe and Jos presented projects 'squarinthecircle?' and 'Opening Up'. Delegates were then asked to select a space and design an installation to
enhance the emotional experience of the space for disabled and deaf people. Installations were philosophical and physical interventions which
were presented to other colleagues using drawings, physical objects and/or words.
The session finished with a feedback session for everyone to reflect and ask questions.
Zoe Partington-Sollinger was awarded a CABE scholarship to research International inclusive public realm and has just released her paper
'Naked Space'. Dr. Jos Boys has just launched a web site 'So what is normal?'.
Session notes
Watch Fran Wilde's video interview with Zoe and Jos here
3b Emma Thomas
The positioning of Learning: Creating a Learning Culture at the heart of the organisation
This workshop explored the ideal position of Learning within arts organisations and looked at ways of creating a culture of learning throughout
the organisation. Firstly, the group explored where they felt Learning is currently positioned within arts organisations and then looked to the
future, sharing interesting case studies and examples of organisations around the world they believe have learning at their heart. The group
discussed ways of learning from each other to help strengthen the positioning of Learning. Secondly, they looked at ways of involving the whole
organisation in Learning, thereby creating a culture of Learning.
Delegates were asked to bring two examples of organisations internationally which they believe have learning at their heart or are working
in interesting ways to engage new and existing audiences.
Session notes
3c Fran Wilde
No Text?
This practical workshop used the exhibition at The Butler Gallery, 'Remote Control' by David Beattie, as a starting point to review and
explore the range of interpretation for independent visitors and the general public as alternatives to written information, and the practicalities
involved in developing those resources.
Session notes
3d Henrike Plegge
Gallery education at The Global Art World - A critical approach
n 2011, the Centre for Art and Media (ZKM) in Karlsruhe/Germany will show the exhibition The Global Art World. A Critical Reassessment
curated by P. Weibel, H. Belting and A. Buddensieg, which will moot the term of "global art".
Rooted in the project GAM – Global Art and the Museum, the exhibition will document the global changes in contemporary art and its institutions
with the focus on Globalisation.
Henrike discussed her position on being asked to create a gallery education programme for this exhibition at an early stage, and debated the
questions and issues she is confronted with, such as:
What roles can the local audience play in the debate around the global art?
How can gallery education participate critically in the discussion and the production of global art?
How to deal with the demand to address people in the galley education programme with so called migration backgrounds?
What should and could a room for gallery education provide in the exhibition space
After an introduction of ZKM and its general gallery education programme Henrike gave a raw outline of GAM and the concept of the exhibition
as basis for discussion.
Session notes
Powerpoint presentation
Watch Fran Wilde's video interview with Henrike here
Session 4
Thursday 16 July 9.00am-10.30am
4a Amanda Phillips
Doing Things in Galleries
Interactivity is very much part of the mindset of gallery education workers. We are knowledgeable about preferred learning styles and the
kinaesthetic. We navigate the cultural history that distances painting and large screen DVD projection from everyday activity. We recognise
the importance of access issues, the DDA act and equality of opportunity. We accommodate conservation and the politics of 'don't touch'.
Baltic, The New Art Gallery Walsall, Manchester City Gallery as well Leeds Art Gallery, designate areas within their buildings as interactive.
Evoking previous experience of computer games, colouring-in and adventure trail, they all invite 'families' to 'join in' and 'be creative'.
This workshop reflected upon 'active' participation. Drawing upon the experience of different audiences and communities within Leeds Art Gallery
(including people with visual impairment and under fives and their carers), multisensory artworks and some reading, it was designed to share
ideas about sense experience and contemporary art and generated open discussion on the trend for special places for doing things.
Session notes
4b Frances Bossom
Running In between
Fran's workshop explored how artists are working with audiences/participants and institutions. The group mapped a range of artist-led projects
developed in partnership with institutions that involve audiences or participants in the production of art. Participants also identified some
of the systems, structures, strategies and roles that shape these projects and considered how audiences/participants, artists and institutions
are engaging with each other.
In this workshop participants literally drew or mapped the journey of a project they had been involved in, discussed the different factors
that influenced its development and articulated how the roles of the artists and institution are evolving whilst reflecting on the experience
of participants/audiences. Fran also introduced her practice, a text by James Elkins and the work of Tom Marshman - a Bristol
based performance artist.
Session notes
Presentation notes
Powerpoint presentation
Watch Fran Wilde's video interview with Fran here
4c Karen Eslea
Developing Projects and Exhibitions: Rooted in the Local/International in Reach
Using a major exhibition entitled Teenage that Karen is currently developing with Turner Contemporary's Head of Exhibitions as a starting
point, this workshop explored how themes which have a particular relevance to a locality might be drawn out and linked to ideas on a national
and international level.
alleries working outside of the metropolis can have international relevance, and can be ambitious in their reach. Irish Poet Patrick Kavanagh
(1904-67) was proud to call himself a parochial poet, which he defined as being the opposite of provincialism. While the provincial man looks
to the opinion of the metropolis, the parochial "is never in any doubt about the social and artistic validity of his parish".
This workshop enabled participants to map an idea for an exhibition or project rooted in their locality, and to discuss innovative ways to
connect it to other places, both sending out and developing capacity to absorb good ideas
Session notes
4d Emma Leather
Interdisciplinary Learning
This workshop generated a lively discussion on interdisciplinary methods of approaching gallery education, and shared Emma's experiences
of a residency in a secondary school in Merseyside. The aim was to discover more about how other educators have incorporated interdisciplinary
learning into their practice and how this can enhance visual arts engagement.
Emma recreated some of the interactive sessions experienced with the students during the residency in Merseyside and initiated debate on
how this type of learning can be transferred to the gallery space.
Session notes
Watch Fran Wilde's video interview with Emma here