tag:blogger.com,1999:blog-43496443747301642252024-03-13T00:30:24.507+00:00The Decorated SchoolThe Decorated SchoolDr Catherine Burkehttp://www.blogger.com/profile/02697606311077493766noreply@blogger.comBlogger81125tag:blogger.com,1999:blog-4349644374730164225.post-80178600598065159202014-05-25T11:33:00.001+01:002014-05-25T11:33:09.650+01:00Review of The Decorated School. Essays in the Visual Culture of Schooling, published by Black Dog in October 2013 <span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">The review is written by Jon Wright for the Twentieth Century Society Journal.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br /></span>
<span class="Apple-style-span" style="line-height: 13px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">This wonderful book is the culmination of a two year study funded by the Arts and Humanities Research Council into the extent and significance of art as an integral part of the built environment of schools. Using examples from around the world, it looks at how artists, architects and educators collaborated in the C20 to create unique works of art. It’s a timely reminder of an overlooked bit of design history and material culture which still has important implications for how we make and view art, not just in schools, but in the wider public sphere. In that sense, it can be read as powerful testimony for paternalism in public art.</span></span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span class="Apple-style-span" style="line-height: 13px;"><a href="http://www.c20society.org.uk/publications/c20-magazine/c20-magazine-2014-01/review-the-decorated-school-essays-on-the-visual-culture-of-schooling/" target="_blank">The full text of the review is accessible here</a></span></span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span class="Apple-style-span" style="line-height: 13px;">at http://www.c20society.org.uk/publications/c20-magazine/c20-magazine-2014-01/review-the-decorated-school-essays-on-the-visual-culture-of-schooling/</span></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span class="Apple-style-span" style="line-height: 13px;"><br /></span></span>
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span class="Apple-style-span" style="line-height: 13px;">Cathy Burke</span></span>Dr Catherine Burkehttp://www.blogger.com/profile/02697606311077493766noreply@blogger.com1tag:blogger.com,1999:blog-4349644374730164225.post-78825191358541514422013-11-14T14:41:00.002+00:002013-11-14T14:41:46.287+00:00Our book, The Decorated School. Essays on the Visual Culture of Schooling is now published and available via the Black Dog website.<br />
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Use the following <a href="http://blackdogonline.com/all-books/the-decorated-school.html" target="_blank">link</a> to place your orders.Dr Catherine Burkehttp://www.blogger.com/profile/02697606311077493766noreply@blogger.com0tag:blogger.com,1999:blog-4349644374730164225.post-54918070204007489262013-10-07T12:10:00.000+01:002013-10-07T12:12:57.758+01:00New Book published soon !The Decorated School. Essays on the Visual Culture of Schooling is soon to be published by Black Dog.<br />
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<span class="Apple-style-span" style="font-family: Helvetica; font-size: 12px;"><img alt="3_9781908966247newcover.jpg" src="webkit-fake-url://659860AD-776F-47D3-A2D0-84F4B63071A7/3_9781908966247newcover.jpg" /></span><br />
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<span class="Apple-style-span" style="font-family: Helvetica; font-size: 12px;"></span>see http://blackdogonline.com/all-books/the-decorated-school.html<br />
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Contributors have been participants in the research network. The book is beautifully illustrated and contains chapters with examples from England, Scotland, Norther Ireland, France, the USA, Japan and Kyrgystan. It has been funded with help from the Arts and Humanities Research Council and a generous grant from the Henry Moore Institute. Order your copies now !<br />
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<span class="Apple-style-span" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 10px; line-height: 14px;">Subjects include: the ‘Art at School’ movement in France; sculpture in Japanese schools, the Chicago mural movement; the Edinburgh ‘Schools Beautiful’ programme; the art-curriculum relationships of post-war British primary schools; London County Council’s educational commissions; Asger Jorn’s Decorations for Århus Statsgymnasium; abstraction and modern schooling in New York; Soviet and Post-Soviet school decoration in Bishkek, Kyrgyzstan; and children’s art projects in Belfast.</span>Dr Catherine Burkehttp://www.blogger.com/profile/02697606311077493766noreply@blogger.com0tag:blogger.com,1999:blog-4349644374730164225.post-13135126878274871092013-10-07T11:49:00.001+01:002013-10-07T11:49:46.247+01:00The future of the Decorated School Research initiativeThe Arts and Humanities Research Council funding of the Decorated School Research Network came to an end in February this year. There is scope now to put together an international research project drawing from the enormous interest that this blog has raised around the world. Please get in touch if you are interested in helping to shape the next stages of the research which can focus on looking more closely at how pupils and teachers respond over time to elements of decoration and colour in their school buildings.Dr Catherine Burkehttp://www.blogger.com/profile/02697606311077493766noreply@blogger.com0tag:blogger.com,1999:blog-4349644374730164225.post-4675975503325693152013-02-15T14:54:00.001+00:002013-02-15T14:54:39.988+00:00The Decorated School International Conference 23.2.13<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-sRJQSXTWhGY/UR5LsES9sXI/AAAAAAAAB4E/oXKlvY8dbPM/s1600/20130224_Decorated+School_web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="226" src="http://1.bp.blogspot.com/-sRJQSXTWhGY/UR5LsES9sXI/AAAAAAAAB4E/oXKlvY8dbPM/s320/20130224_Decorated+School_web.jpg" width="320" /></a></div>
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<span class="Apple-style-span" style="font-family: Calibri; line-height: 19px;">Prendergast-Hilly Fields College</span></div>
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<span style="font-family: Calibri; line-height: 19px;">Adelaide Avenue</span><span style="font-family: Calibri;"><br style="font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; line-height: 19px;" /></span><span style="font-family: Calibri; line-height: 19px;">London</span><span style="font-family: Calibri;"><br style="font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; line-height: 19px;" /></span><span style="font-family: Calibri; line-height: 19px;">SE4 1LE</span></div>
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<span style="font-family: Calibri; line-height: 19px;">Google Map Link:</span></div>
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<span style="font-family: Calibri; line-height: 19px;"><a href="http://maps.google.co.uk/maps?q=se4+1le&hl=en&ll=51.459462,-0.025921&spn=0.025777,0.036521&sll=56.229658,-3.14211&sspn=0.735891,1.168671&hnear=London+SE4+1LE,+United+Kingdom&t=m&z=15">http://maps.google.co.uk/maps?q=se4+1le&hl=en&ll=51.459462,-0.025921&spn=0.025777,0.036521&sll=56.229658,-3.14211&sspn=0.735891,1.168671&hnear=London+SE4+1LE,+United+Kingdom&t=m&z=15</a></span></div>
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It is strongly recommended you consult the Transport for London website to plan your route to the school:</div>
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<a href="http://www.tfl.gov.uk/">http://www.tfl.gov.uk</a></div>
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Please allow at least 15 minutes to walk from all of the nearest stations - </div>
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<u>Underground stations:</u></div>
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Lewisham (DLR)</div>
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<u>Overground:</u></div>
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Brockley</div>
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Crofton Park</div>
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Ladywell</div>
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<u>Bus</u>:</div>
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122, 484, P4, 284 all stop on Adelaide Avenue close to the school.</div>
Andrewhttp://www.blogger.com/profile/11002718317014738885noreply@blogger.com2tag:blogger.com,1999:blog-4349644374730164225.post-75660302568171071722013-01-23T09:36:00.003+00:002013-01-23T09:36:56.686+00:00Robin Tanner remembered at Ivy Lane SchoolThe artist Robin Tanner (1904-1988) taught at Ivy Lane Elementary School, Wiltshire between 1929-1935.<br />
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'Robin's classroom had four murals of the seasons on the walls: they weren't complete murals, but rather large pictures, and had been executed directly on the plaster'. These had been carried out by the children under Tanner's guidance.<br />
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The school has formally recognised the significance of these years by means of a blue plaque on the school wall. There is evidence that the school keeps the tradition of mural painting alive.<br />
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Website of the<a href="http://www.chippenhamcivicsociety.co.uk/page24.php?view=preview&image=46&category=5" target="_blank"> Chippenham Civic Society </a><br />
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See 'Art and Craft: Marion Richardson and Robin Tanner' in <i>Adventures in Education</i> by Willem van der Eyken and Barry Turner, Penguin Press, 1969.<br />
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<br />Dr Catherine Burkehttp://www.blogger.com/profile/02697606311077493766noreply@blogger.com0tag:blogger.com,1999:blog-4349644374730164225.post-17428965841917793922013-01-08T15:31:00.003+00:002013-01-08T15:32:47.054+00:00New Brunswick's Mural Legacy Symposium<br />
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<a href="http://2.bp.blogspot.com/-nuxv3IUKBxA/UOw6UyTYenI/AAAAAAAAB3M/pUS3b8pzDhI/s1600/nbmuralsymposium10OCT2012-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="http://2.bp.blogspot.com/-nuxv3IUKBxA/UOw6UyTYenI/AAAAAAAAB3M/pUS3b8pzDhI/s320/nbmuralsymposium10OCT2012-2.jpg" width="320" /></a></div>
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<a href="http://4.bp.blogspot.com/-FAs9fbDNAYA/UOw6UpWUXOI/AAAAAAAAB3Q/4SoxUCo8VtQ/s1600/nbmuralsymposium10OCT2012-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="http://4.bp.blogspot.com/-FAs9fbDNAYA/UOw6UpWUXOI/AAAAAAAAB3Q/4SoxUCo8VtQ/s320/nbmuralsymposium10OCT2012-1.jpg" width="320" /></a></div>
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<b>New Brunswick’s Mural Legacy Symposium: A Report</b><br />
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On 10 October, 2012, the Decorated School Network sponsored a symposium in Fredericton, New Brunswick, Canada entitled “New Brunswick’s Mural Legacy: The State of the Art.” The symposium took place on the campus of the University of New Brunswick in a new building, the Currie Center, that houses a mural with a story of interest to Decorated School researchers.<br />
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The mural is a re-creation of a mural commissioned in 1946 as a war memorial commemorating the war-dead of the province’s largest secondary school, Fredericton High School. The artist, Fred Ross, who went on to a very successful career as an easel painter, was himself a recent high-school graduate and an aspiring professional muralist. The mural, entitled <i>The Destruction of the World Through War/Rebuilding the World Through Education</i>, took Ross two years to complete and when unveiled, with much solemn ceremony at a well-publicized event in 1948, was the largest work of its kind in Canada. Though the officials who spoke at the unveiling suggested the mural would serve as a reminder of the human costs of war for all time, in fact the mural only hung on the school’s auditorium walls for six years. It was removed when the building was being renovated in 1954, lost, found (in damaged condition), lost again, found again, and lost for what seems to have been the final time in sometime in the early 1970s (this history was retold by local historian and artist John Leroux at the symposium).<br />
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A combination of circumstances led to the re-creation of the mural in the Currie Center where it was unveiled in June of 2011. These included the fact that Fred Ross, though an octogenarian, was still a working artist able and willing to supervise the project; that the University was supportive, had the perfect space, and a sympathetic and generous private patron willing to help fund the re-creation; and, finally and very significantly, that a network of local artists, activists, and scholars had kept the memory of the mural (and its destruction) alive and helped push for this kind of restorative action. Considering the work the Decorated School Network has been doing, the Currie Center was an appropriate venue for a symposium it supported to promote international scholarly cooperation. All of the participants spent time viewing the re-created mural and it usefully raised issues that came up again and again in our discussions. What makes a work of art in a public space meaningful? How can such meaning, or value, be sustained for users of the space over time? Which works, or kinds of works, get preserved (or in this case, re-created) and why?<br />
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These were the kind of questions addressed by Catherine Burke in her opening remarks to the symposium: “The Decorated School: An interdisciplinary research network.” Professor Burke, who spoke via video-link from Sweden, described the progress of the Decorated School network’s research to date, some of the key recurrent ideas and themes relevant to art in U. K. schools both past and present, and called for continued international collaboration and research. The next speaker, Sylvia Rhor of Carlow University, provided a brief overview of the vast early 20th century mural collection in Chicago's public schools and the recent preservation of these works. In particular, Rhor focused on the circumstances surrounding the censorship of Edward Millman's mural at Lucy Flower Technical High School (1941). The whitewash covering this mural has now been removed and Rhor insightfully analyzed why, in form and content, Millman’s depiction of significant historical women was deemed inappropriate to be seen by the female students in the vocational school.<br />
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The international context provided by Burke and Rhor usefully framed the rest of the day’s discussion of the most notable decorations in New Brunswick schools: modern murals produced between the 1930s and the 1950s. In this period – influenced by mural movements in Mexico and the United States – New Brunswick artists produced a remarkable number of murals in public spaces. Many were in schools, but the symposium also discussed murals prepared for hospitals and universities. As one participant noted, what the murals shared was an “institutional audience” – they were designed for spaces which people visited for purposes other than contemplating art. This might begin to explain why only a few of the murals of this era have survived in their original settings. The symposium brought together historians, curators, conservators, local artists and heritage activists and the papers and informal discussion prompted considerable thought about how these works can be interpreted in the present, preserved, and seen in relationship to one another and to the broader international context discussed by Rohr and Burke.<br />
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Formal papers were delivered Leroux and Kirk Niergarth, a historian at Mount Royal University in Calgary, Alberta, on the murals of Fred Ross and, in particular, the circumstances that led to the destruction and re-creation of the Fredericton High School war memorial mural. Representatives from the New Brunswick Museum discussed murals prepared for hospitals by New Brunswick artist Miller Brittain. Conservators Claire Titus and Jeanne Beaudry Tardif described their efforts to preserve the eleven enormous, full-scale cartoons Brittain prepared for a mural in the Saint John Tuberculosis Hospital. This mural project was cancelled, but the cartoons themselves have been called the most important social realist work ever produced in Canada. Because the images are unwieldy and fragile, they have been very rarely exhibited. Titus and Beaudry’s efforts, allowing the public to access the space in which they have been working at the New Brunswick Museum have brought the cartoons back to public attention and have prompted discussions about creating the conditions for more permanent display. <br />
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Peter Larocque, curator at the Museum, gave a paper recounting the peripatetic history of a later mural Brittain executed in Saint John’s Veteran’s Hospital. This mural, like Ross’, depicted the horror of war and the promise of peace. When it moved from its original setting to, first, a retirement home and then the Saint John General hospital, the mural attracted complaints from those who objected to what they perceived as disturbing subject matter. At one point, hospital employees circulating a petition calling for the murals removal. Now the mural has found a home in the New Brunswick Museum and Larocque tried to explain what made the mural a difficult one with which to live. The theme of hiding murals from view – whether through censorship in Millman’s case, neglect in Ross’ case, lack of continued patron support in Brittain’s early mural or in response to complaints in the case of his later one Brittain’s later one – was a repeated refrain in the symposium.<br />
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Gemey Kelly, curator at the Owens Art Gallery in Sackville New Brunswick, discussed the murals in Sackville by Alex Colville. Colville was trained and worked at Mount Allison University in this small New Brunswick community and executed three murals there. The first was a student project (now destroyed), depicting a railway scene in the community during the Second World War. The second, executed while Colville was a faculty member, depicted the history of Mount Allison through a series of images. The final mural, of athletics, is closest to Colville’s mature style as a highly successful easel painter. Kelly displayed the many preliminary drawings owned by the Owens gallery that illustrate Colville’s process and evolution as a mural painter.<br />
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The final speaker of the afternoon, Professor Andrew Nurse of Mount Allison, has long reflected on and written about the relationship between art and society. His challenge was to respond to the issues raised by the different papers and identify common themes. Nurse highlighted four such themes: 1) humanism (as the underlying philosophy motivating works of the kind and the period discussed in the papers); 2) interdisciplinarity as a profitable strategy for researching this kind of art; 3) history as a process of forgetting as well as remembering; and 4) the contextual and shifting meaning(s) of art in public spaces. Nurse also applauded the combination of international and local perspectives at the symposium. As he put it, “the story of New Brunswick's muralists is a story of mobility and influences, of artistic ideals, styles, and perspectives that move across borders but are also, then, localized in place to create public artistic expressions.”<br />
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After the presentations, symposium participants were afforded a visit to the vault of the Beaverbrook Art Gallery in Fredericton for a special viewing of the rarely displayed cartoons for Fred Ross’ mural <i>City Slums</i>, which was painted (and survives) in the Saint John Vocational School. This concluded the day’s events, but participants have subsequently become involved in two publication projects. The journal <i>Acadiensis</i> (the journal of the history of the Atlantic region) has invited participants to publish short versions of their papers in a “Forum.” And several of the participants have been invited by the editor of the journal <i>Labour/Le Travail</i> (journal of Canadian Labour Studies) to make submissions comparing the Canadian and American history of murals in Vocational Schools. These publications will certainly acknowledge the Decorated Schools Network. All attendees of the symposium owe the Decorated Schools Network a debt of gratitude for providing the impetus and the opportunity to participate in such a stimulating and fruitful scholarly event.<br />
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<br />
Kirk Niergarth<br />
Assistant Professor, History<br />
Department of Humanities<br />
Mount Royal University<br />
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Andrewhttp://www.blogger.com/profile/11002718317014738885noreply@blogger.com0tag:blogger.com,1999:blog-4349644374730164225.post-52184321382938695392012-12-04T13:32:00.001+00:002012-12-08T19:04:23.975+00:00The St Andrews Decorated School Student Symposium<style>
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<br />
<span style="font-size: large;"><b>To School? The St Andrews Decorated School Student Symposium</b></span><br />
<span style="font-size: small;"><b>was held on</b></span><b style="mso-bidi-font-weight: normal;"><span style="font-size: 18.0pt;"> <span style="font-size: small;">21 November
2012</span><span style="mso-spacerun: yes;"> </span></span></b><br />
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<a href="http://1.bp.blogspot.com/-UUNTI8av1BY/UL36YCxksPI/AAAAAAAAAY0/9QsBXxizlFA/s1600/Vilnius_university_petras_repsys_fresco.JPG.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://1.bp.blogspot.com/-UUNTI8av1BY/UL36YCxksPI/AAAAAAAAAY0/9QsBXxizlFA/s320/Vilnius_university_petras_repsys_fresco.JPG.jpeg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-spacerun: yes;">Programme: </span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-no-proof: yes;"><br /></span></b></div>
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<b style="mso-bidi-font-weight: normal;">1.30 Welcome</b></div>
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<b style="mso-bidi-font-weight: normal;">1.40-3.00 First
Session: School Art (Questions of Community, ‘The Child’, Success, Failure,
Quality, Ideology and Artistic Personality)</b></div>
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<div class="MsoListParagraphCxSpFirst" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></b><b style="mso-bidi-font-weight: normal;">Emma Duff:
Two Schools in Belfast</b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></b><b style="mso-bidi-font-weight: normal;">Lucy
Thomas: Eton Graffiti</b></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></b><b style="mso-bidi-font-weight: normal;">Julia
Lysogorova: A School in Bishkek, Kyrgyzstan</b></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></b><b style="mso-bidi-font-weight: normal;">Charlotte
Dare: The National Preparatory School, Mexico</b></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></b><b style="mso-bidi-font-weight: normal;">Georgie
Inglis: The Martin Luther King School, Cambridge, Mass.</b></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></b><b style="mso-bidi-font-weight: normal;">Taylor
Poppmeier: Martin Luther King School, Cambridge and The Ministry of Public
Education, Mexico City</b></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">7.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></b><b style="mso-bidi-font-weight: normal;">Chloe
Lieberman: The William Penn Charter School, Philadelphia</b></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">8.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></b><b style="mso-bidi-font-weight: normal;">Livia
Marinescu: Dalry Primary School</b></div>
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<b style="mso-bidi-font-weight: normal;">3.00-3.30 Tea Break (Barns-Graham
Room and Break Out Space)</b></div>
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<b style="mso-bidi-font-weight: normal;">3.30-5.00 Second
Session: (School Art: From Infants to Higher Education Spaces, and Libraries;
Questions of Form, Era, Place and Permanence)</b></div>
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<div class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo2; text-indent: -18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></b><b style="mso-bidi-font-weight: normal;">Anne-Pauline
Mimran: An Infants’ School in Paris</b></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo2; text-indent: -18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></b><b style="mso-bidi-font-weight: normal;">Juliana
Cusack: Westville Road (Greenside) School, London</b></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo2; text-indent: -18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></b><b style="mso-bidi-font-weight: normal;">Imogen
Kwok: Obernai and Kvernhuset Schools</b></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo2; text-indent: -18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></b><b style="mso-bidi-font-weight: normal;">Hannah
Anderson: Scotland Street School, Glasgow</b></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo2; text-indent: -18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></b><b style="mso-bidi-font-weight: normal;">Aiden
Bowman: School Libraries</b></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo2; text-indent: -18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></b><b style="mso-bidi-font-weight: normal;">Lucy
Tittle: Oxford Union (Old Library) Murals </b></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo2; text-indent: -18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">7.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></b><b style="mso-bidi-font-weight: normal;">Giedre
Zlatkute: Vilnius University Murals</b></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo2; text-indent: -18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">8.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></b><b style="mso-bidi-font-weight: normal;">Claire
Abrahamson: Sculpture at Yale University</b></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l0 level1 lfo2; text-indent: -18.0pt;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">9.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></b><b style="mso-bidi-font-weight: normal;">Hayley
Daen: Art Rental at Oberlin College, Ohio</b></div>
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<b style="mso-bidi-font-weight: normal;">5.00-5.15 Discussion
and Thanks</b></div>
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<b style="mso-bidi-font-weight: normal;"> (For presentation videos see Events)</b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-spacerun: yes;"> </span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-no-proof: yes;"><br /></span></b></div>
Jeremyhttp://www.blogger.com/profile/10940741111682195144noreply@blogger.com0tag:blogger.com,1999:blog-4349644374730164225.post-23785254499898971652012-11-19T14:31:00.000+00:002012-11-19T14:31:44.773+00:00Forum article and editorial comment by Michael Fielding<span class="Apple-style-span" style="color: #000044; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 13px;"><b><a href="http://www.wwwords.co.uk/forum/content/pdfs/54/issue54_3.asp#9" style="color: #ff6600; text-decoration: none;">Catherine Burke</a></b></span><span class="Apple-style-span" style="color: #000044; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 13px;">. The Decorated School: past potency and present patronage,</span><span class="Apple-style-span" style="color: #000044; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 13px;"> </span><span class="Apple-style-span" style="color: #000044; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 13px;"><i>pages 465–471</i></span> <span class="Apple-style-span" style="font-family: Helvetica; font-size: 10px;">FORUM Volume 54, Number 3, 2012 www.wwwords.co.uk/FORUM</span><br />
<span class="Apple-style-span" style="font-family: Helvetica; font-size: 10px;"><br /></span>
<span class="Apple-style-span" style="font-family: Helvetica; font-size: 10px;">Here is an extract from the editorial in the issue written by Michael Fielding.</span><br />
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<span class="Apple-style-span" style="font-family: Helvetica; font-size: 11px;">The absolute importance of history and, in particular, the history of education in our own countries is again underscored by Catherine Burke’s The Decorated School: past potency and present patronage. Not only does it help us understand the origins of the present, it helps us re-see what presumption, exhaustion and hegemonic incorporation too often obscure, distort or discard. In the remarkable Decorated School project academics, young people, teachers and community members are coming together to rediscover, and in some cases restore, the murals, reliefs, stained glass, wall tiles, decorated floors, textile and sculptures that once formed part of a movement in education that exemplified Henry Morris’s beliefs about the educative power of the built environment which preface the article thus: ‘The design, decoration and equipment of our places of education cannot be regarded as anything less than of first-rate importance -- as equally important, indeed, as the teacher. There is no order of precedence -- competent teachers and beautiful buildings are of equal importance and equally indispensable.’ It is difficult to think of a more stark contrast to the recent government insistence that new state schools ‘should have ‘no curves or ‘faceted’ curves’, corners should be square, ceilings should be left bare and buildings should be clad in nothing more expensive than render or metal panels above head height. As much repetition as possible should be used </span><span class="Apple-style-span" style="font-family: Helvetica; font-size: 11px;">to keep costs down’ (Booth, 2012). Of the many fascinating issues that emerge in the article amongst the most compelling is the journey from public art as itself an educator, through its partial displacement by the sometimes invasive imperative to display children’s work, via the managerialist arrogance of supplanting both with curtains of concealment and the self-regarding installation of carpeted corridors to the headteacher’s office (a real example from the paper!), through to the co-option of both art and architecture in the drive to contrive a simulacra of distinctive school ethos as a key seducer of parental choice in the education market-place. Trying to map and understand this journey, not only through actual artifacts and written records, but also through interviews with children to try to understand what sense they made of ‘the removal, concealment or destruction of art objects that had become a feature of their everyday worlds’ is a profoundly important undertaking.</span><span class="Apple-style-span" style="font-family: Helvetica; font-size: 10px;"></span><br />
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Dr Catherine Burkehttp://www.blogger.com/profile/02697606311077493766noreply@blogger.com0tag:blogger.com,1999:blog-4349644374730164225.post-63278908192019936392012-11-13T06:57:00.000+00:002012-11-13T06:57:07.868+00:00BBC report on the restoration of Fred Millett's murals at St Crispin's School, WokinghamThanks to the efforts of the present head teacher and school governor, Robin Cops, two of the three murals of the seasons by Fred Millett have been recovered at St Crispin's School, Wokingham, after being concealed under thick gloss paint for 40 years. Click on the link to watch a TV report celebrating the recovery with comments by pupils and the daughters of Oliver Cox, architect who also produced murals for the school including one shown here.<br />
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<a href="http://www.bbc.co.uk/news/uk-england-berkshire-20245754" target="_blank">BBC Report</a><br />
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Dr Catherine Burkehttp://www.blogger.com/profile/02697606311077493766noreply@blogger.com1tag:blogger.com,1999:blog-4349644374730164225.post-76808761556408485672012-10-22T18:02:00.000+01:002012-10-22T21:43:14.429+01:00L'Art et L'Enfant: An Exhibition at the French National Museum of Education, Rouen<div class="separator" style="clear: both; text-align: center;">
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An exhibition entitled '<i>L'art et l'enfant: L'éducation esthétique du XIX siècle à nos jours</i>' opened recently (19 October) at the French National Museum of Education in Rouen. It runs until 1 September 2013. It is remarkable not just for breaking new conceptual ground but also for the quality of its exhibits, extent of its vision and the subtlety of its 'voice'.<br />
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The exhibition is the brainchild of Annie Renonciat, Professor at the École normale supériore Lyon, a renowned specialist on the relationships of childhood and imagery, and a much valued contributor to the Decorated School Research Network. It illustrates, both historically and thematically, the development of the fostering of children's artistic sensibilities, talents and abilities. The first section, 'From "scribbler" to "child artist"', commences with an introduction to ideas concerning aesthetic education in eighteenth century France. Charles Hardiviller's '10 a.m. Drawing Lesson' from the 'A Day in the Life of a Young Exile' set of colour lithographs published by Alexander Hill of Edinburgh and Fonrouge of Paris in 1832 caught my eye. The section subsequently reviews the methods of modern propagators of aesthetic pedagogy from Gaston Quénioux, through Pauline Kergomard, Maria Montessori, Germaine Tortel, and Élise and Célestin Freinet, to Gérard Garouste. The large and welcome range of children's art that is examined includes, for instance, drawing, calligraphy, sculpture, ceramics, printmaking, photography and 'little hands'' needlework. The 'initiation' art encouraged by Tortel and the 'free drawing'
approach of the Freinets in the mid-twentieth century were unexpected discoveries
for me. <br />
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Economic, social and moral objectives for aesthetic education and the 'wrapping of children in an artistic atmosphere' are studied, with their combination coming to fore, in the section called 'Art at Home'. Ideas for 'children's rooms', plus samples of wallpapers, bedroom fabrics, toys, illustrated books and images, are displayed, these dating from the late nineteenth century on. The activities of such early twentieth century associations such as '<i>L'Art et l'enfant</i>' (from 1908) and the <i>Société des amateurs de jeux et de jouets anciens</i> (from 1905) are revealed, alongside the products and advertisements of commercial enterprises and publishers, such as Magasins du Printemps, Grand Magasins du Louvre and Hachette. Particularly striking are the simple painted wooden nursery toys by Caran d'Ache and André Hellé (Tsar Nicholas II hunting, of 1908, by the former, and Noah's Ark, of 1910, by the latter). Also attractive are the vivacious and sensitive decorative designs, cloths and papers for children's rooms from the 1920s and 1950s. Benjamin Rabier of '<i>La vache qui rit</i>' fame, stands out for the variety and strength of his artistic output for children. The superb child-centred (mainly sixties) photographs of Pierre Allard and Jean Suquet, of which the museum has a vast collection, are highly evocative and utilised with a great sense of selection.<br />
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The section of 'Art at School' begins with Jules Ferry's creation of the Commission for the Decoration of Schools and School Imagery' in 1880, looks at the initiatives of the L'Art à l'école society (established 1907), teaching through images, didactic games and illustrated puzzles, decorative designs by children (and manuals for these), the artistic design of awards and diplomas, the decoration and illustration of school books, art and the new education of the 1930s, 'the beautiful for the price of the ugly' of the fifties, and contemporary art books for children. Examples of 'decorated schools' include the following: images of the seventeenth century Chapel of the Jesuit School in Rouen; watercolour maquette drawings of the decoration of the École Normale Primaire de Chartres (1884); photographs of French Third Republic school palaces; an intriguing postcard of the study room, complete with Maurice Denis style murals of children learning in nature, at 'La Ruche - Le Patis', the 'Hive' primary school founded on libertarian principles by the anarchist Sébastien Faure near Rambouillet (Yvelines); and some refined flora and fauna-based frieze and stencil designs made in 1927 by children from the Coopératives scolaires of Saint-Jean d'Angély.<br />
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The exhibition culminates in a photographic survey of the world of the decorated school beyond France. The twenty-eight images reveal polychromatic and plastic facades, stained glass, winter gardens, murals and sculptures that embellish school institutions from Victorian Northumberland and 1900s continental Europe, to interwar Brighton, Edinburgh and Barcelona, postwar Hertfordshire and Yorkshire, and late twentieth century Australia and New Zealand. The visual articulation of distinct aesthetic and ideological purpose is represented, with connections being made to national, local and communal identity, history, literature, mathematics, religion, science, youth and, inevitably, art itself.<br />
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There is much more to this exhibition than I have time to 'report' here. I recommend visiting in person, for each vitrine, each wall and each section contains a wealth of inspiring sources for keen eyes and minds...<br />
<br />Jeremyhttp://www.blogger.com/profile/10940741111682195144noreply@blogger.com3tag:blogger.com,1999:blog-4349644374730164225.post-14882470159801615902012-10-13T20:15:00.001+01:002012-10-14T12:30:01.563+01:00Wall needed for Robert Stewart ceramic muralDouglas Academy was opened in Milngavie, East Dunbartonshire, Scotland, in 1967. By 2009 the school was deemed no longer fit for purpose and a new PPP-funded school was built in its place.<br />
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Thanks to Peter Trowles, Mackintosh Curator at the Glasgow School of Art, the ceramic mural by Robert Stewart that was created for the original building at the time of its construction has been saved. There's one problem. The 800 or so tiles are sitting in crumbling cardboard boxes and lack a wall. Peter and a colleague spent two days painstakingly removing the tiles from their doomed site when the school was about to be demolished. What is now needed is a wall, preferably something around five metres by three metres, for the mural to be relocated to. In fact, the central block of the mural measures around 1.5 x 1.5 metres, so, at a push, a space that size would do.<br />
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I've already written about the significance of Bob Stewart on this blog, in relation to his similarly threatened mural at Eastwood High School, Newton Mearns.<br />
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As school estate is rebuilt, or being considered for redevelopment, more and more artworks have questionable futures. The Stewart at Milngavie was given considerable attention by Liz Arthur in her monograph on the artist (pp.125 and 127), and from the images and text its historic place is clear. Apparently 'inspired by the sight of a seagull passing in front of the sun while Stewart was lying on his back looking at the sky on holiday on Oronsay', this strong, polychromatic abstract work is a sixties icon that pays homage to Charles Rennie Mackintosh and the Glasgow Style. Its days within a school environment might be over but surely it is worth reinstalling somewhere for all to see.<br />
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Students of the 'To School?' honours and postgraduate modules in the Art History department at the University of St Andrews were shown tiles from the mural when they visited the Glasgow School of Art, the cradle of Stewart's career between 1949 and 1984, on 10 October 2012. That same day they (and I) also participated in the research seminar dedicated to 'Sculpture in Schools' at Glasgow University's Institute of Art History.Jeremyhttp://www.blogger.com/profile/10940741111682195144noreply@blogger.com1tag:blogger.com,1999:blog-4349644374730164225.post-9337791566446157602012-10-08T16:34:00.001+01:002012-10-08T16:35:47.844+01:00'Any idea what the sculpture might be worth ?' The story of Gladys or 'Welcome' by Peter Peri, Greenhead College, Huddersfield 1961-2012.<!--[if !mso]>
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<span style="line-height: 150%;">The title of this post is a direct quote from a journalist who was seeking a commission to write an article suitable for publication in a mainstream educational journal, <i>The Times Educational Supplement</i>. The question was put to me about ‘Welcome’, a sculpture by Peter Laszlo Peri (1899-1967) which has been removed from the outside wall of Greenhead College in Huddersfield, England, after having been placed there 50 years ago. ‘Welcome’ or Gladys as she was affectionately known was an integral part of the building and the school grounds reaching out to the community beyond the school. Plans to build an extension to the college building required the removal of the sculpture to another place on site. However, on inspection, it was declared to be unsafe and a danger to the school community and was speedily and rather brutally removed.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">It is not known who dressed Gladys in this recent photograph</td></tr>
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The Henry Moore Institute at Leeds holds a collection of drawings and photographs by Peri including over 300 drawings, c.1930-1960, among which are ideas for work and drawings relating to specific sculptures. Many of the scenes depicting children relate to commissions for schools from the 1950s, mostly for Leicestershire Education Authority. </div>
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Peri produced a vast amount of sculpture for schools during the 1950s and 60s, the decades that saw leaders of Local Educational Authorities signifying their commitment to a modern state education through the inclusion of work by some of the best modernist artists in modern buildings. Peri’s school work includes</div>
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<li class="MsoNormal"><span lang="EN"><span style="font-family: inherit;">1955 <a href="http://en.wikipedia.org/wiki/Oadby" title="Oadby"><span style="color: blue;">Oadby</span></a> Primary School. Three coloured
reliefs.<o:p></o:p></span></span></li>
<li class="MsoNormal"><span lang="EN"><span style="font-family: inherit;">1956 <a href="http://en.wikipedia.org/wiki/Scraptoft" title="Scraptoft"><span style="color: blue;">Scraptoft</span></a> South Primary School. Horizontal
concrete group.<o:p></o:p></span></span></li>
<li class="MsoNormal"><span lang="EN"><span style="font-family: inherit;">1956 Scraptoft North Primary School. Folk
dancing, coloured concrete relief.<o:p></o:p></span></span></li>
<li class="MsoNormal"><span lang="EN"><span style="font-family: inherit;">1956 <a href="http://en.wikipedia.org/wiki/Earl_Shilton" title="Earl Shilton"><span style="color: blue;">Earl Shilton</span></a> Grammar School. Three
dimensional sculpture.<o:p></o:p></span></span></li>
<li class="MsoNormal"><span lang="EN"><span style="font-family: inherit;">1957 <a href="http://en.wikipedia.org/wiki/Wigston#Education" title="Wigston"><span style="color: blue;">Wigston Secondary Modern School</span></a>. The living
Christ.<o:p></o:p></span></span></li>
<li class="MsoNormal"><span lang="EN"><span style="font-family: inherit;">1957 <a href="http://en.wikipedia.org/wiki/Castle_Donington" title="Castle Donington"><span style="color: blue;">Castle Donington</span></a>
Secondary Modern School. The boy with the book and the globe. Horizontal.<o:p></o:p></span></span></li>
<li class="MsoNormal"><span lang="EN"><span style="font-family: inherit;">1958 <a href="http://en.wikipedia.org/wiki/Longslade_Community_College" title="Longslade Community College"><span style="color: blue;">Longslade
Grammar School</span></a>. The mastery of atom = self mastery. Horizontal
<sup><a href="http://en.wikipedia.org/wiki/Peter_Laszlo_Peri#cite_note-5"><span style="color: blue;">[6]</span></a></sup>.<o:p></o:p></span></span></li>
<li class="MsoNormal"><span lang="EN"><span style="font-family: inherit;">1959 <a href="http://en.wikipedia.org/wiki/Loughborough_University#History" title="Loughborough University"><span style="color: blue;">Loughborough
College of Technology</span></a>. Diagonal concrete sculpture.<o:p></o:p></span></span></li>
<li class="MsoNormal"><span lang="EN"><span style="font-family: inherit;">1959 <a href="http://en.wikipedia.org/wiki/Hinckley" title="Hinckley"><span style="color: blue;">Hinckley</span></a> College for further education. Cut
out concrete relief<o:p></o:p></span></span></li>
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<li class="MsoNormal"><span lang="EN"><span style="font-family: inherit;">1957 <a href="http://en.wikipedia.org/wiki/Willenhall" title="Willenhall"><span style="color: blue;">Willenhall</span></a> Primary School. Three
dimensional sculpture.<o:p></o:p></span></span></li>
<li class="MsoNormal"><span lang="EN"><span style="font-family: inherit;">1958 <a href="http://en.wikipedia.org/wiki/Coventry" title="Coventry"><span style="color: blue;">Coventry</span></a>. St. Michael Primary School.
Coloured concrete relief.<o:p></o:p></span></span></li>
<li class="MsoNormal"><span lang="EN"><span style="font-family: inherit;">1965 <a href="http://en.wikipedia.org/wiki/Ernesford_Grange" title="Ernesford Grange"><span style="color: blue;">Ernesford Grange</span></a>
Junior School, Coventry. Sculpture and relief. Polyester <o:p></o:p></span></span></li>
<li class="MsoNormal"><span lang="EN"><span style="font-family: inherit;">1961 <a href="http://en.wikipedia.org/wiki/Huddersfield" title="Huddersfield"><span style="color: blue;">Huddersfield</span></a> High School for Girls. Now
Greenhead College Horizontal
sculpture and a relief.<o:p></o:p></span></span></li>
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dimensional sculpture.</span><span style="font-family: Arial;"><o:p></o:p></span></span></li>
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<span style="line-height: 150%;">The ‘education of the eye’ was taken very seriously in the post war years in England and this was not only a matter of aesthetics but also of equity and democracy. It was acknowledged that the majority of children attending state schools would be unlikely to ever enter an art gallery or museum and so the school itself should become a canvas for the arts. Aesthetic and design education would become part of the role that the built environment played in stimulating and awakening the artist in the child and nurturing their creative capacities. Was this naïve ? Or have we lost a sense of the value of living and learning amongst material things of beauty and intrinsic artistic worth? Is this a generational issue? If adults in schools have lost a sense of the educational value of such things is this true also of pupils?</span></div>
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We do not know very much about children’s appreciation of such art over time in school buildings and grounds because we have until now failed to ask the appropriate questions. We do know, however, that children habitually and naturally attach and ascribe meaning to material objects in school grounds and use these in story building, play and place marking. It is quite possible that Henry Morris was correct when he argued in the 1930s, </div>
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<i>We shall not bring about any improvement in standards of taste by lectures and preachings; habitation is the golden method. Buildings that are well-designed and equipped and beautifully decorated will exercise their potent, but unspoken, influence on those who use them from day to day. This is true education.</i></div>
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The question regarding the value of this particular sculpture in 2012 is inevitably central to any public campaign to preserve such examples of The Decorated School that may arise in the future. The question leads directly to a consideration of the significance of the artist, usually in the context of their life’s work and wider legacy. In the past, when these same <span style="line-height: 150%;">artists installed their works, this was not a consideration. While as far as possible the best and most innovative artists available were commissioned, the signature on the work was academic: what was deemed important was the influence these objects would quietly wield on the lives of generations of children, their teachers and parents. Whether this happened to any extent is difficult to know since, to our knowledge, no research has been carried out to investigate how children have responded to the long term presence of such features in their schools. But certainly, the notion that what experts have determined as high or high quality art might operate on children's personalities, civilizing them in the process has become seriously questioned in a culture that has democratized art's production and consumption. The monetary value of these works of art is now a necessary part of the rationale that justifies their preservation. Certainly, their part in the general educational experience has for many decades been supplanted by other priorities. </span></div>
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In 1974, Robert Winston Witkin argued in <i>The Intelligence of Feeling</i> for a curriculum that recognized emotional and ‘sensate' dimensions to learning. He also argued the aesthetic dimension as being as key to the making of modern societies as it has been to the making of pre-modern societies. Is Gladys a metaphor for the place of the arts in the curriculum in relation to more securely valued subjects and preoccupations?</div>
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Dr Catherine Burke<br />
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<!--EndFragment-->Andrewhttp://www.blogger.com/profile/11002718317014738885noreply@blogger.com0tag:blogger.com,1999:blog-4349644374730164225.post-399473208042145092012-10-01T10:13:00.001+01:002012-10-01T10:13:11.450+01:00New Brunswick's Mural Legacy: The State of the Art<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-rFQwNwCy_X8/UGldXWc4LhI/AAAAAAAAByw/n1Lkz1dDr00/s1600/nbmuralsymposium10OCT2012-1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="http://4.bp.blogspot.com/-rFQwNwCy_X8/UGldXWc4LhI/AAAAAAAAByw/n1Lkz1dDr00/s320/nbmuralsymposium10OCT2012-1.JPG" width="320" /></a></div>
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<a href="http://4.bp.blogspot.com/-U51EdnjXofc/UGlddx0epsI/AAAAAAAABy4/iYZ7m-zMwng/s1600/nbmuralsymposium10OCT2012%5B+copy.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="http://4.bp.blogspot.com/-U51EdnjXofc/UGlddx0epsI/AAAAAAAABy4/iYZ7m-zMwng/s320/nbmuralsymposium10OCT2012%5B+copy.JPG" width="320" /></a></div>
For further information please contact Kirk Niergarth, Assistant Professor, Department of Humanities, Mount Royal University, Calgary - kniergarth@mtroyal.caAndrewhttp://www.blogger.com/profile/11002718317014738885noreply@blogger.com0tag:blogger.com,1999:blog-4349644374730164225.post-23989621535174819952012-09-19T11:16:00.003+01:002012-09-19T11:17:11.437+01:00<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-Io4VviE3ZFM/UFmahXckeUI/AAAAAAAAByU/E33JkqTveiQ/s1600/The+Decorated+School,+modernist+magazine.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="226" src="http://2.bp.blogspot.com/-Io4VviE3ZFM/UFmahXckeUI/AAAAAAAAByU/E33JkqTveiQ/s320/The+Decorated+School,+modernist+magazine.jpg" width="320" /></a></div>
The Decorated School. Re-evaluating the Role of Art in the Classroom.<br />
Article by Natalie Bradbury reproduced with the author's kind permission, from the current issue of <a href="http://www.the-modernist-mag.co.uk/">The Modernist</a> magazine.Andrewhttp://www.blogger.com/profile/11002718317014738885noreply@blogger.com0tag:blogger.com,1999:blog-4349644374730164225.post-88147562510441973522012-09-10T06:31:00.001+01:002012-09-10T06:31:50.341+01:00Material Meanings Conference, Canterbury
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<span lang="EN-US">This week the project reported some of its
achievements and discoveries to an international conference of art and
architectural historians (amongst others).<span style="mso-spacerun: yes;">
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<span lang="EN-US">The <span style="mso-bidi-font-weight: bold;">Third
Biannual conference of the European Network for Avant-Garde and Modernism
Studies (EAM) was held at the University of Kent, 7-9 September 2012.<span style="mso-spacerun: yes;"> </span>In a panel on </span></span></div>
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<span lang="EN-US" style="color: black; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold;">‘Matters of Learning Material: Education
through Art, Art through Education’ </span></div>
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<span lang="EN-US" style="color: black; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold;">Jeremy Howard spoke on ‘Wellington
Monuments: Interpreting and contextualizing Hubert Wellington’s strategy for
permanent art in modern schools in 1930s Edinburgh’, </span></div>
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<span lang="EN-US" style="color: black; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold;">Catherine Burke on ‘Concealment and
exposure: the story of the Barbara Mildred Jones mural “Adam Naming the
Animals” (1959-2009)’, and </span></div>
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<span lang="EN-US" style="color: black; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold;">Peter Cunningham on ‘Art in the
curriculum and art on the walls: Primary education the 1950s’.<span style="mso-spacerun: yes;"> </span></span><span lang="EN-US" style="color: black; mso-bidi-font-family: Arial;"></span></div>
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<span lang="EN-US" style="color: black; font-family: Arial; font-size: 11.0pt;">It was, however a week of highs and lows for decorated schools as
the panel also had to report on two very recent incidents affecting works featured
recently on this blog.<span style="mso-spacerun: yes;"> </span>One is the
discovery of structural damage to Peter Peri’s spectacular 1961 sculpture
‘Welcome’<span style="mso-spacerun: yes;"> </span>at Greenhead College,
Huddersfield: <a href="http://www.examiner.co.uk/news/local-west-yorkshire-news/2012/09/04/greenhead-college-statue-known-as-gladys-to-be-removed-amid-safety-fears-86081-31759957/2/">http://www.examiner.co.uk/news/local-west-yorkshire-news/2012/09/04/greenhead-college-statue-known-as-gladys-to-be-removed-amid-safety-fears-86081-31759957/2/</a>
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<span lang="EN-US" style="color: black; font-family: Arial; font-size: 11.0pt;">The second is a fire that destroyed one wing of Sawston Village
College, Cambridgeshire:</span></div>
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<span lang="EN-US" style="color: black; font-family: Arial; font-size: 11.0pt;"><a href="http://www.bbc.co.uk/news/uk-england-cambridgeshire-19509914">http://www.bbc.co.uk/news/uk-england-cambridgeshire-19509914</a>
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<span lang="EN-US" style="color: black; font-family: Arial; font-size: 11.0pt;">Both events are reminders of the natural threats to decorated schools,
additional to the challenges posed by shifts in political or
administrative attitudes towards individual works of art, and changing
aesthetic tastes, resulting in negligence or worse.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Conservation
issues remain central to our project.</span></div>
peter cunninghamhttp://www.blogger.com/profile/01679663175210289320noreply@blogger.com0tag:blogger.com,1999:blog-4349644374730164225.post-29456232107090411952012-09-02T08:46:00.000+01:002012-09-02T10:13:40.935+01:00Sylvia Rhor will present 'Outstanding American Women. Shaping Chicago's Public Schools through Murals in the early 20th Century' at our final conference February 23rd, 2013.<br />
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<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;">Dr.
Sylvia Rhor is Associate Professor of Art History at Carlow
University. Dr. Rhor received an M.A. and Ph.D. in the History of Art
from the University of Pittsburgh and a B.A. in Art History from New
York University, where she was a Martin Luther King, Jr. Scholar. Her
doctoral thesis focused on the recently restored murals in Chicago's
public schools; Dr. Rhor's thesis marks the first sustained scholarly
analysis of that collection. She became involved with this
collection while directing "Chicago: A City in Art" at The
Art Institute of Chicago. In that capacity, Dr. Rhor was part of a
large-scale effort to locate, preserve, document and re-integrate
historic murals into contemporary school life. After leaving the Art
Institute, she was hired by Chicago Public Schools as a consultant
for the mural collection. She also contributed research and an essay
to Heather Becker's </span></span><span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><i>Art
for the People</i></span></span><span style="font-family: Times New Roman, serif;"><span style="font-size: medium;">
and served on the curatorial team for </span></span><span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><i>To
Inspire and to Instruct: The Art Collection of Chicago Public
Schools</i></span></span><span style="font-family: Times New Roman, serif;"><span style="font-size: medium;">,
an exhibition at the Art Institute of Chicago. She is currently
preparing her doctoral thesis for publication. Dr. Rhor will be
drawing on her work on the historic murals in Chicago public schools
in her upcoming lecture at the Decorated School Research Network
conference in February 2013. An overview of her lecture is provided
here. </span></span>
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<span style="font-family: Times New Roman, serif;"><i>Outstanding
American Women: </i></span>
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<span style="font-family: Times New Roman, serif;">Shaping
Chicago's Public Schools through Murals in the early 20</span><sup><span style="font-family: Times New Roman, serif;">th</span></sup><span style="font-family: Times New Roman, serif;">
Century</span><sup><span style="font-family: Book Antiqua;"><a class="sdfootnoteanc" href="http://www.blogger.com/blogger.g?blogID=4349644374730164225#sdfootnote1sym" name="sdfootnote1anc"><sup>1</sup></a></span></sup></div>
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<span style="font-family: Times New Roman, serif;">Sylvia
Rhor, PhD</span></div>
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<a href="http://3.bp.blogspot.com/-knScsWo58qk/UEMPIboxH6I/AAAAAAAAANg/xy8L4O6Bv8k/s1600/Flower-1.HalfReveal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://3.bp.blogspot.com/-knScsWo58qk/UEMPIboxH6I/AAAAAAAAANg/xy8L4O6Bv8k/s320/Flower-1.HalfReveal.jpg" width="320" /></a></div>
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<span style="font-family: Times New Roman, serif;">In
1941, the Chicago Board of Education declared that Edward Millman’s
(1907-1964) fresco </span><span style="font-family: Times New Roman, serif;"><i>Outstanding
American Woman</i></span><span style="font-family: Times New Roman, serif;"> in Lucy
Flower Technical High School was unacceptable.</span><sup><span style="font-family: Times New Roman, serif;"><a class="sdfootnoteanc" href="http://www.blogger.com/blogger.g?blogID=4349644374730164225#sdfootnote2sym" name="sdfootnote2anc"><sup>2</sup></a></span></sup><span style="font-family: Times New Roman, serif;">
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<span style="font-family: Times New Roman, serif;">Millman’s fresco cycle, which
spanned six walls in the school’s entrance foyer, depicted a series
of well-known American women such as Susan B. Anthony, Harriet
Beecher Stowe, and Clara Barton. Though the Board praised the
artist's choice of women, they stated that the mural was “lacking
in the spirit we wish to have in a public school to inspire young
American womanhood and that anyone looking at the mural would get the
impression [the murals] are stressing poverty and the failure of our
democracy to uplift its people.”</span><sup><span style="font-family: Times New Roman, serif;"><a class="sdfootnoteanc" href="http://www.blogger.com/blogger.g?blogID=4349644374730164225#sdfootnote3sym" name="sdfootnote3anc"><sup>3</sup></a></span></sup><span style="font-family: Times New Roman, serif;">
Under directives from the Board of Education, the fresco was covered
with white calcimine in November 1941. It remained obscured from the
public until 1995, when conservators from the Chicago Conservation
Center uncovered the fresco, then hidden under layers of paint and
school paraphernalia. </span>
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<span style="font-family: Times New Roman, serif;">The censoring of Millman's fresco
at Flower High School raises a number of questions regarding the role
of mural painting in early 20</span><sup><span style="font-family: Times New Roman, serif;">th</span></sup><span style="font-family: Times New Roman, serif;">
century public education in Chicago. Commissioned by the Works
Progress Administration’s Federal Art Project (WPA-FAP), one of the
New Deal relief programs for artists, it was one of hundreds of mural
placed in public buildings during the Great Depression. In keeping
with WPA-FAP policy, the theme – women’s contribution to American
civilization – had been chosen in collaboration with project
supervisors and the school principal. For an all-girls’ school like
Flower, the subject seemed particularly suitable. In fact, it was
well received by the school’s students, who declared his portrayal
“heroic” in the school yearbook of 1940.</span></div>
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<span style="font-family: Times New Roman, serif;">Before embarking on this project,
too, Millman had not only completed several successful New Deal mural
commissions in Chicago and throughout the United States, but had also
served as arbiter in several high profile censorship cases. As such,
he was intimately familiar with the parameters of acceptable imagery
and subject matter for school murals. Nevertheless, the fresco
proved unviable by Board standards. </span>
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<span style="font-family: Times New Roman, serif;">Given that the teachers, students
and FAP supervisors firmly supported the mural, what was it then that
made this fresco untenable? How did Millman’s work contradict the
notions of “democracy,” “womanhood” and “uplift” evoked
in the Board’s criticism? Millman’s affiliation with left-wing
politics of the 1930s makes it tempting to view his mural within the
context of New Deal murals and place it among other similarly
controversial works of the period. However, this reading neglects
the fresco’s place within a long tradition of mural painting in
Chicago public schools. </span>
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<span style="font-family: Times New Roman, serif;">Between 1905 and 1943, over 2000
mural panels (approximately 500 cycles) were executed for city
schools. These monumental panels lined corridors, auditoriums and
libraries of city schools and included examples from some of
Chicago’s best-known artists. </span>
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<span style="font-family: Times New Roman, serif;"> As
I demonstrated in my thesis, the school mural movement emerged under
the auspices of activist clubwomen in Chicago in the opening decades
of the 20</span><sup><span style="font-family: Times New Roman, serif;">th</span></sup><span style="font-family: Times New Roman, serif;">
century. It was precisely through the commissioning and placement of
murals in public schools that middle-class women successfully
intervened in educational politics in the years before suffrage. The
groundwork laid by such groups informed mural painting in schools
until the end of the New Deal, when Millman’s mural was censored. A
sustained analysis of the censorship of Millman's fresco at Flower
within the context of the long tradition of the school mural movement
in Chicago reveals that murals were pivotal tools for intervening in
educational politics and articulating varying notions of democracy in
the early twentieth century. In fact, I argue, that Millman's
depiction of women such as Jane Addams, Lucy Flower, and Grace
Abbott, Millman simultaneously evoked the very network of female
reform that had given rise to the school mural movement in Chicago,
and critiqued the biases of public education in Chicago in the 1940s.
Moreover, the restoration and reintegration of Millman's fresco and
other historic murals into Chicago's public schools at the opening of
the 21</span><sup><span style="font-family: Times New Roman, serif;">st</span></sup><span style="font-family: Times New Roman, serif;">
century brings attention to the contemporary role of art in public
education. The rediscovery and use of the historic mural collection
demonstrates the critical role that conservators, museum
professionals and citizens groups play in preserving the arts in
public schools at a moment when these very disciplines are being
radically cut from the curriculum. </span>
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<a class="sdfootnotesym" href="http://www.blogger.com/blogger.g?blogID=4349644374730164225#sdfootnote1anc" name="sdfootnote1sym">1</a>
This text is drawn in part from my doctoral thesis, <i>Educating
America: Murals and Public Education in Chicago, 1905-1941</i>
(Ph.D. diss., University of Pittsburgh, 2004).
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<a class="sdfootnotesym" href="http://www.blogger.com/blogger.g?blogID=4349644374730164225#sdfootnote2anc" name="sdfootnote2sym">2</a><span style="font-family: Book Antiqua;">
Lucy Flower Technical High School was re-named Lucy Flower
Vocational High School in 1956 and re-named once in 1995 as Lucy
Flower Career Academy. The school became co-educational in the
1970s. The school was closed in 2003. </span>
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<a class="sdfootnotesym" href="http://www.blogger.com/blogger.g?blogID=4349644374730164225#sdfootnote3anc" name="sdfootnote3sym">3</a><span style="font-family: Book Antiqua;">
Marcia Winn, “’Dismal!’ So High School Murals are Painted
Out,” </span><span style="font-family: Book Antiqua;"><u>Chicago Tribune</u></span><span style="font-family: Book Antiqua;">,
December 5, 1941.</span></div>
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Dr Catherine Burkehttp://www.blogger.com/profile/02697606311077493766noreply@blogger.com0tag:blogger.com,1999:blog-4349644374730164225.post-50473759705037056642012-08-30T00:19:00.000+01:002012-08-30T00:19:21.088+01:001930s Floor mural rediscovered in USA school<br />
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<a href="http://www.beartoothnbc.com/news/helena/26019-historical-mural-discovered-at-broadwater-elementary-school.html" target="_blank">Historical mural discovered at Broadwater Elementary School</a></h1>
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see story and video of these interesting rediscovered art works at </div>
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Dr Catherine Burkehttp://www.blogger.com/profile/02697606311077493766noreply@blogger.com0tag:blogger.com,1999:blog-4349644374730164225.post-36567760838953453362012-08-04T15:07:00.001+01:002012-08-08T21:51:33.063+01:00Times Educational Supplement article on Greenside muralAn article covering the campaign to restore the Gordon Cullen mural at Greenside school appears in the TES today. There may well be a series of articles to follow covering The Decorated School more generally.<br />
<a href="http://www.blogger.com/goog_1492606503"><br /></a>
<a href="http://www.tes.co.uk/article.aspx?storycode=6265676" target="_blank">TES Article</a>Dr Catherine Burkehttp://www.blogger.com/profile/02697606311077493766noreply@blogger.com0tag:blogger.com,1999:blog-4349644374730164225.post-81013528235950843192012-07-30T12:30:00.000+01:002012-08-07T11:42:01.278+01:00'Sculpture, The Arts and The Decorated School' - Henry Moore Institute, Saturday 23rd June 2012.<br />
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 24px;">Catherine Burke’s</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 24px;"> introduction to the ‘Decorated School’ seminar, taken from an educational perspective discussed the book ‘The School That I’d Like’ (1969), a collection of pupils’ opinions; the child being perceived as the ‘client’ of the school. Its editor, Edward Blishen, drew attention to the perceived importance of the material environment including shape, colour and aesthetics. One 18-year-old pupil, Ann wrote:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 24px;">‘Above all, education should be exciting. No educated person can claim boredom amidst so much knowledge. School life should be crammed with interest – the building too. Yet nothing is more depressing than the buff-coloured classroom! Revolution must break out, the classroom must be invaded by novel colour schemes and different architectural styles, taken over by paintings and sculpture. No two should look the same.’<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 24px;">Catherine questioned what was an artwork’s educational value? From the findings of the Network, once in situ the fate of the artwork was often in the hands of the school, with murals being boarded or painted over, when perceived as old fashioned or if needing repair. An example that Catherine shared was the ‘Adam Naming the Animals’ mural designed for Yewlands School, Sheffield by Barbara Jones in 1954, commissioned by the architect Basil Spence. At some point the mural had been concealed behind plasterboard and when it was decided that the school should be demolished, the existence of the artwork was remembered too late to save it.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 24px;">In <b>Jeremy Howard’s</b> ‘Sculpture in Schools’ overview the speaker pointed out that sculptures rivalled painted murals as the most commonly found school artworks (though textiles, mosaics and glass also proliferated). He indicated that the mid-twentieth century was a heyday for school sculpture in Britain and abroad but that its historical development could be traced back at least to the seventeenth century and that there were many works to be encountered around the world from different periods. Jeremy focused on the example of Leicestershire Educational Authority’s patronage of sculpture in the 1960s-1970s in order to highlight some of the issues pertaining to school sculpture. It was wondered whether schools viewed sculpture in a different way to monumental paintings. Was this linked to the materials the works were made from and the response they evoke, whether touch, play, wonderment or vandalism? Or was it the theme that counted, and if the work was didactic, narrational, or institutional?<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 24px;">Jeremy questioned how the user<a href="http://www.blogger.com/blogger.g?blogID=4349644374730164225" name="GoBack"></a>s of the school were allowed to respond to a sculpture. Did the power relations of staff over pupils, limit the children’s access to the work, through touch or exploration. Did this ultimately play a part in how it was perceived and its subsequent lifespan? Jeremy also questioned the criteria for selection (‘suitability for children’) of sculptures for school environments.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 24px;">Jeremy felt school sculpture, placed in non-classroom environments, sometimes challenged the role of the gallery. An example of a successful placement was Phillip King’s sheet metal construction ‘Dunstable Reel’ bought by Stuart Mason for Countesthorpe College, Leicestershire (1970). The sculpture, placed at the heart of the school buildings was respected by the pupils and there was a positive attitude by all the institution’s users to its positioning; as a result it avoided vandalism. This was in something of a contrast to a William Pye sculpture inside the foyer that had suffered some damage. It was felt that these experiences from the past could help care for the work of the future.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 24px;">In <b>Claire Mayoh’s</b> ‘Stories from the archives’ she illustrated how the Henry Moore Institute’s Archive had an amazing amount of interesting, books, catalogues, photographs, letters, press cuttings and personal papers of sculptors. Just using 'art in schools' as a starting point Claire pulled from the archive a range of information about commissions and purchases of sculpture for schools across the UK. Claire showed examples from the collections of émigré artists Franta Belsky, Peter Peri and Willi Soukop, also Betty Rea’s involvement with the Society for Education through Art for their annual art sales for schools in the 1950s-1960s. Additionally examples of the pioneering artworks commissioned and bought by Leicestershire Education Authority in the post war period.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 24px;">The variety of gems uncovered included a newspaper cutting from 1958 reporting the rejection of Soukop’s ‘Donkey’ sculpture by Nottinghamshire Education Committee for one of it schools, as it was seen as too controversial; in contrast another school in Leicestershire loved their version of the same artwork. So much so that Leicestershire Education Authority wrote to Soukop, (as evidenced in a letter from the Archive) for advice over its damaged ear. Claire showed that the Archive has in some cases enough information within its files to create a comprehensive over view of how an artwork was commissioned for a school or in others a tantalising snippet that needs to be explored more.<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 24px;">For more information about the Henry Moore Institute Archive of sculptors' papers please visit </span></b><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 24px;"><a href="http://www.henry-moore.org/hmi/archive"><b><span style="color: black; text-decoration: none;">www.henry-moore.org/hmi/archive</span></b></a><b><o:p></o:p></b></span></div>
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The theme of working in partnership and how to gain a further understanding of the relationship between education and the arts led to the discussion, ‘Designing a collaborative research and development project’. As the variety of knowledge and expertise from the delegates was so wide, the responses provided food for thought.
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Firstly it was discussed how the Decorated School Network could build a research relationship with the Henry Moore Institute? The suggestions offered were to create a collaborative doctoral award project (AHRC). Also to develop an exhibition about the history of education through the arts, especially sculpture.
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Broader research questions elicited responses such as ‘art as an extended architecture: the silent teacher’ (drawn from Henry Morris). ; in contrast looking at the absence of such art. The place of sculpture in relation to the buildings: the significance of site? The place of art in the procurement of new buildings: learning from the past. Sculpture and play: challenging concepts of value. Examining how does public school art develop longevity through memory and through its appreciation by the wider community? Also the meaning of education through art today.
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In terms of projects, it was thought that there could be a national recording scheme, also to develop an interactive website as an educational tool utilising the archive at its strongest parts (i.e. 1950s and 60s); ensuring that contemporary artists had access to this information to help promote current work. Additionally examining the idea of 'vandalism' as positive and creative.
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 24px;">In my talk <b>(Dawn Pereira) </b> ‘Art for the “Common Man” Sculpture in Schools within the London County Council (1957-1965)’ I wanted to pull together some of the strands already discussed, such as placement , theme, genre and response using the artwork placed in LCC schools as a case study.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 24px;">My account was a chronological journey examining the reasons behind the type of art commissioned or acquired for a range of educational establishments throughout London. I gave an account of individual commissions to illustrate how the type of murals and sculptures purchased changed over the lifespan of the intervention. I discussed how as they progressively became more expensive and abstract, they increasingly became difficult for the public to understand. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 24px;">I revealed that many of the problems stemmed from the internal battle between the education department, sub committees and the Arts Council regarding what was considered ‘suitable’, compounded by the negative response of the recipients. The most extreme example being Joe Tilson’s geometric mural that was rejected by the school governors and was never resited. However I also discussed successful commissions, such as Mary Fedden’s ‘Circus’ mural, where the favourite design was voted for by the students. Also Lesley South’s play sculpture, which initially encountered safety and durability issues at committee stage but was eventually well received by the school and its pupils.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 24px;">In regards to the long term reaction to the work I concurred with the findings of the Network that sculptures were stolen for scrap value, vandalised, or removed if thought dangerous or unsuitable. However I also found that others were played on and loved. In the respect of murals I discussed that some had suffered the fate of being removed or boarded over, to then in some instances be remade, rediscovered and celebrated.<b><o:p></o:p></b></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 24px;">To read the paper in full please follow the link to Dawn Pereira, ‘Art for the “Common Man” Sculpture in Schools within the London County Council (1957-1965)’.<o:p></o:p></span></b></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 24px;">Cilla Eisner’s</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 24px;"> talk on Antony Hollaway and Peter Peri’s work for schools in the 1950s and 60s offered the perspective of an artist and teacher, but also a more personal insight. Her access to some of Peri’s archives and her own friendship with Hollaway helped us learn more about the artists’ working methods and what inspired them.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 24px;">Peri, born in 1899 to a Jewish family was an active communist in Budapest, eventually he moved to London in 1933. In the 1950s he was commissioned to create series of wall murals for the new schools in Leicestershire. Cilla described his methods of working with a new type of concrete ‘Pericrete’, which he had developed himself. She discussed the sculptures, etchings, drawings and designs from private collections not usually accessible to the public and these subsequently formed the major part of an exhibition that she curated for the Sam Scorer Gallery, Lincoln in 2008.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 24px;">It was particularly interesting from Cilla’s presentation to learn more about the life and career of Tony Hollaway. Born in Poole in 1928 to a coal merchant he went onto to study art at Bournemouth College of Art (1948-53), then undertook an art teacher’s diploma at Southampton University. In 1953 he gained a scholarship to the Royal College of Art, Cilla informed us that his contemporaries were Joe Tilson, William Mitchell and Frank Auerbach and that he was influenced by the work of Ferdinand Leger and the Bauhaus School. In 1957 he started his own practice as stained glass and mural designer, quickly gaining the role of a Design Consultant at the LCC until 1968.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 24px;">During this period Hollaway became increasingly interested in education, eventually becoming Head of Three Dimensional Design at Trent Polytechnic and later undertaking a PhD (now held at the National Arts Education Archive). He also developed a working partnership with Manchester based architect Harry Fairhurst, which resulted in several commissions for murals and decorative concrete work. In 1972 he started the first of the windows at Manchester Cathedral, leading to four further commissions, culminating in his ‘Revelation Window’ (1995).<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 24px;">Cilla recalled that she first met Hollaway in 1989 when she invited him to give a talk on colour to the students in her class. Through a series of newspaper cuttings, photographs and personal reminisces, Cilla shared some of the stories and inspiration behind Hollaway’s artworks. An early commission made for a school was based on St George and the Dragon created for St. Georges School, Swaythling, (1957). Cilla tells us that Hollaway wanted the contrasting dark and light design of the mosaic panels to represent good and evil. Hollaway went on to develop this symbolic imagery further in his ‘St George’ stained glass window designed for Manchester Cathedral (1972).<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 24px;">An artwork that Hollaway made specifically for King Edward VII Grammar School, Coalville was a sculptural screen wall based on mathematical principles (1961). It was created from reinforced concrete, ceramic tiles and glass, positioned on a raised walkway linking the Main Hall to the Science block. Cilla showed us the press cutting from the Design journal, which featured the work in January 1963. She emphasised Hollaway’s use of pioneering techniques, a photo showing the artist creating the design with an electric hot wire, drawn into polystyrene. During this era artists were photographed ‘in action’ and were featured in many architecture, design and art journals. Headlines such as ‘Art with a blow lamp’, emphasising how new and exciting this type of public art made for schools, was perceived to be.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 24px;">The pupil in ‘The School That I’d Like ‘wanted a revolution of colour, originality, and variety in her school, and as we have seen at ‘The Sculpture, the Arts and The Decorated School’ seminar this did take place where education authorities or private architects had the vision to commission individual artworks, take the necessary care in their placement and take into account how they would subsequently be perceived by the ‘clients’ themselves<o:p></o:p></span></div>
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</div>Anonymoushttp://www.blogger.com/profile/11626829060648614422noreply@blogger.com0tag:blogger.com,1999:blog-4349644374730164225.post-45288815622255546532012-07-28T17:20:00.000+01:002012-07-28T17:20:39.883+01:00The Spirit of EducationThis story of a rediscovered mural in the USA is interesting not only for its content but for the passion by which those wishing to restore it have been motivated. It also demonstrates more international parallels of a commitment to public art in the process of economic and industrial reform during the 1930s realised in the USA and also in some English regions.<br />
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<a href="http://www.cleveland.com/metro/index.ssf/2012/07/lincoln_high_school_grads_aim.html" target="_blank">The Spirit of Education</a><br />
<br />Dr Catherine Burkehttp://www.blogger.com/profile/02697606311077493766noreply@blogger.com0tag:blogger.com,1999:blog-4349644374730164225.post-22276567360379544922012-07-10T11:08:00.000+01:002012-07-10T11:08:03.112+01:00Henry Morris<style>
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Henry Morris (1889-1961) Secretary for Education in
Cambridgeshire and founder of Village Colleges, was a passionate advocate of
‘decorated schools’. He inspired others such as Stewart Mason, educational
administrator in Leicestershire, and architect Stirrat Johnson-Marshall whose
work is recorded elsewhere on this website.<span style="mso-spacerun: yes;">
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The first village college opened at Sawston in 1930. Village
colleges aimed to provide not only juvenile and adult education, but also the
social and cultural activities Morris saw as necessary for a healthy and
progressive rural community. He believed passionately in the educational
importance of an aesthetic environment, epitomized in the distinguished design
which he secured from Walter Gropius for Impington Village College, opened in
1939.</div>
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Over the last two years Sawston Village College celebrated
its 80<sup>th</sup> anniversary and the 50<sup>th</sup> anniversary of Morris’s
death, with a film made by students about the life of Henry Morris. Continued
cultivation of the arts at SVC as well as its caring maintenance of the
original environment indicates the continuing influence and relevance of his
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Henry Morris – the Life and Legacy<span style="mso-spacerun: yes;"> </span><a href="http://www.sawstonvc.org/films/">http://www.sawstonvc.org/films/</a></div>
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Chapter 4 The Silent Teacher (21 to 30 minutes) explains how
Morris was a great lover of the arts, believing that people learned from their
environment. The school should be a ‘silent teacher’, for adults as much as for
adolescents. Physical space, if beautiful and authentic, would contribute to
successful learning. Schools should grace the rural landscape. He believed in
the potential of art for social change. Art should be accessible to everyone,
architecture contributing socially and aesthetically to the quality of one’s
life. </div>
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Sawston Village College, Fountain Court</div>
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Italian Maiolica in cloister of Fountain Court</div>
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<br /></div>peter cunninghamhttp://www.blogger.com/profile/01679663175210289320noreply@blogger.com0tag:blogger.com,1999:blog-4349644374730164225.post-58779991062070811772012-07-07T18:47:00.001+01:002012-07-07T18:49:01.294+01:00Mural discovered in dining area of USA school, soon to be demolishedIt is the case that on both sides of the Atlantic, school building stock is being evaluated with a mind to either demolition or substantial renovation. On both sides of the Atlantic long forgotten murals are turning up through the demolition process, sometimes generating community campaigns to preserve them. <a href="http://www.cleveland.com/arts/index.ssf/2012/07/john_marshall_high_school_alum.html">This mural</a> is a WPA example from Cleveland that is to be lost. Full story<a href="http://www.cleveland.com/arts/index.ssf/2012/07/john_marshall_high_school_alum.html" target="_blank"> here.</a><br />
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<br />Dr Catherine Burkehttp://www.blogger.com/profile/02697606311077493766noreply@blogger.com0tag:blogger.com,1999:blog-4349644374730164225.post-35433317091770395262012-07-06T19:09:00.000+01:002012-07-06T19:16:59.098+01:00College Mural depicting lynching and organised labour.Mural entitled <a href="http://www.kuar.org/kuarnews/65820-restoration-to-restore-1935-mural-depicting-lynching-and-organized-labor.html">"The Struggle of the South," </a>by the communist painter Joe Jones.
Painted in 1935 for Commonwealth College near the western Arkansas town of Mena and displayed in a dining hall. The school was opened in 1923. The mural is to be restored after having been removed and stored over decades in the school's art department.Dr Catherine Burkehttp://www.blogger.com/profile/02697606311077493766noreply@blogger.com0tag:blogger.com,1999:blog-4349644374730164225.post-6409438065091976512012-06-12T17:30:00.000+01:002012-06-13T16:19:46.376+01:00Sculpture in Schools - What does it do?<div class="separator" style="clear: both; text-align: center;">
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We have looked at isolated examples of sculpture in schools in various posts on this blog. It competes with mural painting for primary place. But it is worth considering as a medium per se. After all sculpture has distinct roles to play in the aestheticised and ideological environments of schooling. <br />
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Sculpture in schools also has much to say about historical moment, artistic and institutional identity, and the interactivity of art as a whole...<br />
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Sculpture's location in schools can be critical. It can be about play... or about 'preaching'... Its relationship with the architecture, spaces and environment of schooling can be highly significant. Its particular and varied means of stimulating sensibility need special attention - more case studies are welcome...<br />
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We'll be considering some of the whys and wherefores of school sculpture at our Event at the Henry Moore Institute on 23rd June. This little visual survey can act as an introduction... More to follow...<br />
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<br />Jeremyhttp://www.blogger.com/profile/10940741111682195144noreply@blogger.com0