Claire Cochrane, Engagement Producer, Stills Gallery
Every Woman, Super Woman
In Summer 2016 Young Saheliya, a service providing support for young BME women aged 12–25, took part in a programme of creative activity with Stills Centre for Photography and Edinburgh Art Festival.
Inspired by Jo Spence’s exhibition at Stills Beyond the Selfie was a summer project exploring how photography can disrupt traditional representations of women in print media, television and film using self-portraiture, photographic collage and text.
Ciara Phillips’ Every Woman co-commissioned by Edinburgh art Festival and 14–18 NOW was the fourth in a series of dazzle ship artworks and provided inspiration for Every Woman A Signal Tower, a series of workshops on female empowerment, sexual violence and consent and female representation in the media giving the young women a chance to tell their stories in a world that wants to silence them.
With both the Beyond the Selfie and Every Woman A Signal Tower focusing on women’s rights, female representation in the media and taking inspiration from strong female artists there was a natural connection between the projects and so Every Woman Super Woman was born. As the girls didn’t differentiate between projects, soon neither did we; and Stills and Edinburgh Art Festival brought the two projects together to continue their legacy and build on the relationship we had formed with these inspiring young women.
Stills’ Engagement Producer shared the exchanges that happened within this project along with the benefits of being open to new and ‘organic’ partnerships.
Leanne Alldred, Learning and Engagement Assistant, BALTIC Centre for Contemporary Art
My contribution will focus on the following: My exchange is with children and young people. My exchange is with schools and colleges. My exchange is with teachers. My exchange is with children and families who have Special Educational Needs and Disabilities. My exchange is with artists. My exchange is with and alongside creative professionals whose goals it is to provide diverse audiences opportunities to engage with and learn from creativity and culture. My exchange is with education. My exchange is with contemporary art. My exchange is with equality and equal opportunities. My exchange is with philosophy of enquiry with a Spiritual Moral Social and Cultural focus. My exchange is with ideas. My exchange is with national initiatives such as The Big Draw. My most important exchange is working in partnership with children, young people, teachers and families of all backgrounds, ethnicities, ages and abilities, providing them access and engagement to arts and culture. Them learning from me, me learning from them — exchange.
Jo Plimmer, Freelance Project Manager; Lisa Jacques, Former Learning Officer, Leicester Arts & Museums Service; Gina Mollett, Artist Educator
Christina Bradstreet, Courses and Events Programmer, The National Gallery
Dr. Christina Bradstreet, Courses and Events Programmer at The National Gallery, London shared her experience of creating innovative art and mindfulness courses and workshops for adult learners. Themes have included immersion in the sensory wonder of Dutch still life paintings, drawing on the Vanitas theme to explore meditations on making the most of life, finding curiosity in the familiar, every day, or things that we dislike, casting aside self-judgement and fears of drawing, and sustaining looking in a crowded gallery. The session included a slow, mindful, guided looking at a painting and discussion of the challenges and opportunities of creating events such as these. Christina invited thoughts on how other institutions might incorporate mindfulness in their own programming.
Henrike Plegge, Gallery Educator, Docent, Researcher, fort-da, Arts Academy Mainz
Making gallery education visible becomes a more and more relevant aspect of gallery education practice and theory. Pivotal in that process is not that gallery education is made visible but how, by whom and with what aims the visibility is formed and created. Visibility is not given, it is produced.
During the last two decades an increasing number of art museums and galleries established, within their institutions, free accessible and visible gallery education spaces like Tate Exchange, in which gallery education is made directly visible for the visiting audiences of the institution. These spaces do not just display what has been invisible before behind closed doors in cellars or top floors. The formation of these spaces yields new forms of gallery education and raises new challenges for the educators.
In my presentation I will provide a view into the development of free accessible and visible gallery education spaces in German galleries of contemporary art. The main application will be on exchange with the other participants about their experiences and perspectives of visible education spaces. Questions that can be addressed are: What has changed in educational practice through the establishment of visible gallery education spaces? Which impacts have the acknowledgement on the one hand and the surveillance/observation on the other hand? How has communication within the institution, how with the audience changed? Has the self-image of gallery education and its role within the institution changed, through these spaces? Where do the niches of gallery education remain?
Juliana Capes, Artist
Juliana presented a live description of a space in collaboration with my audience. This is based on my experience of giving visually descriptive tours and training and writing Visual Descriptive prose that describes a context for sighted and non-sighted audiences.
Liz Conacher, Schools Learning Coordinator, National Galleries Scotland
What’s the point of gallery education for schools?
This discussion session invites colleagues to share ideas on the role of galleries in nursery, primary and secondary school education.
With reference to National Galleries Scotland Programme for Schools I will present ideas and invite discussion on the ideal gallery-run programme for schools.
What should 21st Century gallery education look like? What can galleries offer that other education programmes can’t? What problems can we fix? What’s your top priority?
The Scottish curriculum requires young people to develop practical skills in expressive arts, creativity and employability, health and well-being, literacy and numeracy as well as becoming responsible citizens, confident contributors and effective learners.
Should galleries attempt to address all of these? Where are our strengths? Is it our role to develop artists of the future? Or audiences of the future?
How do we get young people bothered about art?
Who should deliver gallery education? Artists? Teachers? Philosophers? Children?
How do we have an impact? One off visits? Long-term partnerships? And everything in between? What effective delivery models have you used?
How do you know if you’re succeeding?
Can creativity be measured?
In the midst of debates about the impact of the English Bacc on art subjects, the decision of AQA to scrap Art History A-Level and the general shifts in education, this workshop explores how art can be used for non-art school subjects. It will explore topics of GCSE and A-Level Sociology using artworks and arts. It hopes to spark interest, discussion and ideas about similar activities for different subjects.
Expect to engage in activities that use artworks from TATE Modern, in order to understand aspects of Marxism, feminism, functionalism and social research methods: create your theories-mood board; look at a painting through the eyes of different theorists; interview a portrait; be the portrait; combine different forms of art to explain sociological concepts.
The workshop was based on Eleni’s research on museum learning, her teaching practices and her latest learning activities as a freelance educator. She wished to bring artists, art historians, students and all those interested in galleries together, to exchange ideas that would lead to effective and interesting gallery learning experiences for busy secondary school pupils.