Over two days in November 2018 at BALTIC the BxNU Institute brought together education experts, artists, curators and thinkers who have profound experience of working within the fields of education, curating and pedagogy in gallery contexts; and who have differing views of the ways in which arts institutions can and should be used to support and extend education at a local and international level.
Fri 2 Nov 14.00-18.00 / Sat 3 Nov 10.00-18.00
Speakers and Panelists
Chair for both days: Andrea Phillips, BALTIC Professor & Director of the BxNU Institute of Contemporary Art
Fri 2 Nov 14.00-18.00
14.10: Introduction Andrea Phillips, Sarah Munro
14.30: School art in the 21st century: Actualities from the artist, the teacher and the academic
Sophie Cole, (Senior Lecturer in Education, Programme Leader PGCE A,C&D Northumbria University)
Hanna Shepherdson (Illustration/Graphic Design at Sunderland University, trainee teacher Northumbria PGCE Art, Craft & Design)
Zoe Simpson (Graphic Design at Northumbria University, trainee teacher Northumbria PGCE Art, Craft and Design)
This panel will examine the tensions formed by policy, school and the art world’s expectations of school-based art practice, the journey from thinking like an artist to thinking like an art teacher, and what is relinquished and what is gained in the making of an artist-teacher. In particular it will call for the importance of reciprocal gallery-school and gallery-teacher (trainee) partnerships.
16.00: Queer Timǝs School
Jason E Bowman (artist with a curatorial practice; MFA: Fine Art Programme Leader at the Valand Academy, University of Gothenburg) Bowman will use a current art and citizenship project - queer timǝs school and queer timǝs school prints, commissioned for acquisition by Glasgow Museums’ Gallery of Modern Art - as a case study. He will interrogate the implications for the programmed meanings of learning in art institutions if greater emphasis were to be placed on recognising organisational concepts within social practices in art including, in particular, recognition of forms of curating in social practice - when specifically conceived of and delivered by artists - that challenge certain dominant institutional systems, cultures and perceptions of how curating does, where and when curating occurs, and why this matters to what it warrants.
16.30: Liverpool Biennial Education and Schools
Sally Tallant (Artistic Director, Liverpool Biennial)
Sara Bryson (Tyne & Wear Citizens organiser, Citizens UK)
Sat 3 Nov 10.00-18.00
10.00: Introduction and recap: Andrea Phillips
10.30: Living with Jane
Julie Crawshaw (Co Programme Leader of MA Creative and Cultural Industries Management and Lecturer in Material Culture at Northumbria University)
With Ellen Gates Starr, Jane Addams (1860-1935) founded the Hull House settlement in Chicago in 1889. She is best known for her settlement work but also as the first woman ‘public philosopher’ in the United States – as contributing to the American pragmatist tradition (alongside John Dewey, William James and George Herbert Mead). How might Jane shape our work today? This is a new question for me, which I hope to progress through circling around my research, teaching and previous practice (possibly).
11.30: #TakeOnTomorrow: Life and work in, against and beyond the neoliberal university
Screening and panel discussion co-convened by James Bell (artist, writer and PhD researcher, Northumbria University) and Gayle Meikle (curator and PhD researcher Northumbria University) with contributions by Fiona Anderson (Lecturer in Art History at Newcastle University), Giles Bailey (artist and Lecturer in Fine Art at Newcastle University), Jacky Collins (Senior Lecturer in the Division of Languages at Northumbria University and one of three UCU Reps for the Department of Arts), Sophie Crocker (artist and third year undergraduate student, Fine Art, Northumbria University), Joy Labinjo (artist, London) and Laura Yuile (artist, London and PhD researcher, Northumbria University). With screenings of Pedagogue (1988), Stuart Marshall and Neil Bartlett and Inject with Life (2018), Laura Yuile.
This panel will consider the ways higher education (HE) produce knowledge and culture. The neoliberal agenda in HE is one that financializes knowledge, and run through an ethos of competition, measurement and monetisation. The precarious bodies that operate within this space are [future] knowledge workers, encouraged to become an endlessly adaptable commodified subject; educating themselves in accordance to economic intentions rather than cultural or critical imperatives. What can we learn from acts of resistance in art and education practice in, against and beyond the university?
13.00: lunch/view BALTIC exhibits (Rasheed Araeen & Heather Phillipson)
14.00: Barby Asante (artist and educator)
Christine Egan Fowler (artist teacher, Royal Grammar School, Newcastle-upon Tyne)
Judy Thomas (Senior Lecturer, Acting Programme Leader BA Fine Art, Northumbria University)
Jo Spence (Education Producer, Learning team, BALTIC Centre for Contemporary Art, Gateshead)
15.45: When asking what one institution (the museum) can offer another (education), what if the answer looks like neither?
Susannah Haslam (research practitioner and educator, London)
Tom Clark (curator, editor, writer and PhD researcher, Goldsmiths, London)
Among thinkers, educators, artists and curators, we observe an increasing imperative to inhabit a space between that demarcated by the institution of art and the institution of education. This space appears, in theory, to encompass what Michael Schwab has termed to be ‘indeterminate’; a place or form of practice without criteria to include or exclude, and one that in turn has, in theory, capacity to be autonomous. In practice, however, we encounter the inverse of this, where attentions concerning the organisational, infrastructural and curatorial practices between art, educational and political contexts are enmeshed, static in discourse. If this only works to continue critical diagnosis, instead we want to model an ambivalent space that already shimmers off the edges of these carefully protected competencies.
16.30: From broadcast to co-creation?
Laura Raicovich (writer and art worker, until recently President and Executive Director of the Queens Museum, NYC)
Sarah Munro (Director, BALTIC Centre for Contemporary Art)
Alastair Hudson (Director of The Whitworth and Manchester Art Galleries)
Laura Raicovich will discuss alternatives to the ways in which museums have seen themselves as educational organisations with a primary focus on broadcasting information to its audiences. How can a museum foster a deeply co-creative exchange model for interactions between a museum and its various publics?
Alistair Hudson will discuss The Whitworth and Manchester Art Galleries as 19th century social devices.
Sarah Munro will discuss BALTIC’s new Centre for Public Practice.
Chair for both days: Andrea Phillips, BALTIC Professor and Director of BXNU Institute, BCCA and Northumbria University. This symposium is produced by BxNU, the Institute formed and programmed by BALTIC Centre for Contemporary Art and Northumbria University.