Reaching Out: Being a Student Ambassador

Bookmark and Share

Emmy Sale, MA History of Design and Material Culture, explains her Student Recruitment and Outreach role.

Throughout my BA and MA degrees I have worked as a Student Recruitment and Outreach (SRO) ambassador. The role has provided me with the opportunity to work at a range of events organised by the Widening Participation (WP) and Outreach teams in the university but also to gain valuable and transferable skills alongside my studies.

One of the first sessions involved creating and planning a student-led taster lesson as form part of City Campus visits aimed at Year 9 students. The aim is to introduce students to subjects that can be studied at university as well as the ways in which they are taught. The taster I created was based on my favourite aspects of my studies, that is, object-based analysis and theories of material culture.

Fashion and Dress History student-led taster lesson designed by Emmy Sale, showing the garments and worksheet given to students for the ‘dress detectives’ activity.

Making the taster accessible to younger students was a challenge but with inspiration from Ingrid Mida and Alexandra Kim’s 2015 book The Dress Detective, I was able to produce an exciting hands-on activity in which the students followed garment clues and examined evidence.

Through a short lecture-style presentation, the students were introduced to Fashion and Dress History at the University of Brighton and its core concepts. They were presented with questions: Why do we study clothes of the past? How can studying clothing artefacts allow us to find out about the people who wore them? In small groups the students were then given a garment to analyse with the help of a worksheet that asks them to think about how it was made and constructed as well as when it was made and worn. For some unfamiliar garments this is tricky. The students are given ‘archival sources’ that help them to find out the answers to their questions. The taster finishes with short presentations from each group and a reflection on the jobs that these skills might lead to.

Political T-shirt activity created by Emmy Sale for Primary School Mentoring scheme.

The primary school mentoring scheme is another regular event organized by the Widening Participation team, where ambassadors go into a primary school with Year 6 students, once a week. Each week, we provided activities that helped the students to think about their futures and to learn about university. As part of this, I created an activity based on political T-shirts, thinking about their impact and letting the students design their own, inspired by issues that they are passionate about. Equality and homelessness were two of the issues that the students chose, but the activity also created thoughtful and important conversations about broader issues in society.

More recently, I was chosen to be part of a team of SRO ambassadors to support the Humanities Summer School. We were working with mostly Year 12 students, to support them through the timetabled days of taster lessons and activities with academics, such as a visit to the Bloomsbury set’s Sussex country home, Charleston Farmhouse, with History of Art and Design lecturer Megha Rajguru. The visit involved a tour of the house, which was exciting to many of the students who had not previously been, and then a reflective and creative activity thinking about the way stories of the people who lived there can be constructed through space and objects. In the evenings, we supported a range of residential activities to show the students university life in halls, what Falmer Campus has to offer and Brighton’s seafront.

Trip to Charleston Farmhouse as part of the Humanities Summer School (Emmy Sale in Student Ambassador T-shirt).

Overall, the SRO role, and my contribution to related events, has been a greatly rewarding experience alongside my studies. I have gained important skills in leadership, adaptability and confidence in public speaking. It has also encouraged me to extend my post-university job search to include Widening Participation and Outreach roles.

The Widening Participation team usually recruit new SRO Ambassadors twice a year. Ambassadors receive training and are paid for the work they do. For more information: https://blogs.brighton.ac.uk/sroambassadors/ 

Brilliant Berlin

Bookmark and Share

Graham Walton, BA History of Art and Design, recalls his highlight of Level 5.

Park Inn, Berlin. Photograph by Graham Walton.

A trip that involved taking fourteen University of Brighton undergraduates to Berlin was always going to be great fun. The trip, however, was not a holiday and there was also much academic work to be done, including a seminar presentation and an essay.

East Side Gallery. Photograph by Graham Walton.

Students were formed into groups and each took charge of arranging a day and deciding on places to visit. We had a very eclectic mix of degrees on the trip, including Architecture, Digital Music, Graphic Design, History of Art and Design, Fashion and Dress History, and Photography. We stayed in the 40-storey Park Inn hotel, built in the Soviet era, which in itself is a piece of interesting design from the German Democratic Republic (East Germany). The hotel, built in Alexanderplatz, towered above the Berlin Wall.

Berlin’s art collectives. Photograph by Graham Walton.

On the first day of the trip we visited the East Side Gallery, which is basically a large section of the Berlin Wall now turned into an outdoor art gallery. On the way to the gallery we stumbled upon a collective of small art spaces that artists and entrepreneurs can rent, with a lively and relaxed atmosphere.

Berlin’s Jewish Museum. Photograph by Graham Walton.

Our next visit was to the Jewish Museum, which was very moving experience as much of the display artwork related to the Holocaust. The building is concrete and constructed in a disconcerting sloping style. Memorabilia and family photographs of people murdered by the Nazis were displayed behind glass in the corridors. There was also a tall concrete room with a beam of light from the ceiling that clearly related to the feeling of being detained in a concentration camp. In another sculptural space, flattened round metal discs of faces on the floor were designed to be walked over producing an eerie, echoing metallic sound. This visit was very moving and some became appropriately tearful.

Graham Walton on a Bauhaus chair.

There was naturally much interest in the Bauhaus school. Unfortunately the Berlin Bauhaus museum was shut for renovation for the 2019 centenary. There was however a temporary small Bauhaus exhibition, which we visited.

Kaiser Wilhelm church. Photograph by Graham Walton.

We also visited the Kaiser-Wilhelm-Gedachtniskirche, a church bombed in 1943. A decision had been made that it would be not be rebuilt but instead left as a reminder of war with a new church built alongside. The original church, built at the turn of the beginning of the twentieth century, had a wonderful Arts and Crafts-style ceiling. The new church next door was rather unprepossessing-looking, slightly brutalist from the outside and octagonal in shape, however, once inside, the many beautiful little blue square windows gave a wonderful internal light.

An exhibit in the graffiti museum. Photograph by Graham Walton.

A popular choice was Urban Nature, a graffiti museum exhibiting artwork inspired by Berlin’s graffiti. As graffiti is an anarchic street artform, we felt the museum was really a contemporary art gallery borrowing inspiration from street art; as such there was something incongruous about it.

Wonderful items in the Museum of Things. Photograph by Graham Walton.

I felt The Museum of Things was of greater interest to design historians as it showed wonderful late modernist 1950s and 1960s household items. It was interesting to compare West and East German domestic items.

The Trabi Museum. Photograph by Graham Walton.

I have a particular interest in Cold War design and visited the Trabi Museum. The Trabant was a small East German car, designed in the early 1960s, which was manufactured until the collapse of the Berlin Wall. Initially it was a good design but it was never fully developed and it fell behind the more sophisticated designs of cars made in West Germany. Trabants featured in the collapse of the Berlin wall when thousands streamed over the border at the collapse of the Soviet empire. I decided to do my presentation on the Trabant.

Potsdamer Platz. Photography by Graham Walton.

On the last day we could plan our own time, which gave an opportunity to do research and take pictures of possible items for our presentation and essays. I went to the Stasi Museum, which again was full of wonderful Cold War design items. I also went to the Potsdamer Platz redevelopment as this was my chosen essay subject. This redevelopment was once the biggest building site in Europe, but the results were in my opinion were rather dull. Berlin’s main interest for me is its edginess and its alternative lifestyle not corporate office blocks. Twenty years on these buildings already look dated and not in keeping with the Berlin ethos. Berlin has developed into the ‘start-up’ capital of Germany leaving the Potsdamer Platz development looking rather redundant.

Naturally the trip included much partying in Berlin’s lively nightclub scene, however we also gained much insight into the city’s traumatic history and learned so much about aspects of art and especially twentieth-century design. For future students considering their future module choices, I’d say it is an absolute must. It was a brilliant week.

Volunteering at the Old Police Cells Museum

Bookmark and Share

Caroleen Molenaar (BA Fashion and Dress History) and Emmy Sale (MA History of Design and Material Culture) reflect on the skills they have acquired on the job.

The Old Police Cells Museum opened in 2005 as a mayoral project instigated by Brighton Councillor Pat Drake. It was initially run by a dedicated and knowledgeable team of volunteers and ex-police staff. In 2018, the museum entered a new phase. MA History of Design and Material culture alumnus, e-j scott, was hired as the curator with a mission to help the museum achieve national accreditation status. As part of this process of development, volunteers were recruited to work to improve the museum to the standard required.

Caroleen Molenaar, BA (Hons) Fashion and Dress History

When I started my volunteer position at the Old Police Cells Museum in October 2018, I was assigned to be a part of the Costume Collection Team due to my experience, knowledge, and interest in fashion history and wanting to acquire hands-on museum experience.

Within this role I have had a variety of different tasks to complete. In the autumn, along with other Costume Team volunteers, I was responsible for a collection audit of all the costume-related objects that were located within the women’s cells. (At the moment the objects in the women’s cells are not strictly related to women’s policing but encompass both men’s and women’s policing. The name of the women’s cells originates from when the museum was used as a cell and both women and children were held in that part of the building.) This duty included completing accession forms for all items on display and checking in the collections database that all objects on display had been accounted for. Various types of objects were included: men’s and women’s uniforms, police helmets, handcuffs, buttons, epaulettes, whistles, belts, and truncheons.

Since January 2019 my role has shifted into another aspect of collections management. Alongside other volunteers, I have begun to conserve the police uniforms within the collection. This type of conservation is a multi-step process that takes place over several weeks. It involves wrapping the police uniforms in plastic for protection; placing them in a large freezer for two to three weeks to kill any bugs or bacteria that may be on the uniform; unwrapping the uniforms; cleaning the uniforms which a specific conservation vacuum (Figure 1); wrapping them in acid-free tissue paper; and storing them in plastic storage boxes. Condition reports, which include information such as markings, measurements, and overall garment condition, as well as accession forms are completed for each object.

Figure 1: Museum conservation vacuum. Photograph by Caroleen Molenaar. 3 June 2019.

My volunteer position at the Old Police Cells Museum has provided me with invaluable hands-on skills and knowledge about costume collection management within a museum environment. This will be invaluable when pursuing future employment within the sector.

Emmy Sale, MA History of Design and Material Culture

I became involved with the Old Police Cells Museum as a way to gain first-hand experience in a museum environment and to apply the theoretical thinking about museum displays from seminar discussions into practice. The role assigned to me was object and displays researcher for the women’s cell. This includes producing informative A1 text panels alongside displays of objects and images from the museum collection that tell the history of women police in Sussex.

Screenshot from “U.K.: London Policewomen Get A New Uniform.” 1967. British Pathé. https://www.britishpathe.com/video/VLVAA0A0KX6PDW06WVAAKHN7FFVPE-UK-LONDON-POLICEWOMEN-GET-A-NEW-UNIFORM/query/women+police

I was keen to produce a display about women’s uniform and was delighted to find out that not only had celebrated couturier Norman Hartnell designed a women’s police uniform in 1967 but that the museum has an example of the hat that was part of this uniform. A British Pathé video of the press day (Figure. 2), revealed how they wanted to contrast the new ‘modern’ Hartnell-designed uniform with the uniform previously worn. We were able to translate this comparison into a display with both hats mounted in a cabinet alongside a text panel (Figure 3), explaining the significance of Hartnell’s role and how his design was unfortunately unsuccessful due to some impracticalities in its tailoring.

Figure 3: Display about the 1967 women’s police uniform designed by Norman Hartnell. Old Police Cells Museum, Brighton. Photograph by Emmy Sale, 30 March 2019.

The role has offered useful insight into the challenges of working with a museum wanting to achieve accreditation, particularly in terms of appropriate word counts for text panels and copyright issues surrounding the use of images. Research into police history was not something I had undertaken before but it has been an exciting challenge that tests my research skills and the application of them to new subjects. My next project for the women’s cell is to produce a timeline charting the history of women in Sussex-based police services since 1915.

 

Mod Town Legends: The Lambretta in Brighton Museum and Art Gallery

Bookmark and Share

Amy Matthews, BA History of Art and Design, selects an item from Brighton Museum that links to local history.

Tucked in the corner of Brighton Museum and Art Gallery’s Images of Brighton gallery is an original model of a red Lambretta Li 150. This scooter tells a story of Mod culture in the 1960s and the infamous ‘Battle of Brighton’ that took place there in 1964.

Photo of Lambretta scooter in gallery with photo of fighting Mods and Rockers behindThe scooter has a red and white body; attached are many wing mirrors. It has various stickers on the front and a headlight and visor with a small GB flag printed on to it. Displayed behind the scooter are two enlarged black-and-white photographs. One shows a group photograph of Rockers standing together and the other depicts a mass of Mods on Brighton beach.

The Mods and Rockers were two rival youth culture groups in the 1960s. Mods dressed sharply, they rode scooters such as this one and they cared about their appearance. Their name derived from Modern Jazz, a new musical genre. Rockers, who also cared about their appearance, wore leather jackets, liked 1950s Rock and Roll and rode motorbikes rather than scooters.[1]  Not only did the two groups’ vehicle of choice differ, but also their tastes in fashion and music.

The so-called Battle of Brighton was a violent clash between Mods and Rockers. The events inspired the 1979 cult classic film Quadrophenia, filmed in Brighton. The film follows an angst-ridden London youth, Jimmy Cooper, who escapes the drudgery of his job as a postal worker by becoming a member of the Mods, riding his scooter to Brighton and taking part in the fighting that occurred.[2]

The Battle occurred on 17 and 18 May 1964, a Bank Holiday weekend in the Whitsun holiday. Saturday was relatively peaceful, with only a few scuffles, but Sunday saw fierce fighting as the town was ‘invaded’ by an estimated 3000 youths.[3]  Brighton police were prepared for trouble as there had been clashes at other seaside towns such as Clacton and Hastings during Easter.

In Brighton, fighting centred on the beach and the seafront near the Palace Pier (now known as Brighton Pier). Violent scuffles took place between the police and the rioting groups, windows and deckchairs were smashed and some 26 youths were apprehended and sentenced to juvenile prison. Nothing on this scale was ever repeated, and although the media massively exaggerated the goings-on, Mods and Rockers will always be remembered for their violent clashes on Brighton beach that year.

The scooter not only reminds us of the Mods and Rockers, but of Brighton itself. Large numbers of scooters and motorbikes still flock to Brighton, lining the seafront on weekends and bank holidays.[4]  It is certain that ‘bike culture’ is part of Brighton’s cultural identity; therefore the Lambretta scooter in Brighton Museum is important, as it not only tells a story about a legendary event in the 1960s, but it also illustrates the story of Brighton as a ‘Mod town’ to this day.

This blog post was previously posted on the Brighton Museum blog: https://brightonmuseums.org.uk/discover/2019/03/27/the-lambretta-scooter-mods-and-rockers-in-brighton-museum/

Victor Papanek’s Social Design Legacy: A Book Review

Bookmark and Share

Karen Fraser, MA History of Design and Material Culture, reviews a new book that explores pioneering ideas and practices in global social design.

Victor Papanek [1923-1998] was an Austrian-American designer, author and activist who was concerned with design and its social, environmental and ecological consequences.  His pioneering attempts to disseminate the word of social design meant he led a peripatetic lifestyle, and as a result he left traces in institutions around the world. Victor Papanek: The Politics of Design is a 400-page catalogue published to accompany the exhibition of the same name held at the Vitra Design Museum from 29 September 2018 to 10 March 2019. The catalogue could be said to animate the archives; it seeks connections amongst the photographs, drawings, documents, and objects that Papanek created or in some way left his mark upon over a career beginning in the 1940s and continuing through the 1990s. Through essays, interviews and a series of provocations offered by contemporary designers, the catalogue aims to answer the question: what is Victor Papanek’s legacy for the twenty-first century?

Fig. 1: Daniel Streat. Cover of Victor Papanek: The Politics of Design. 2018. First published by Vitra Design Museum and Victor J. Papanek Foundation, University of Applied Arts Vienna.

The front and back covers offer an ambiguous visual introduction. White shapes appear to refer to things in the real world, but it is not immediately clear what those things are. Through five themed sections, it is revealed that some refer to objects designed by his students, some to things he has collected, and others to diagrammatic visualisations made in his notebooks. Further still, one points to a contemporary designed object, the Nike Pro Hijab, which was launched in 2017 and carries functional and symbolic significance for its intended wearers, female Muslim athletes. This inclusion addresses a gap in Papanek’s legacy: for all his merits, he paid little attention to the intersection of design and gender. As curator Amelie Klein notes in the catalogue’s opening essay, there are five contemporary design projects included in the exhibition that expose assumptions about gender, but they stand apart from the works by Papanek and his contemporaries. However, in exposing the Nike Pro Hijab’s potential for becoming a lucrative commodity, the curators link it to an aspect of Papanek’s record that is surer footed, that of his critique of consumerism. Contributor Dr Garnet Hertz identifies that Papanek’s work to ‘shift design from a type of marketing into a type of public service’ is deeply relevant to the late capitalist moment we are in now. As such, the catalogue contextualizes Papanek’s life and career in a way that recognizes its strengths and reckons with its failures.

Fig. 2: Nike Pro Hijab. Advertisement. 2017. Nike News. 30 May 2019. https://news.nike.com/news/nike-pro-hijab. JPEG File.

One aspect of Papanek’s work that offers much to reckon with today is his role with the International Council of Societies of Industrial Design (ICSID), established in 1957 by European and American designers who aimed to professionalise design through the development of international standards and design education across political and economic boundaries. Among its contributions, The University of Brighton Design Archives provided an image of the Ahmedabad Declaration on Industrial Design for Development, presented at the 1979 United Nations Industrial Development Organization (UNIDO)/ICSID Design for Development Congress. Professor Alison J. Clarke, who is the Papanek Foundation’s current director and who previously taught at the University of Brighton for several years, acknowledges that Papanek’s contribution to the congress reflected the way socially responsible design was thought of at the time, where the Global South provided ‘fresh fodder for design’.

Fig. 3: Ahmedabad Declaration on Industrial Design for Development. January 1979. ICD-6-4-4-3. ICSID Archive, University of Brighton Design Archives.

Thoughtful treatment of controversial topics such as this one characterises the catalogue and, as Vitra Design Museum director Dr Mateo Kries writes in his foreword, ensures that Papanek’s significance within the history of design is developed in a manner that is detailed and academically sound. Alongside many contributors who reside globally, two University of Brighton researchers lent their expertise to the exhibition and catalogue: Dr Tania Messell, who drew heavily on the ICSID Archive for her PhD in the School of Humanities, co-supervised by Dr Lesley Whitworth, Design Archives Deputy Curator, and Professor Jeremy Aynsley; and Dr Leah Armstrong, current head of archive at the Papanek Foundation, whose collaborative doctoral project was based in the Design Archives and was supervised by its former director, Professor Catherine Moriarty. These connections reveal some of the local, national and international networks of researchers whose insights made Victor Papanek: The Politics of Design possible.

This catalogue stands solidly on its own and will be of interest to those familiar and unfamiliar with Papanek’s legacy. Students and practitioners of design and its social, political and global history will find many points of connection to make between the complex issues that concerned Papanek and his collaborators and those that confront us today.

 

 

Collectors / Collecting / Collections: A Study Day

Bookmark and Share

Caroline Hamilton, a University of Brighton / Royal Pavilion and Museums PhD student, outlines how themes of collecting and collections brought diverse student scholars to Brighton.

Collect verb – bring or gather together. Systematically seek and acquire (items of a particular kind) as a hobby

Collector noun – a person who collects things of a specified type, professionally or as a hobby

Collection noun – the action or process of collecting

Fig. 1 Polaroids of the Ted Shawn Costume Collection. Photograph by Patsy Gay, Jacob’s Pillow Archives.

In April 2019 the University of Brighton hosted Collectors / Collecting / Collections, an AHRC TECHNE-funded PhD Study Day. Initiated by Annebella Pollen, the event was then coordinated and delivered by myself and fellow PhD student Claudia Treacher.

Our focus was on collectors, collecting and collections as objects of study and as systems of knowledge that shape research practices. In thinking about and with collections, including their definitions and limits, this training day encouraged interdisciplinary dialogue and methodological reflection across arts and humanities. Over the day we saw all facets of collections and collecting covered from eccentric collectors and artists’ collections to personal wardrobes. How items are collected for exhibitions was discussed, as was how exhibition design itself can be or cannot be collected. We divided the day into four sessions: Collections and Acquisitions, Collections and Engagement, Collections and Ethics, and Collections and Exhibitions.

Eight speakers presented on the day from across TECHNE organisations including Brighton, Kingston, Roehampton, RCA/V&A, Royal Holloway and University of the Arts London. Four of the presenters were undertaking their PhD work directly with cultural organisations including Kingston Museum, Brighton Museum & Art Gallery, the V&A and the British Museum. This institutional experience prompted an interesting discussion on collecting policies and how objects acquired as a collection are stored and catalogued.

Fig. 2 Worthing Museum Costume Store. Photograph courtesy of Worthing Museum and Art Gallery.

The day was a great opportunity for participants from disparate fields, universities and cultural institutions to come together and discuss their research in a closed and positive environment. Each participant shared work in progress and contributed to stimulating discussions on acquisitions and omissions; collector biographies and curatorial historiographies; engagement, ethics and the politics of audience participation. This took place through case studies of nineteenth century aristocratic fashion collections and avant-garde ballet costume; collections-based programming at the British Museum and contested Austrian national history collections; interwar ceramics and the art of conscientious objectors; international art events in Brazil and post-war Italian design exhibitions.

In order to increase engagement on the day, participants shared draft writing in advance, and academic respondents contributed structured reflections to enhance open discussion. In the spirit of developing cross-consortium team-building and interdisciplinary exchange, students were involved in all stages of the organisation. This including the selection of papers and the organisation and chairing of panels. Claudia and I developed skills in academic events management and the peer-review of research, while participating students developed subject knowledge, research toolkits and researcher networks.

The study day followed three previous successful collaboratively-organised and cross-institutional AHRC TECHNE training days: ‘New Thinking in Design History’ (Brighton, 2016), ‘Unpacking the Archive: Methodologies and Challenges in Design History’ (RCA/V&A, 2017) and ‘The Printed and Digital Page: Reassessing Form, Content and Methodology’ (Kingston, 2018). The University of Brighton hope to continue the series into a fifth year in 2020.

Women’s Work: Pioneering Women in Craft, 1918-1939

Bookmark and Share

Sally Lawrence, BA (Hons) History of Art and Design student and volunteer at Ditching Museum of Art + Craft, reflects on an innovative new exhibition.

The first world war was both devastating and life changing for the people of Britain. From May until October 2019, Ditchling Museum of Art + Craft have chosen to explore how a number of women reacted to these changes. The women in this exhibition were finding their feet in a new and uncertain world. They chose to do this by taking their traditional crafts and turning them into creative businesses. Some of the women are well known and remembered but many have been previously hidden from view, and many more were lost altogether in the historical record. While this exhibition does a beautiful job of shouting about some women who have only ever previously been whispered about, there is much more work to be done and things to be said regarding the lives and legacies of craftswomen in Britain. This exhibition is interesting and insightful in its own right but what is even more exciting, is the incredible pathways it has reopened for research into an under-investigated but incredibly important area.

Figure.1: View of Women’s Work: Pioneering Women in Craft, 1918-1939. Ditchling Museum of Art + Craft. 03/05/2019. Author’s own Photograph.

Women’s Work features a range of craft disciplines including pottery, silversmithing, weaving and block printing. The exhibition includes work by Phyllis Barron (1890-1964) and Dorothy Larcher (1882-1952). More commonly known as Barron & Larcher, they were innovative and successful designer-makers, who produced popular and fashionable block printed fabrics. Women’s Work features a number of examples of their work including items of clothing that show the incredible range of patterns that these women able to create by hand and often with very limited supplies [see Fig. 2]. As the exhibition shows, Barron and Larcher used whatever materials they had to hand, from prison sheets to organza, coupled with household items like combs, to create bespoke printed fabrics that caught the attention of some important and wealthy people including Coco Chanel. Although the world they lived in was becoming increasingly industrialised, the quality of their work showed that handmade goods, much like these female makers, were worthy of attention and admiration.

Figure 2: Dresses top and Jacket by Barron & Larcher, n.d. Dress and Waistcoat by Rita Beales and Doreen (Dods) Straughan Protheri, c1940. On display at Ditchling Museum of Art + Craft. 03/05/2019. On loan from Crafts Study Centre. Author’s own Photograph.

As a volunteer at Ditchling Museum I have experienced and enjoyed a number of their exhibitions. But this one is very different from any that I have experienced anywhere before. Women’s Work is not an exhibition that claims to know everything but instead it one that is proudly urging visitors to take what they have learned and to run with it, to find out more and to share it with the Museum and the wider world. This it what makes this exhibition so exciting. As the exhibition notes, its purpose is to raise awareness about these women and the thousands like them who help keep craft alive in our ever changing world. It shines a light on craftswomen who have been hidden in the shadows for far too long but it also provides wonderful new directions for research and engagement. When you visit, you will see some beautiful artefacts and will read some interesting stories but most importantly you will have been given a starting point that could take you on some incredible journeys. This is not just an exhibition; it is an opportunity. Don’t miss it.

Women’s Work: Pioneering Women in Craft, 1918- 1939, is open at Ditchling Museum of Art + Craft from 4 May- 13 October 2019.

Multi-sensory display and inclusive practice at the Horniman Museum

Bookmark and Share

Shannon Wilson, MA Curating Cultures and Heritage, reflects on good practice in the museums sector. 

A group of MA Curating Collections and Heritage students was recently given the opportunity to visit the Horniman Museum and Gardens in Forest Hill. This trip allowed us to consider how issues relating to access and learning in museums might be addressed in practice. While the wet weather prevented us from enjoying the gardens, we were able to explore many other areas inside the museum. Below, I discuss my impressions of the Natural History Gallery, the World Gallery and the Hands on Base Gallery.

The Horniman Museum attracts a large number of both new and returning visitors, with many families who enjoyed visiting the museum when they were younger coming back with their own children. Upon entering the bright, airy entrance to the Horniman, you are immediately hit by the noise from the World Gallery, which seems to rise up and spill over onto the mezzanine level above it. The gallery that houses the museum’s natural history collection can be found here, although once inside, the atmosphere changes completely as you are met with quiet tranquility and a soothing pastel colour scheme (not to mention the famous Horniman walrus). The pared-down, traditional displays contain many of the founding objects in the museum’s collection and seem to have been virtually unchanged in the past 100 years. The familiarity of these displays and the peaceful environment in which they are situated may be one reasons why so many visitors are drawn back to the museum.

Figure 1: The Crochetdermy® display. Photograph by author.

Alongside these well-worn, well-loved exhibits, there is also a relatively new display at the entrance of the gallery about a form of art called Crochetdermy® by the artist Shauna Richardson [Fig. 1]. The small installation includes examples of the artist’s work alongside a collection of graphs and diagrams illustrating the ‘Evolution of the Artist and the Exhibited Works’. While the influence of the museum’s taxidermy displays on the artist’s work is clear, this section’s modern aesthetic stands in stark contrast to the rest of the gallery. This may have been an intentional decision on the part of the curator, perhaps representing the ‘evolution’ of the museum’s display practices as a whole, especially when compared to the contemporary styling of the World Gallery below [Fig. 2].

Figure 2: An interactive activity in the World Gallery. Photograph by author.

Containing a dizzying 3,000+ objects, as well as a range of video clips and interactive features, the World Gallery is loosely divided into four spaces: an Introductory area, Encounters, Perspectives and Horniman’s Vision. The Encounters section houses collections which represent different ways of living and are further divided by continent: Africa, the Americas, Asia, Oceania and Europe. Although the noise in the World Gallery as a whole can make it quite difficult to concentrate on the displays, this part of the gallery is without a doubt the strongest, most thoughtfully curated and well presented (if a little visually busy).

Conversations with museum staff revealed that many of the display cabinets have underlying themes running through them that determined how each object has been selected and arranged. The Perspectives area is tucked into the very back of the gallery and is designed to encourage visitors to reflect on how and why objects are categorised, and how this contributes to our understanding of the world. This section of the gallery also contains a display about disability and mental illness that was co-curated by the museum’s Access Advisory Group (AAG). It is clear after speaking to members of staff that this display was the product of much hard work and collaboration. The museum adapted certain aspects of its practice to better accommodate the needs of the AAG, such as allowing one member of the group to draw objects using their preferred medium of felt tip pens (which would usually not be possible). However, in practice this display feels almost lost amongst the vast assortment of objects around it, demonstrating some of the difficulties that can arise when translating collaborative community engagement into gallery-based exhibitions.

Figure 3: The cloutie tree in the World Gallery. Photograph by author.

On our MA, Curating Collections and Heritage, we have considered the benefits of multi-sensory display to inclusive learning practice, and the World Gallery at the Horniman makes great use of multi-sensory display techniques. There are things to see, hear, touch and smell, as well as many activities that encourage audience participation, such as the cloutie tree, which is covered in brightly coloured tags bearing messages of well-being and thanks written by visitors {Fig. 3].

There are also opportunities to interact with objects in the Hands on Base gallery. This is a fantastic space, full of objects which can be touched and even worn. During the week this gallery is booked out for school and community sessions, but at weekends and during school holidays there are some free drop-in sessions available for all visitors. The star attraction in this gallery is undoubtedly the discovery boxes. These boxes were developed with a number of groups within the community and respond to a range of themes. For example, ReWrite, a large refugee focused organisation, created ‘a survival kit for landing on a new planet’. While there are certainly some inconsistencies in the Horniman’s public-facing practice which it would benefit from addressing in the future, these discovery boxes successfully celebrate the range of collaborative work that is taking place at the museum [Fig. 4].

Figure 4: A discovery box created by ReWrite. Photograph by author.

Overall the Horniman Museum is a joy to visit and sets a great example for the museums sector. Although the museum does need to be mindful of the potential for sensory overload for some visitors, the bright, stimulating displays are clearly very popular. The museum as a whole is very accessible and there are many different ways to engage with the collections.

From Medici art to modern jewellery: Two new staff books

Bookmark and Share

Second year BA History of Art and Design student, Jess Kellow, reviews a recent book launch that introduced new publications by University of Brighton staff.

In February 2019, the Centre for Design History held a book launch for two newly published works, which was attended by staff, students and visitors. The books that were presented to us were Angelica Groom’s book Exotic Animals in the Art and Culture of the Medici Court in Florence [Figure 1] and Simon Bliss’s book Jewellery in the Age of Modernism 1918-1940: Adornment and Beyond  [Figure 2]. Refreshments were provided and it was a friendly atmosphere to talk to members of the staff and student body, and a great place to meet wider members of the University of Brighton community. Both authors gave us a fascinating introduction to their books, their inspirations and the challenging but rewarding journeys which led them to the finished products.

Figure 1: Angelica Groom, Exotic Animals in the Art and Culture of the Medici Court in Florence (Brill: Leiden; Boston, 2019)

The Medici family was a powerful Italian family during the Renaissance, who gained political power through banking and commerce. Their immense wealth allowed them to be patrons of the arts and sciences as well as to amass the collection of animals which is the subject of Angelica’s book. Her book covers the Medici family’s period of power between 1532-1737 and looks at their collecting and keeping of animals as well as the use of animals in the art they commissioned.[1] The book begins with an introduction to the themes, case studies and research it covers as well as information on the global collecting of animals so that the reader will understand the climate in which the Medici family created their own menageries. The rest of the book is divided into two parts (which themselves contain separate chapters), the Cultural Uses of Animals at the Medici Court and the Exotic Animals in the Art of the Medici Court. The second part covers many incredible pieces of art that show us scenes such as hunting processions and the gifting of animals. Some of these incredible pieces of art Angelica showed us in her presentation, including Bartolomeo Bimbi’s Three Views of a Chinese Golden Pheasant, 1708. This oil on canvas painting shows three different views of the golden pheasant as well as figure in the background in oriental costume. In it we can see the bird’s beautiful plumage and see the artists attention to detail.[2] Here Angelica tells us of Bartolomeo Bimbi’s (1648-1729) still life paintings and how this approach to painting can be seen in his depictions of animals for Medici family. The detail in the study of the bird and the angles with which it is shown allow the viewer to see an atomically accurate depiction of the bird from all sides. This was important at a time when interest in scientific thinking was high. [3]

Figure 2: Simon Bliss, Jewellery in the Age of Modernism 1918-1940: Adornment and Beyond (Bloomsbury: London, 2019)

Simon’s book also begins with an introduction to his research and the themes that will be covered, including gender, identity and materiality looked at through jewellery in Europe and America during Modernism. Over five chapters the book covers changing attitudes to jewellery in the 1920s, the marginalization of ornament and the display of jewellery as it addresses how jewellery is often overlooked. In the book the example of the Bauhaus is given, notably chapter 3 and chapter 4, “Modernism and Modernity” and “Representing Jewellery: Photography and Film” respectively. Here the case study of the metal workshop in the Bauhaus is looked at, specifically Self-portrait with jewellery for the metal party, Bauhaus Dessau by Marianne Brandt (1893-1983), which Simon also showed in his presentation.[4] Marianne Brandt was a German designer who became the head of the metal department at the Bauhaus Dessau in 1927.[5] The metal party was one of the Bauhaus’ famous themed parties that was held in the February of 1929.[6] The photo was one in a series of self-portraits she made in the 1920s in which she experimented with the presentation of her own image. In it Brandt can be seen wearing the jewellery she made for the party, including an earring made of metal gears, plexiglass and a bell. The unconventional angle with which the headpiece seems to force Brandt to hold herself in the photo, her short hair and simple clothing seems to reach for a representation of strong and Modern femininity.[7] Simon points out that Brandt never quite reached this aim, failing to promote herself and own her own work in the male-dominated world of the metal workshop.[8]

The event was an enjoyable way to hear about the research that members of our teaching team have conducted and as a student to be inspired for future endeavours. It was organised to be an informal event and a good amount of time was given to the authors’ presentations as well as to audience questions. Both books present an incredible amount of research and were passionately presented to us during the book launch. They are both available at university libraries and beyond.

[1] Angelica Groom, Exotic Animals in the Art and Culture of the Medici Court in Florence (Brill: Leiden; Boston, 2019) 5.

[2] Groom, Exotic Animals in the Art and Culture of the Medici Court in Florence, 237-238.

[3] Groom, Exotic Animals in the Art and Culture of the Medici Court in Florence, 236-237.

[4] Simon Bliss, Jewellery in the Age of Modernism 1918-1940: Adornment and Beyond (Bloomsbury: London, 2019) 131-132.

[5] “Marianne Brandt,” Art and Artists, The Museum of Modern Art website, [n.d].

[6] Bliss, Jewellery in the Age of Modernism 1918-1940: Adornment and Beyond, 108.

[7] Bliss, Jewellery in the Age of Modernism 1918-1940: Adornment and Beyond, 131.

[8] Bliss, Jewellery in the Age of Modernism 1918-1940: Adornment and Beyond, 132.

The Chinese Visual Arts Project: Graduate work in records and archives

Bookmark and Share

Freja Howat, a BA Visual Culture graduate, reflects on her recent employment in the digital preservation of a university collection of Chinese Visual Arts.

Working over a period of five months in 2018-19, I joined the Records and Archives team at the University of Westminster to help implement the digitisation and digital preservation of its collections. Founded as the UK’s first polytechnic institution, the University has collections spanning over 170 years. My role was, needless to say, varied.

When I told people that I worked in an archive, most people imagined me sat among a load of boxes in a dark, dusty strongroom. This was partly true, but popular visions of archives are based on myths that do not do service to the active labour that goes into providing access to collections via outreach and digitisation. Archives are not static repositories – the work around the University’s Chinese Visual Arts Project exemplifies this point.

Founded in 1977 by the writer and journalist John Gittings, then Senior Lecturer in Chinese at the Polytechnic of Central London (predecessor to the University of Westminster), the collection comprises a staggering 843 posters acquired from Hong Kong and mainland China, dating from the 1940s to the 1980s, alongside a wealth of books, objects and ephemera. The collection was used and built upon as a teaching aid for the University’s classes in Chinese language and politics and is still used today for similar purposes by Senior Archivist Anna McNally for a range of courses at Westminster engaging with visual and material cultures. I worked with Anna to deliver outreach sessions designed to offer students a deeper understanding of the ways in which archives are constructed, and how collections are attributed with meaning and value.

Figure 1: Item CPC/1/E/39 – Unknown Artist, Smash the old world & build a new one, 1967, 270mm x 376mm, Records and Archives, University of Westminster

These sessions often engaged with the propaganda posters, which encompass a wide range of styles, responding to the frequent changes in the political climate. Created in the red and black graphic woodblock style that has become so synonymous with the Cultural Revolution, posters such as “Smash the old world and build a new one” (1967) [Fig. 1] portray the elimination of China’s old traditions under the Communist regime. By the mid-1970s, these posters begin to shift in style. More posters tend to promote healthcare, education and industry such as “Put birth control into practice for the revolution” (1974) [Fig. 2], a message that takes on new significance following China’s one child policy (1979-2015). This poster also struck me as particularly relevant to today’s political climate as it features Uighur Muslims, an oppressed minority currently facing ethnic cleansing in Xinjiang.

Figure 2: Item CPC/1/H/8 – Unknown Artist, Put birth control into practice for the revolution, 1974, 776mm x 542mm, Records and Archives, University of Westminster.

Accompanying these posters are a number of propagandist toys such as a puzzle cube of Vietnamese children planting a bomb for American soldiers [Fig. 3] and a pair of dolls that depict the Red Guards, a mass paramilitary social movement mobilised and guided by Mao in 1966 and 1967, during the first phase of the Cultural Revolution [Fig. 4]. There are also objects that detail the everyday, such as bus tickets and receipts; pins featuring Mao; matchbooks depicting Chinese monuments and lingerie [Fig. 5]. These materials have received less interest than the posters, yet resonated with me as I felt they had just as much to say about the culture and politics of China during this period, as well as Westminster as an institution.


Figure 3: Puzzle cube, c.1970, Records and Archives, University of Westminster

Whilst considering the transformation of political narratives overtime, students also reflected on the wider context by which the collection was formed and how it portrayed China through a particular Western paradigm. It is for this reason I became involved with digitising this aspect of the collection; to increase the visibility of the collection as a whole, which when seen in its wider context as a teaching aid also raises questions about Westminster. It is a legacy that continues to grow and evolve in the ways it is catalogued, distributed and engaged with.

Figure 4: Red Guards, c.1967, Records and Archives, University of Westminster

I set to work photographing these objects and also played around with 3D modelling (a work in progress). Whilst this has its own issues – not everyone has access to a machine that is powerful enough to view 3D models – we thought it could be an interesting way for researchers overseas to get an idea of the materiality of an object [Fig. 6]. Alternative, low tech solutions also led me to think about .gif making; accessible to anyone with a mobile phone. In addition to this, Westminster has recently implemented a new online catalogue which enables users the choice between English and Chinese. Whilst this is of course open to continuous improvement, it is a positive development that will fundamentally alter the ways in which audiences engage with the collection and how it is managed.

Figure 5: Bra, c.1966-1976, Records and Archives, University of Westminster

By considering the ways which this collection has been acquired and the channels by which it continues to be distributed, audiences are offered a newer context for viewing the collection. It allows us to think critically about the appropriation of the word ‘archive’, about differences between digital and physical objects, and also about the accessibility of material and the impacts of digitisation on non-European collections that have been attributed Westernised standards of archival value.

Figure 6: Work in progress 3D Model of Red Guard Doll, Records and Archives, University of Westminster.

Read Senior Archivist Anna McNally’s article here.

For personal insights and reflections on the collection, read Westminster alumni Cassie Lin’s work here.

Browse the catalogue here.

All images courtesy of University of Westminster Archive.