RARE BOOKS AT CANTERBURY. Les Mots en Liberte Futuristes

 

Published in 1919,  this publication  was written and designed by Filippo Tommaso Marinetti,  1876-1944.

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A poet, novelist, critic and founder of the Futurist Movement. This publication is an exploration in Futurist writing and typographic experimentation. A pioneering example of concrete poetry, the layout is dynamic and engaging.

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The work written in French, contains four  fold-out diagrammatic works of art and plays with different typefaces throughout to create a composition of energy and expressive freedom.

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Artists Books at Canterbury. Happy Travellers -Artists Book MIY.

Happy Travellers (2009)

Chie Miyazaki & Soju Tanaka

Artists Books MIY

A rather sweet and delicate artists’ book with subtle watercolour illustrations of some jovial characters who are travelling. They travel by unconventional means; tortoise, unicycle, cable car, ship and hot air balloon. With each page there’s a variety of bright characters, some hiding in the pages, encouraging the viewer to look a little bit longer at the pages to spot each character.

Find more of their work here:

http://www.sojutanaka.com/

http://cargocollective.com/chiemiyazaki

happy_travellers

Happy Travellers, 2009, Chie Miyazaki & Soju Tanaka.

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Happy Travellers, 2009, Chie Miyazaki & Soju Tanaka.

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Happy Travellers, 2009, Chie Miyazaki & Soju Tanaka.

Artist in residence – Canterbury

Faith Cannon, graduate in Fine Art from Canterbury, is going to be our artist in residence in the archives. Here’s her work in her own words:

Faith Cannon -BA Fine Art

Previous use of archives- Maidstone UCA Campus

Previous use of archives- Maidstone UCA Campus

Previous use of archives- Maidstone UCA Campus

Previous use of archives- Maidstone UCA Campus

Previous use of archives- Maidstone UCA Campus

Previous use of archives- Maidstone UCA Campus

Previous use of archives- Maidstone UCA Campus

Previous use of archives- Maidstone UCA Campus

A little about me- I have just graduated from UCA after studying part time for 6 years at Canterbury and my foundation year was at Maidstone Campus.

My artistic practice is drawn from the theory of experiential learning and the use of recycled materials which hold their own unique footprints. These connections to the past functions and history behind the materials, inspires my practice to further their existence through process and manipulation. I use varied media to create new art work; I incorporate my own past work and ideas to then create something new and contemporary.

Why I want to promote the use of the archives!

On finishing my degree I was reviewing areas that I wanted to develop my artistic practice further. I had used the archives previously in my work and collaborated with fellow artists to form an exhibition at UCA Maidstone as part of our studio work. So I decided to contact Rebekah Taylor to see if I could aid and promote the use of the archives as a resource for students at UCA. Rebekah was very enthusiastic and we came up with initial areas of focus with digitalisation of some of the archives from Canterbury past degree shows. This will allow students visual access to past artworks, presentation, curator practice, artist statements which could aid them in their own studies. We also want to promote the development of new work from these artefacts’ in a contemporary way. To do this I intend to collaborate with other artist. So watch this space!

Degree show 2015 Herbert Read Galley

Degree show 2015 Herbert Read Galley

Degree show 2015 Herbert Read Galley

Degree show 2015 Herbert Read Galley

Explore Your Archive: Women in the Arts

Follow the whole story on storify

Our archives tell the story of the role the Art Schools played in women education.

David Haste, Artist, and ex staff member of the Kent Institute of the Art and Design, and soon to be author of the ‘Art Schools of Kent’ provides general contextual information related to women in Art Schools:

‘Art Schools were first established as Design Schools in the 1840s…they were an immediate attraction to middle class women, particularly so when it was still commonly believed that art was a luxury in education permissible for girls, but quite unnecessary for boys’ – David Haste

‘The Art Schools were important in teaching training. Elementary school teachers were predominantly female and they attended art schools to obtain a proliferation of certificates by which their salary was judged. Towards the end of the 19th century art school were teaching a range of crafts and these like much else carried gender identities. “Masculine craft skills” [were] technical drawing, print furniture etc…”feminine craft skills” [were] needle crafts…embroidery, tapestry, dress/costume design ’-David Haste

Here we focus on Epsom and Ewell Technical Institute and School of Art

19th century
Courses included in the 1896 and 1897 prospectuses were: Shorthand, Drawing, Carpentry, Home Nursing, Cookery and French. Late 19th century, Cookery

1920s
Due to lack of Secondary School provision, the Surrey County Council proposed that the Technical Institute should be used temporarily as a secondary school for girls providing accommodation for 160 pupils from September 1921.
Images of women at work in the art school on both the 1921, and 1925 prospectuses suggest the popularity of Art Schools for women.
The timetables were Art Classes, Millinery, English, Cookery, Shorthand (theory and speed), French, Typewriting and Office Routine

Women's Art Class, 1919-1920

1925-1926 prospectus

1930s
In classes in the 1932 prospectuses ‘the Cookery and Dressmaking classes are recommended to those interested in Domestic Subjects’, while ‘for boys and young men there are carefully arranged classes that should prove of great value. Their attention is also drawn to the instruction given in Interior Decoration, Architectural Design, Geometry and Perspective in the Art School’.
While Cookery and Domestic classes are not specifically designated for women here, Industrial Classes are specifically highlighted for males
The 1937 prospectus offers courses in Life Wood, General Engraving and Art , Illustration, Elementary Drawing and General Life Subjects, Shop Window Display, Dress Design, Crafts and General Art Subjects. There are no specific classes for males and females

1932-33 prospectus

1950s
Domestic and Cookery classes have no mention here. The 1953 prospectus offers National Diploma in Design, Dress Subjects, Graphic and Advertising Design, Painting, Sculpture and Pottery, and Industrial Crafts
There are no specific classes for males and females, although teachers within Dress and Design are all female. There are, however, also women teaching on the Industrial Crafts course

1960s
There are no specific classes for males and females. Classes are Drawing, Painting and Sculpture, Design and Crafts, Dress Design, and Graphic Design

David Birch, Landscape Artist, Donation

UCA has received a donation of work that was created by the Artist David Birch. Information on the collection can be found here http://community.ucreative.ac.uk/article/39941/David-Birch-illustration-and-oil-painting-work

David Birch (William Henry David Birch) (1895-1968) was the Principal of the Epsom School of Art and remained in post until 1961. David Birch was born in Epsom, and was also a student of the first Principal William Henry Osmond (1865 – 1943) in the years before The Great War. Birch was a renowned landscape painter and member of the Royal Institute of Oil Painters following in the Constable tradition.

Material of David Birch’s will be of interest to Fine Art and Illustration, and is currently in the process of being catalogued

Material we have of David Birch includes:

-Two oil paintings of David Birch’s both showing landscapes, one untitled, one entitled ‘Slate Quarry’. Both paintings were exhibited at the Royal Institute of Oil Painters exhibition. Catalogues are held at the V and A in the National Art Library. Both paintings were exhibited at the V and A

– Book jacket designs, for a number of publishers, including Oxford University Press, satirical cartoon drawings, and proofs and cuttings of book illustrations

– 90 black and white photographs of oil paintings (scenic views, Norfolk, Wye Valley, Black Mountains etc) and 12 images colour-printed for a calendar

This work was created from 1918-1920s

This collection is located in Epsom

Monthly update on project progress

Cataloguing

Farnham School of Art and West Surrey College of Design archive catalogues are available on Archives Hub. These consist of student work, staff magazines, bulletins, and student associations, with interest for Graphic Design and Fine Art

The Working Press Collection, is currently being catalogued. This is a collection relating to working class artists in the 1980s, which explores the idea of artists as an oppressed group, and the meaning of what it is to be working class. This consists of the in-house printed working press book collection, related pamphlets and artists books used for inspiration, and the correspondence and financial information.

Graduation photograph collections from the Kent Institute of Art and Design from 2000 (Maidstone, Rochester and Canterbury), which includes images of Zandra Rhodes in her own designed gown, are currently being catalogued. Photographs from Surrey, which includes graduation images from the 1970s, have been appraised and will be undergoing cataloguing

Textile books created by a individual in the Embroiders Guild have been catalogued online. To be shortly available online

Preservation

Preservation workshops have taken place in Rochester and Canterbury
An access to the archives guide for students will shortly be written

Policies and procedures

Strategies for insurance, and a deposit agreement, and exhibition loan agreements, and appraisal guidelines have been written for internal use

Staff and student use

Fine Art students have photographed and represented images of Maidstone College of Art images in interesting ways. Images will shortly go on to UCA Archives website

External work

Conferences include the LGBT London Metropolitan conference in February, and UCA Archives will be presenting in an internal UCA staff conference with the Digitisation Unit in May

The Epsom Library Artist Book display will take place from the 8th April, with a talk from Graphic Designer and Artist Book creator Mike Nicholson on the 25th April in the evening

Work is ongoing for the Surrey History Centre display in August

West Surrey College of Art and Design Catalogue Online

Records from the West Surrey College of Art and Design can now be accessed online at http://community.ucreative.ac.uk/article/38029/West-Surrey-College-of-Art-and-Design

Records consist of Prospectuses, Student Societies, Departmental and School records, including Audio Visual Studies, Three Dimensional Design, Textiles. Fine Art. Design and Foundation Studies, Library minutes, Institutional reviews and reports for Council for National Academic Awards and Governors, Publications and newsletters,Henry Hammond, head of the department of Three Dimmensional Design, retirement photographs

West Surrey College of Art and Design consists of Farnham and Guildford Schools of Art. At the end of 1968 the first moves to merge the two art schools at Farnham and Guildford were underway. Guildford had undergone recent student unrest, and now in the first stages of merger, the fine art students were due to transfer from Guildford to Farnham, and the graphic design students from Farnham to Guildford. However the accommodation vacated by the graphic design students was unsuitable for fine art students, and alternative accommodation was suggested at Hatch Mill, formerly the Farnham Sanitary Laundry for 120 foundation students. However this plan was initially obstructed by the highways committee who considered the location over the other side of the bypass too dangerous for students to negotiate. There were other issues over council concerns over student attitudes (seemingly inflamed by the Guildford unrest).

Foundation students were currently housed in leased accommodation at Wrecclesham Hall. However this space was no longer available, and a second attempt was made under the leadership of Sir John Verney, one of the governors, and despite continuing opposition, a compromise was achieved, and the students were to be allowed the use of Hatch Mill for a period of nine years with a new footpath provided by the council.

In April 1969 200 students moved into the initial phase of the newly constructed building in The Hart. The building had cost £250,000 and was the work of county architect Raymond Ash.

In September 1969 Farnham School of Art formally merged with the Guildford School of Art to form the West Surrey College of Art and Design. The second phase of building commenced.

In the 1970s numbers 23 and 24 West Street were used for student accommodation, after the death of Jessie Goddard, the owner and widow of the local builder, John Goddard.

Ben Franklin was head of sculpture from 1970 to 1981. During that period he sculpted the bronze, entitled Matriarch, and this was erected in Borelli Yard.

James Hockey retired in 1971, having had an extension granted by Surrey County Council in order to ease the integration of the two schools. He had been a seminal figure for nearly 30 post war years and was succeeded by Thomas Arnold who remained as Principal until 1974.

In 1971/1972 a new course in animation was introduced. It was set up by the British Oscar-winning animator, Bob Godfrey (1921 -2013 ).

Leonard Stoppani was Principal from 1974 until 1984. He carefully steered the College into a new era, exercising initiative, restraint to allow the development of new patterns.

Design courses were still concentrated at Guildford, and foundation, fine art and craft courses at Farnham. However by 1976 the long-established courses in photography and graphic design, together with the more recently constructed film & television production, animation and television graphics were brought together under the Audio Visual Studies department under the leadership of Peter Sanger. The remaining courses finally moved from Guildford to Farnham and by 1977 all students and staff from Guildford had moved into the new building. Degree intakes started in 1980.

In 1978 the difficult decision was made to phase out all vocational design courses (Graphic Design, Product Design, Interior Design and Surface Design). They were considered more appropriate to the facilities of a polytechnic.

In 1978/1979 Harold Cheesman, Head of Fine Art retired, and was succeeded by the renowned “Polish Scottish colourist”, Leszek Muszynski, who had taught at Farnham since 1951.

During his time Art History was on the curriculum, and it was the difficulties in accessing the William Morris collection at Kelmscott Manor, that inspired Joseph Acheson, the Senior Lecturer in Art History, to mount an exhibition on William Morris that was held at Farnham in November 1981.

By 1982 there were nearly 640 full-time students attending the college. The Foundation course accepted 120 students a year, and remained in the old grammar school in West Street. The degree courses were organised into four departments: Fine Art (Painting with 20 students, Sculpture with 12 students and Printmaking with 12 students); Audio-Visual Studies (Photography with 25 students, Film & Video with 12 students and Animation with 12 students); Three Dimensional Design (Ceramics, Glass & Metals introduced in September 1981) and Textiles (Woven Textiles, Printed Textiles). Art History and Complementary Studies were an integral part of all the courses.

Michael Fairclough, lecturer, executed an abstract mural reflecting the town’s geographical location. It covers a blank wall of the newly opened Post Office at 107 West Street.

The second stage of the college development was completed in 1977, although the foundation course continued there into the 1990s when it too transferred to Falkner Road.

John Morris became Principal in 1984, remaining until 1986. Gary Crossley became Acting Director, until the arrival of Norman Taylor in 1986.

In 1995 the West Surrey College of Art and Design merged with the Epsom & Ewell School of Art to form the Surrey Institute of Art and Design.

Guildford Prospectus 1956-7

Artists and Archives

This post explores some ways that UCA Fine Art students and staff have used archives within Fine Art projects

Five BA Hons Fine Art Artists from UCA are currently putting on their debut exhibition in UCA Maidstone Campus, which involves using images from the Maidstone College of Art archive. This project will also explore sound art in the form of oral history, of the Maidstone College of Art alumnis. The exhibition will provisionallyt take place on the 18th-22nd March 2013. For news of their progress follow their blog here http://fiveartfuse.wordpress.com/

Maidstone prospectus

Lucy Harrison, Fine Art lecturer at Canterbury UCA, has also undertaken work into archives and libraries. This includes a A partial and ongoing collection of east London clubs and societies, commissioned by the London Legacy Development Corporation to anticpate the opening of a new North Park community hub in the Queen Elizabeth Olympic Park in the summer of 2013. This can be accessed here http://aclubcollection.tumblr.com/

This also includes the Library Archway project. This was a residency at Archway Library, London, between September 2012 and January 2013, part of Hostings / A Million Minutes. Two newspapers and an audio tour of the library, read by a member of library staff, were launched at the end of the project and are available in the library.
http://www.lucy-harrison.co.uk/projects/archway-library

Louisa Love, a Fine Art third year student at UCA Canterbury, has also curated a display with digital prints from the Tessa Boffin archive

Examples from other institutions include the Kingston School of Art oral history project accessible http://www.kingston.ac.uk/alumni/news-and-events/alumni-stories/2012/august/23-ksa-project/

London Metropolitan Archives, LGBT Conference at Guildhall Yard, 16th February 2013

Presenting the Tessa Boffin Archive at Brave New World

On the 16th February 2013 at the London Metropolitan archives LGBT conference, held at the stunning architectural and design surroundings of Guildhall, UCA Archives presented the Tessa Boffin archive, a Photographer specialising in LGBT issues including cross dressing,which looks at gender identity, and photographic responses to AIDS, alongside professional Photographer, Rebecca Andrews’, recen, around 2000, female body builder images. Andrews also looked at ways that gender identity can be portrayed (looking at Tessa Boffin’s 1980s archive and her own recent body builder work)

See Rebecca Andrews website http://www.rebecca-andrews.co.uk/

See Tessa Boffin Archive http://community.ucreative.ac.uk/article/37974/Tessa-Boffin

Brave New World, Conference

Guildhall art Gallery also has an ongoing exhibition from acclaimed Photographer Ajamu, of under 35 LGBT black British born individuals, Fierce

http://ajamu-fineartphotography.co.uk/2012/01/27/fierce-2/

Themes of the day included Policy – Action and Impact, LGBT History and the Future, Community projects, and Culture and LGBT identity, from a range of passionate speakers

Brave New World Rebecca Andrews  16 February 2013

Brave New World Conference Rebekah Taylor, 16 February 2013

Brave New World Conference Guildhall venue 2, 16 February 2013

New Artist Book Exhibition, Beaney Museum, Canterbury

Image and Word

Image and Word, Artist Books display at the Beaney

Image and Word, Artist Books display at the Beaney


UCA Canterbury Library has put up a new exhibition of Artist Books, in the Beaney Museum, Canterbury

It is on Image and Word and features Artist Books relating to typography

This is to complement the new Beaney gallery display – Signs for sounds: contemporary lettering & calligraphy.

See the Beaney Museum’s page here


Visit all of UCA Canterbury Library’s Artist Books here