Im/Material: Encounters within the Creative Arts Archive Conference Programme by Bright Light

Acknowledgements Im/Material: Encounters within the Creative Arts Archive has been enriched by a great many members of staff, students and others and we would like to thank them all for their various contributions. Special thanks to Wendy Short, Public Programme Coordinator for CCW Graduate School. The event has been supported by Academic Development and Services; Camberwell, Chelsea and Wimbledon Graduate School; and the Higher Education Innovation Fund. Conference brochure conceived and coordinated by Jeffrey Horsley and Amy de la Haye, London College of Fashion. Design: Charlie Smith Design charliesmithdesign.com Photography: Front cover: Camilla Glorioso Back cover: Gavin Freeborn

CONTENTS

WELCOME 4 1—UAL’S ARCHIVES AND SPECIAL COLLECTIONS 2—PROGR AMME FRIDAY 13 MAY 3—WORKSHOP SESSIONS FRIDAY 13 MAY 4—PROGR AMME SATURDAY 14 MAY

5 10 12 13

5—EXHIBITIONS 14 6 —FILM SCR EENINGS 16 7—SPEAKERS’ BIOGR APHIES

WELCOME It is with great pleasure that I welcome you to University of the Arts London’s two-day conference, Im/Material: Encounters within the Creative Arts Archive. This conference brings together UK and international archivists, artists, curators and academics to consider the role of the archive in the preservation, interpretation and creation of culture. The event offers an exciting programme of talks, discussions, collaborative student exhibitions and other immersive events which foreground archives and special collections within the creative arts. There will be opportunities to view and handle items from the University’s diverse collections that comprise a multiplicity of objects in a variety of media, dating from the 15th Century to the present day, which reflect the rich traditions and specialisms of UAL’s constituent colleges. These collections are housed in locations across the University, including an accredited museum at Central Saint Martins and an accredited archives and special collections centre at London College of Communication. The collections are embedded within our teaching and research activities, support our local communities, attract external researchers and enhance our international reputation and academic standing. Through the programme and events brought together for this conference, we hope to debate what is unique and distinctive about creative arts and object-based archives and to celebrate their pivotal role within practice and culture. During the conference we will also be launching a new publication of reflective essays that demonstrate a broad range of perspectives and approaches to working with archives and special collections. This publication provides a tantalizing glimpse of the wealth of UAL’s collections and how people have been inspired by their encounters with them. Further information about the UAL’s archives and special collections, including an online catalogue, can be found at: arts.ac.uk/study-at-ual/library-services/collections-and-archives Nigel Carrington, Vice-Chancellor University of the Arts London Conference website: arts.ac.uk/immaterial

01—UAL’S ARCHIVES & SPECIAL COLLECTIONS

CAMBERWELL COLLEGE OF ARTS

Camberwell I.L.E.A. Collection The Camberwell I.L.E.A. Collection was acquired by Camberwell College of Arts in 1989 following the disbandment of the Inner London Education Authority (I.L.E.A.). It comprises some estimated 20,000 objects that were originally amassed for, and used as, the Circulating Design Scheme from 1951 to 1976. The special collection embraces British studio glass and ceramics from the 1950s-70s, Scandinavian and Italian glass, Japanese metal, African wood, Latin American vernacular artefacts, Middle European folk craft and high quality mass-produced homeware and other material. Highlights include designs for Arne Jacobsen, Sam Smith toys, Lucienne Day textiles, Susie Cooper pottery, Wedgwood designs by Eric Ravilious and Studio ceramics by Lucie Rie, Bernard and Janet Leach.

Camberwell College of Arts Library The Library’s Special Collections include a wide range of rare illustrated books, from 19th Century children’s illustrated books to contemporary artists’ books, plus a collection of designer toys. The Walter Crane Collection is particularly worthy of note. This consists of around 150 books, including numerous first or rare editions by and about Walter Crane. The Library also holds the Camberwell College of Arts Archive. This consists of primary material documenting the history of Camberwell College of Arts from 1898 to the present. It includes college prospectuses, minutes of official meetings, degree show catalogues, private view cards and other ephemera.

The Camberwell I.L.E.A Collection. Photograph: Ben Mullins for Camberwell College of Arts

CENTRAL SAINT MARTINS The Lethaby Collection consists of many works by William Richard Lethaby, designer, educationalist and the founding principal of the Central School of Arts and Crafts. Over the last century the Museum has been augmented by the work of staff, students and alumni. For the last 25 years it has been purchasing work from the College’s annual degree shows. The resulting collection captures rising stars and reveals how new technologies have shaped design language. The Archive of Central Saint Martins is also held within the Museum. This contains administrative records as well as material such as promotional posters and exhibition catalogues.

Museum and Study Collection The Museum and Study Collection at Central Saint Martins tells the story of the College’s rich history through objects and archives. Based on an art and design teaching collection with items dating back to the 13th Century, the Museum includes early printed books, prints, illuminated manuscripts, 1920s German film posters, textiles and garments. The collection was first put together in the late 1800s and has been used to support teaching and learning at the College ever since. Highlights include 19th Century Japanese wood engravings, lettering designs by Edward Johnston and Eric Gill, wallpapers by William Morris, prints by Eduardo Paolozzi, garments by fashion designer Bill Gibb and paintings by Raqib Shaw.

Mr and Mrs Prickly Salt an' Pepper by Nick Crosbie (for Inflate) C.1997. Museum and Study Collection, CSM. Photograph: Jet

LONDON COLLEGE OF COMMUNICATION The Archive of London College of Communication contains hidden treasures tracing its history back to 1894 through posters, yearbooks, prospectuses and photographs. It shows how designers such as Tom Eckersley, who also taught at the College, have inspired students.

University Archives and Special Collections Centre The University Archives and Special Collections Centre holds unique and diverse archival materials and objects. Filmmaking, printing history and graphic design are particular strengths of the Centre. Highlights include the extensive archive of the film maker Stanley Kubrick. This contains a wide range of material, including props, scripts, call sheets and costumes. The John Schlesinger Archive documents the career and outputs of the English director and actor, including materials such as storyboards, contact sheets and press cuttings. Draft screenplays and press cuttings are amongst items that evidence the work and biography of scriptwriter Clive Exton. Sound art is represented through the Her Noise Archive, which has preserved the records and outputs of this ground-breaking project exploring music and gender. The recently donated David Usborne Collection of 2,000 objects offers an unusual perspective on human ingenuity while also illustrating the ‘natural’ aesthetics of utilitarian objects. Many of the objects within the Collection relate to obsolete crafts.

London College of Communication Library The Special Collections held in the Library reflect London College of Communication’s history in printing and graphics education. These collections cover typography, printing, book arts and zines. The Printing Historical Collection documents developments in technology and aesthetics in relation to book manufacturing in the Western world from 1485 to the late 20th Century. It is particularly strong in illustrated works, British private presses and book art pieces. The Zine Collection comprises some 2,000 examples of zines and fanzines from 1970s Punk onwards. Other notable collections are the Talwin Morris Collection of bindings, which features work by William Morris (amongst work by other craftspeople), decorated books from the Netherlands, and a collection of Art Nouveau and Nieuwe Kunst bookbinding.

'Blue Pencil Script' for A Clockwork Orange, The Stanley Kubrick Archive, University Archives and Special Collections Centre. With thanks to the Stanley Kubrick Film Archives LLC and Warner Bros. Photograph: Taeyeon Kwon

CHELSEA COLLEGE OF ARTS The collection is particularly strong in Fluxus and contemporary British artists. Many acquisitions reflect the work of students and staff of the College. The African-Caribbean, Asian and African Art in Britain Archive is another outstanding collection. It includes material documenting the work of contemporary artists of African-Caribbean, Asian and African descent working in Britain. Items in the Archive date from 1970, with a strong representation from the 1980s. It also includes the archive of The Peoples Gallery (1984-87). The Library holds the Chelsea College of Arts Archive. Items date back to the 1920s, but the majority of the archive is from 1964 onwards.

Chelsea College of Arts Library The Special Collections held within Chelsea College of Arts Library have an emphasis on modern and contemporary art, with a particular focus on artists’ books and multiples, archives and ephemera, rare books and periodicals. The most significant collection is the Artists’ Books Collection. This documents artists’ involvement with the book as a medium for art since the 1960s. It contains some 4,500 books by a wide range of practitioners including Ed Ruscha, Marcel Broodthaers and Ian Hamilton Finlay. Areas of strength are concrete poetry, American and European conceptual works from the 1970s and contemporary British artists. The Artists’ Multiples Collection contains more than 500 original artworks by contemporary artists, produced in editions.

Bob and Roberta Smith, I payed Bob and Roberta Smith £4.99 for this? 1999 © Bob and Roberta Smith Artist's Multiples Collection, Chelsea College of Art. Photograph: Mel Yates

LONDON COLLEGE OF FASHION consisting of fashion photographs from the 1940s to 1980s. Other collections held within the London College of Fashion Archive include: London couture and designer ready-to-wear; albums of watercolour fashion drawings documenting Victor Stiebel’s mid-1960s couture and demi-couture collections; Saville Row tailoring; an archive of bras; and a collection of cosmetics by Mary Quant.

London College of Fashion Archive Comprising over 100 separate collections and several thousand artefacts, London College of Fashion Archives represents the history and development of clothing, footwear and ‘dressed appearance’ in London. At its heart is the institutional story and visual history of London College of Fashion from its origins in clothing and footwear trade schools of the early 20th Century. Of outstanding significance is the collection of 670 shoes dating from the 18th-21st Centuries that constitute the Cordwainers College Historic Shoe Collection. Other important collections are the EMAP Archive of clothing and footwear trades’ journals including Menswear (1902 to 2002) and The Draper's Record from the 1880s; the Rootstein Ltd. Archive of 30 mannequins, photographs and other materials; and the extensive Archive of the International Wool Secretariat, now the Woolmark Company,

London College of Fashion Library The Library’s Special Collections contain rare and historical fashion books and periodicals that reflect the College’s academic profile. Highlights include: tailoring books dating back to the 1800s; fashion zines, Visionaire; and Active Resistance by Vivienne Westwood.

Barrett Street Trade School: Women's Hairdressing Class with facial and manicure, 1920s. London College of Fashion Archive. Photograph: unknown

02— PROGRAMME FRIDAY 13 MAY

REGISTRATION AND COFFEE 9.15am–10.00am

WELCOME 10.00am–10.10am Professor Oriana Baddeley

INTRODUCTION TO CONFERENCE PROCEEDINGS 10.10am–10.30am Dr. Jo Melvin This conference explores different ways of stimulating archival interactions. Increasingly artists are turning to the archive as a medium for making work. This preoccupation emerges through creative curation, using archives as an investigative research medium. The archive as a material form of art practice opens the research process to an inquiry, quite unlike that of the traditional model of the academic ensconced in a library. The use and misuse of the artefact/ document raises questions of custodianship, conservation, handling and access to handling. This brings questions of what defines a ‘good’ reader or ‘user’ and whether it is the one who leaves no mark, or the one who leaves traces of their interactive presence is a moot point, and entirely dependent on context. Ethics underlies all aspects of archival use. Its territory raises questions of ownership and in consequence of the blurring boundaries between what is, or was, the private or personal and what is publically available. Questions of responsibility and who has the right to use what affect the artist, the researcher, and the keeper alike.

ARCHIVES AND TRANSVERSAL MEMORIES 10.30am–11.30am Chaired by Dr. Alison Green Speakers: Dr. Sophie Berrebi and Professor Neil Cummings With the world going digital, archives and collections now encompass two seemingly incompatible things: distributed networks, nodal, flat, and durable through their multiplicity; and collections of things and images, often overwhelmingly large, which may or may not be unique but are nonetheless materially and geographically fixed, and which occupy non-digital space. Taking up some of the questions and paradoxes of the

moment in which we find ourselves, this session will explore archives, creative exchange and what can be seen as embodied, alongside the potential revolutions of digital culture.

TEA AND COFFEE 11.30am–12.00pm

MATERIALISING THE ARCHIVE: ART PRACTICE AND THOUGHT CONSTELLATIONS 12.00pm–1.00pm Chaired by Dr. Jo Melvin Speakers: Adrian Glew and Charlotte Moth Rosalind Krauss’s identification of the ‘post-medium condition’ in A Voyage on the North Sea: Art in the Age of the Post-Medium Condition on the work of Marcel Broodthaers, first delivered as the Walter Neurath Memorial Lecture (London 1999), has been used as a touchstone for a mode of practice liberated from Formalism. Arguably, the premise of certain current artistic tactical uses of archives derive strategies from Marcel Broodthaers’s approach. This session will bring together artist Charlotte Moth whose work Inserts 2015 currently installed at Tate, uses research strategies to materialise the archive and create new work with Tate archivist, Adrian Glew. The discussion will identify points of convergence and divergence that may arise in consequence of the different focuses on the archive: as a medium for creative practice and as a store of cultural heritage.

LUNCH 1.00pm–2.00pm Lunch and opportunity to visit exhibitions curated by the University’s MA Curation students in the Banqueting Suite and CHELSEA Landing Space E Block

FILM SCREENING (SEE PAGE 16 FOR DETAILS) 1.45pm–2.00pm Film screening in the lecture theatre: 1914 Now: Four Perspectives on Fashion Curation, by Alison Moloney, London College of Fashion

WORKSHOP SESSIONS (SEE PAGE 12 FOR DETAILS) 2.00–2.30pm/2.40–3.10pm/3.20–3.50pm Three sessions offering a choice of object handling workshops, film screenings and exhibition tours. They provide a range of opportunities to interact with the archives and special collections held by the University of the Arts London.

TEA AND COFFEE 4.00pm–4.30pm

COLLECTIONS IN CONTEXT 4.30pm–5.30pm Chaired by Sarah Mahurter

CATALOGUING THE CAMBERWELL I.L.E.A. COLLECTION 4.30pm–5.00pm Jacqueline Winston-Silk Donated to Camberwell College of Arts in 1989, the historic Inner London Education Authority (I.L.E.A.) collection received relatively little use and critical attention in the years since its acquisition. Seeking now to re-examine the potential of the objects within teaching and learning, and to address responsibilities towards the care and access of material, Camberwell embarked on a pilot cataloguing project. This presentation will reflect upon the objectives, methodology and discoveries of the four month development project undertaken in 2015. The work was generously supported by the Higher Education Innovation Fund.

FROM THE PARC ARCHIVE: CAMERAWORK (c.1972–1999) AND THE JOHN WALL ARCHIVE OF THE DIRECTORY OF BRITISH PHOTOGRAPHIC COLLECTIONS, 1972 5.00pm–5.15pm Robin Christian The Camerawork collections (c.1972-1999) tell a fascinating and largely untold story of community-led photography in England during the 70s, 80s and 90s. The collections’ unique contents cover setting up the Half Moon Photography Workshop, a community-based photography workshop in East London, through to Camerawork’s extensive

publishing and touring exhibition programme. The Rev. Dr. John Wall was a leading member of a Royal Photographic Society group, which proposed the making of a National Photographic Archive. In 1972, the group recommended the compilation of a National Photographic Record; John Wall became Honorary Editor. The Directory of British Photographic Collections was published by the RPS in 1972. PARC acquired the John Wall archive when researcher Bob Pullen visited Wall, in the early stages of making a web-based Directory of Photographic Collections in the UK. The first iteration for the John Wall project was a joint presentation between Val Williams and Robin Christian at the Archives 2.0 Conference at the National Media Museum in Bradford, 2014.

MATERIAL EVIDENCE ON MANUSCRIPT FRAGMENTS 5.15pm–5.30pm Jennifer Murray In the 16th and 17th Centuries, discarded medieval manuscripts were frequently recycled as components of new bookbindings. Later, these fragments attracted interest by librarians and antiquarians who, in an attempt to “salvage” these “lost manuscripts”, removed them from the bindings, and kept them in collections in libraries and archives. The text of these fragments has been studied but their history as components of bookbindings, has been largely ignored. The association between the fragment and the binding, both of which can be dated and localised, gives important information with regard to their history, showing how medieval manuscripts were dispersed. This association is broken when fragments are removed from the bindings and such information is lost. The fragments, however, often retain evidence of their use as binding components. The aim of this research is to identify the material evidence on the fragments which will help researchers recover and understand their history.

oldest darkrooms in Birr Castle, when it had been emptied of its contents and secondly, in the reconstruction of the darkroom in the Exhibition Centre in the Castle’s grounds where the entire contents have been moved and reconstructed by conservators. Interested in the relationship between reconstruction and photography, where both attempt to fix a moment, the two different filmed sequences are shown side by side forming an ambiguous entity whose lucidity in terms of activity and location comes in and out of clarity. An oscillation between the harmony and dissonance of memory and its mediation through photography, Darkroom reflects on the complexity of memory formation and its entanglement with internal and external worlds, imaginations and materialities, the archive and origination.

DRINKS RECEPTION 6.15pm–7.30pm Launch of Reflections on Archives, Museum and Special Collections edited by S. Mahurter and G Grandal Montero, University of the Arts London.

CLOSE 7.30pm

KEYNOTE: IN THE DARKROOM – THE MAKING OF A DOCUMENT 5.30pm–6.15pm Grace Weir Chaired by Dr. Jo Melvin Grace Weir will screen and discuss the making of her recent film Darkroom. Darkroom was filmed in two places; first in one of the world’s

03— WORKSHOP SESSIONS FRIDAY 13 MAY

Object Handling Workshops

SESSION 1: 2.00-2.30pm

SESSION 2: 2.40-3.10pm

SESSION 3: 3.20-3.50pm

film, design

Film Screenings

& print

archives

& study collection

museum

& study collection

museum

& study collection

artists’ books

zines collections

i.l.e.a. collection

renewal

from camberwell

to the world

thames film

im/material media

encounters in the archive

You can select one event from each session

OBJECT HANDLING WORKSHOPS UAL Collection Managers will use a selection of items which can be handled, to demonstrate how an enquiring encounter with archives can facilitate an experiential learning experience. FILM, DESIGN & PRINT ARCHIVES Sarah Mahurter, University Archives and Special Collections Centre FASHION ARCHIVES Jane Holt, London College of Fashion MUSEUM & STUDY COLLECTION Judy Willcocks, Central Saint Martins ARTISTS’ BOOKS Gustavo Grandal Montero, Chelsea College of Arts ZINES COLLECTIONS Leila Kassir, London College of Communication I.L.E.A. COLLECTION Amanda Jenkins, Camberwell College of Arts

EXHIBITION TOURS Student curators will lead guided tours of the two exhibitions at Chelsea College of Arts. RENEWAL Curated by MA Fashion Curation (London College of Fashion) and MA Culture, Criticism and Curation (Central Saint Martins) students. TO CAMBERWELL FROM THE WORLD Curated by MA Collections and Curating (Chelsea College of Arts) students

FILM SCREENINGS Film Screenings in the Lecture Theatre. THAMES FILM (1986) Introduction and screening of 20 minute excerpt by Professor William Raban, London College of Communication IM/MATERIAL MEDIA A programme curated by Stephen Ball, British Artists Film and Video Study Collection, Central Saint Martins ENCOUNTERS IN THE ARCHIVE (2011) A film conceived and produced by Donatella Barbieri, London College of Fashion

04— PROGRAMME SATURDAY 14 MAY

REGISTRATION AND COFFEE 9.30am–10.00am

INTRODUCTION TO DAY 2 10.00am–10.15am Professor Oriana Baddeley

KEYNOTE: ARCHIVES LOST, FOUND, RE-ASSEMBLED 10.15am–11.00am Professor Charlotte Townsend Gault Consider two very different 'archives': one, a repository of the evanescent, assembled during the 1968-1973 heyday of international conceptual art at the Nova Scotia College of Art and Design; the other the print archive of Northwest Coast Indigenous art, perverse in being a textual repository, a historiography, of oral cultures. One example is relatively trivial in this comparison. Historical repression and the intentional suppression of memory, has had tragic and persistent consequences for Canada's Indigenous populations and for the Canadian state. However these archives can be productively juxtaposed being simultaneously incidental to their subjects in significant ways, and indispensible to recovery, re-enactment, and re-invention. Her work with a group of artists and scholars on the ways in which Native cultures have been recorded in the settler colony of British Columbia to compile Native Art of the Northwest Coast: A History of Changing Ideas (2013) invoked some of the intangibles of the ‘conceptual’ archive: questions of trace, of shared memory, performance histories and the social relations of art’s reception.

TEA AND COFFEE 11.00am–11.30am

THE MULTIPLICITY WITHIN 11.30am–12.30pm Chaired by Judy Willcocks Speakers: Dr. Joanne Morra and Dr. Fiona Candlin Small museums have a unique capacity to critique and contest traditional notions of curating. Looking in detail at the Freud Museum in North London and the Lurgan History Museum (which houses collections relating to Irish Republicanism),

Joanne Morra and Fiona Candlin will discuss the motivations and methodologies of collecting and the process of establishing history, memory and mythology through material objects. While seemingly quite different, the collections of these two museums both seek to represent a wider movement (in the case of the Freud Museum, psychoanalysis, and in the case of the Lurgan History Museum, Irish Republicanism). Candlin and Morra will use these structures to explore how each venue offers alternative perspectives and practices to those found in major institutions.

FLEETING AND FRAGMENTARY ‘THINGS FALL APART’ 12.30pm–1.30pm Chaired by Professor Judith Clark Speakers: Professor Carolyn Steedman and Professor Amy de la Haye Dress, and particularly fashion clothing, has become one of the most popular media within international museums. Traditionally garments have been exhibited in pristine condition. Yet, many museums provide valuable storage space for perished items that may never be displayed. Amy de la Haye will argue that these fragile items can possess a poignant beauty and offer tangible evidence of lives lived. She will also explore curatorial strategies to display and interpret perished dress, to exhibit that which is often dismissed as un-exhibitable, within a museum or gallery context. Women’s stays were designed to last. They were the least fragile of all clothing, worn by all women, from high to low. For labouring women they were work wear; a woman could buy them on the second hand market, or construct her own; they were handed down to daughters and granddaughters. At the very end of their life (maybe fifty years) they might go to the rag pickers, where the whalebone was extracted for selling on. As with most working-class clothing, very few workers’ stays have survived: stays were worked (in) to death. Carolyn Steedman will explore the paradox of durability and strength becoming the most fragile (because absent) of archival objects.

LUNCH 1.30pm–2.30pm Lunch and opportunity to visit exhibitions curated by the University’s MA Curation students in the Banqueting Suite and CHELSEA Landing Space.

REMEMBRANCE OF THINGS PAST 2.30pm–3.30pm Professor Carol Tulloch in conversation with Professor Oriana Baddeley This session will explore the particularities and physicality of the object within the context of the archive collection. In a world where the digital and the virtual dominate, what are the characteristics of the object that resist translation into other mediums? In what ways can the reality of the object work not just as a ‘Proustian’ trigger to memory but as a mechanism for a new understanding of the world? How do geography and history impact on such histories of things?

FORMALITY AND INFORMALITY 3.30pm–4.30pm Chaired by Donald Smith Speakers: Professor Stephen Bann CBE and Dr. Elena Crippa It appears curators are beginning to inject an amount of informality and intimacy into their displays of modern and contemporary art, reflecting practices in artists’ studios, small galleries and archives. This session looks at potential origins of this shift in curatorial thinking and how it can be achieved against a backdrop of the restraints of public institutions. The title of this discussion takes its cue from Kettle’s Yard founder Jim Ede’s idea that he wanted to create “a place where young people could be at home, unhampered by the greater austerity of the museum, where an informality might infuse an underlying formality”; as a starting point Stephen Bann will discuss his own encounters with Jim Ede and Kettle’s Yard as a Cambridge undergraduate in the early 1960s and what impression Ede may have made on future curatorial and institutional thinking. Revealing points of intersection between the two speakers, the session opens out to explore the shifting status of documents and documentation previously designated as archive/special collections and their context as ‘art’ objects; text and language in art; concrete poetry and the current exhibition of British Conceptual Art at Tate Britain.

CLOSING REMARKS 4.30pm–4.45pm Pat Christie

05—EXHIBITIONS

01 RENEWAL A conference is ephemeral. It is a threshold moment that can alter one’s outlook: we never really leave it exactly the same as we were before. An exhibition has a similar role to play. On this occasion, our exhibition will infiltrate the conference, using UAL’s archives to investigate these themes: how thresholds, both material and figurative, facilitate our passage from one ephemeral moment to another, instigating renewal and allowing us to evolve. The curators, students from UAL’s MA in Fashion Curation and MA Culture, Criticism and Curation, will introduce their projects from this perspective. Co-ordinated by exhibition-maker Dr Jeffrey Horsley, London College of Fashion.

02 TO CAMBERWELL FROM THE WORLD MA Curating and Collections students at Chelsea College of Arts present an exhibition from the Camberwell I.L.E.A. Collection. Conceived as an ‘experiment in design appreciation’, this collection of industrial and handmade objects was assembled by the Inner London Education Authority in the 1950s and circulated amongst schools to educate young people about ‘good design’, offering an opportunity for school children and teachers to experience first-hand the design and materiality of museum-quality objects. Since this collection was donated to Camberwell College of Arts in the 1989 there have been several related exhibitions focused ostensibly on design and material culture; this new exhibition returns to the question of the educational qualities of the collection and how art and design can also enhance the learning of other subjects.

03 DAVID USBORNE COLLECTION An offsite exhibition curated by Central Saint Martins MA Culture, Criticism and Curation students at Central Saint Martins Museum and Study Collection’s Window Gallery, Kings Cross. It draws upon the David Usborne Collection of 2,000 utilitarian objects that was donated to the University in 2015.

Dandelion Rose Gold Pin by Hazel Clucas, 2006. Central Saint Martins Museum and Study Collection. Photograph: Daniela Monasterios-Tan

06—FILM SCREENINGS

1914 NOW Four Perspectives on Fashion Curation

THAMES FILM Installation, 20 minutes (2013) recut from Thames Film, 66 minutes (1986)

The Violet Hour: Amy de la Haye, Katerina Athanasopolou Il Vestito Antineutrale: Judith Clark, James Norton Crossed Crocodiles Growl: Walter Van Beirendonck, Bart Hess Incunabula: Kaat Debo, Marie Schuller Image: The Violet Hour

Director, editor, cinematography: William Raban Rostrum camera: Begonia Tamarit Narrator: John Hurt Soprano: Paula Bednarczyk Sound mix: Richard Guy

1914 Now comprises four films that were commissioned from four international curators who work with dress in three dimensions, to express their distinctive curatorial ‘attitudes’. Amy de la Haye, is an object-led curator; Judith Clark, an exhibition-maker; Walter Van Beirendonck, a fashion designer and curator; and Kaat Debo, a museum director operating an experimental space for the display of dress. The project and commission was devised by Alison Moloney, a curator whose practice often involves commissioning new objects and exploring new media outcomes.

William Raban set out to create a portrait of London and its seaward approaches from the point of view of the River Thames and to merge these contemporary views of London with archival materials of the same subject. The maps and engravings are taken from Thomas Pennant’s journal London to Dover (1787) that mirrors the voyage he undertook 200 years later. The Pennant journal and most of the other archive elements are in the Port of London Authority Collection. The recording of T.S. Eliot reading from Four Quartets (1943) is from the British Library and Breughel’s painting The Triumph of Death (1560) in the Prado Museum in Madrid.

ENCOUNTERS IN THE ARCHIVE: THE PERFORMANCE OF COSTUME AT THE V&A (2011)

IM/MATERIAL MEDIA Little Dog for Roger (two-screen version): Malcolm Le Grice, 1967, 10 min The War on Television: Steven Ball, 2008, 5 min Woman Nature Alone: Erica Scourti, 2010, 10 min Curated by: Steven Ball

Conceived and produced by: Donatella Barbieri Filmed and edited by: Netia Jones Participants: Amy de la Haye, Nicky Gillibrand, Charlotte Hodes, Claire Christie, Darren Cabon, Paul Bevan Image: Paul Bevan

Dedicated to the work of moving image artists, British Artistsâ&#x20AC;&#x2122; Film & Video Study Collection is part of the Central Saint Martins Museum. The collection exists to support research by students based at Central Saint Martins as well as individual researchers from outside the college.Â This programme features a selection of works included in the collection, it demonstrates ways in which artists employ, transform, and critique the materiality of media forms from the physicality of film to the apparent immateriality of digital media. studycollection.org.uk

Once the theatre show is over, costumes are re-used and only occasionally preserved for future eyes. Separated from the bodies that once performed them, they not only evidence design and make, but somehow retain elements of their performativity. This film explores the transient qualities of theatre costumes and how they can perform as holders of histories of ephemeral stage performances. In turn, it questions how new performances might be enacted. A series of one-to-one encounters, pairing selected costumes from the V&A Theatre and Performance Archives with specialist researchers, led to new multi-faceted insights and perspectives on theatre costume.

07— SPEAKERS' BIOGRAPHIES

KEYNOTE SPEAKERS PROFESSOR CHARLOTTE TOWNSEND-GAULT Professor in the Department of Art History, Visual Art and Theory and Faculty Associate at Department of Anthropology, University of British Columbia Charlotte Townsend-Gault has published extensively on the contemporary Indigenous art and culture of North America. In the early 1970s she worked at the Nova Scotia College of Art and Design, recording and writing about the conceptual art practice with which the college was associated. She holds a PhD in Social Anthropology from University College London. She curated Land, Spirit, Power: First Nations Art at the National Gallery of Canada (1992), Lawrence Paul Yuxweluptun: Born to Live and Die on your Colonialist Reservations (1995), and Backstory: Nuu-chah-nulth Ceremonial Curtains and the Work of Ki-ke-in (2010). In 2015 the Canada Prize in the Humanities was awarded, by the Federation for the Humanities and Social Sciences, to Native Art of the Northwest Coast: A History of Changing Ideas, co-edited with Jennifer Kramer and Ki-ke-in. GRACE WEIR Artist Grace Weir is concerned with aligning knowledge and theory with a lived experience of the world and her recent work deals with physics, philosophy, the nature of light and time and a critique of the materials of her making, largely photography and film. She probes the concept of a fixed identity and one of her unique approaches to research includes a series of interactions with practitioners from other disciplines. Creating a dialogue between the conceptual nature of her ideas and how meaning becomes tangible through activity, Weir's works explore the dynamic of practice and representation. Grace Weir has exhibited widely both nationally and internationally, representing Ireland at the 49th International Venice Biennale (2005) and in a solo exhibition in The Irish Museum of Modern Art (2016). SPEAKERS PROFESSOR STEPHEN BANN CBE Emeritus Professor and Research Fellow in History of Art, University of Bristol Stephen Bann’s research ranges broadly over issues relating to the representations of history and the dissemination of print images, with a special emphasis on France in the 19th Century. His work has been widely influential in both these areas, and since 2000 he has held visiting fellowships and appointments at some of the most prominent research institutes in Europe and America. Since 2008, he has also served as a guest curator for major exhibitions at the National Gallery, London, and the Musée des Beaux-Arts, Lyon. Having published throughout his career as a critic and historian of modern art, he continues to be active in writing on the work of a number of contemporary artists. PROFESSOR ORIANA BADDELEY Dean of Research at University of the Arts London and a member of the research centre for Transnational Art, Identity and Nation (TrAIN) Oriana Baddeley studied History and Theory of Art at the University of Essex. Her doctoral subject, researching the historiography of definitions of ‘art’ in relation to Ancient Mexico, formed the basis for work on the 1992 Hayward exhibition, The Art of Ancient Mexico. She has written extensively on contemporary Latin American art, including Drawing the Line: Art and Cultural Identity in Contemporary Latin America (Verso 1989, co-author Valerie Fraser) and collaborated with Gerardo Mosquera to

produce Beyond the Fantastic: Art Criticism from Contemporary Latin America (inIVA/ MIT 1996). With Professor Toshio Watanabe and Professor Partha Mitter, (2001–04), she worked on a major AHRC funded project, Nation, Identity and Modernity: Visual Culture of India, Japan and Mexico, 1860s–1940. She is on the International Advisory Committee of the University of Essex Collection of Latin American Art, and the editorial board of Art History, is a Trustee of the St Catherine Foundation in London and New York, and the Ashley Family Foundation.

at various conferences and written articles for the professional press on a range of topics to do with art and design librarianship. PROFESSOR JUDITH CLARK Professor of Fashion and Museology, MA Fashion Curation Course Leader, London College of Fashion, University of the Arts London and Co-Director of the Centre for Fashion Curation Judith Clark is a curator and exhibitionmaker. Clark has curated major exhibitions at the V&A, London; Mode Museum, Antwerp; Boijmans van Beuningen, Rotterdam, Palazzo Pitti, Florence; and Palais de Tokyo, Paris. Her most recent publication is with Amy de la Haye Exhibiting Dress: Before and After 1971, Yale University Press, 2014. In 2015 she curated and designed the inaugural exhibition at La Galerie, Louis Vuitton, Asnieres. She is currently working on a major exhibition (with psychoanalyst Adam Phillips) for the Barbican Art Gallery, October 2016.

DR. SOPHIE BERREBI Lecturer in the History and Theory of Contemporary Art, University of Amsterdam Sophie Berrebi is a writer, art historian and curator. She is the author of The Shape of Evidence; Contemporary Art and the Document (Valiz, Amsterdam, 2015), and the editor of Entrée en matière: Hubert Damisch et Jean Dubuffet, Textes et correspondances 1961-2001 (JRP|Ringier / La Maison Rouge, 2016). She is on the editorial board of the new academic journal Stedelijk Studies. Dr. Berrebi received her PhD from the Courtauld Institute of Art, University of London, and is based since 2003 at the University of Amsterdam where she teaches and researches art history and theory of art. In 2016-2017 she will curate a series of small exhibitions entitled Platform: How do we occupy space through objects? at Het Nieuwe Instituut in Rotterdam. She is currently writing a new book entitled Elements of Fashion. Icons, Gestures, Details.

DR. ELENA CRIPPA Curator, Modern and Contemporary British Art at Tate Elena Crippa works with the team of Curators and Assistant Curators responsible for the development of and research into Tate’s holdings of artworks from the twentieth century, with a focus on the period 1940–80. She previously taught in various universities, worked as a Lecturer and co-Pathway Leader on the MRes Art: Exhibition Studies at Central Saint Martins, London, and organised exhibitions as a freelance curator, working as part of the curatorial collective RUN and as Associate Director of Exhibitions at the Lisson Gallery in London. In 2013, Elena Crippa completed her PhD while working as part of the Leverhulme Trust-funded Tate Research project Art School Educated. Her doctoral thesis focused on innovative pedagogies and practices initiated in British art schools in the 1950s and 1960s by the artist– teachers Victor Pasmore, Richard Hamilton, Roy Ascott and Art & Language, among others. She has a particular interest in postwar exhibition cultures. For a forthcoming book in the Afterall series Exhibition Studies, she has been researching the history of the exhibitions initiated by Richard Hamilton and Victor Pasmore in the 1950s.

DR. FIONA CANDLIN Reader in Museum Studies, Birkbeck University of London Fiona Candlin previously worked for the British Museum, Tate Liverpool, and Liverpool University. She is co-editor of The Object Reader (Routledge 2009), and the author of Art, Museums, and Touch (Manchester University Press 2010) and Micromuseology: An Analysis of Small Independent Museums (Bloomsbury 2015). Her current research is on ‘DIY Curators’ and she collaborates with Bishopsgate Institute Libraries and Archives on the Micromuseums Archive: bit.ly/1Z8fsWH. ROBIN CHRISTIAN Projects Manager, Photography and the Archive Research Centre, London College of Communication, University of the Arts London Robin Christian is an exhibition and events programmer, researcher and archivist currently working at the Photography and the Archive Research Centre at LCC. Recent projects include Life on the Road (LCC, 2014), Camerawork: Posters and Objects from the Archive (PARC, 2014) and Not to be sold separately: The Observer Colour Magazine 1964-1995 (Kings Place, 2011). Robin’s research practice includes studies on news agency archives, exhibition posters and the emergence of British colour supplements. His writing has been published in The Observer, The Guardian and the Journal of Photography and Culture and he is the Editor of the forthcoming book Jane Bown: Cats.

PROFESSOR NEIL CUMMINGS Professor of Theory and Practice at Chelsea College of Arts, University of the Arts London Neil Cummings has evolved a multidisciplinary art practice that often requires an intense period of research within the specific contexts in which art is produced, distributed and encounters its audiences. Principally, this has meant working directly with museums, galleries, archives and art schools. Cummings often works collaboratively with other artists, curators, academics, researchers or producers to create artworks, exhibitions and events from existing collections or contexts. Each artwork or event finds an appropriate form, and these are as varied as creating exhibitions such as Enthusiasm at the Whitechapel Gallery, community film-making Open Cinema: Home with Open School East, writing and editing films such as Museum Futures: Distributed; and books including The Value of Things, Cummings is interested in the political economy of creativity, and how art is instituted.

PAT CHRISTIE Director of Libraries and Academic Support Services, University of the Arts London Pat Christie studied History of Art at the University of Sussex before qualifying as a librarian. She has over 30 years’ experience of working in art and design academic libraries and is currently the Director of Libraries and Academic Support Services at UAL. This role includes overarching responsibility for many of the University’s archives and special collections. Pat has been involved in ARLIS/ UK & Ireland: the Art Libraries Society for many years and was Chair of this organization for the period of 2009–2011. She has spoken

ADRIAN GLEW Archivist at Tate Adrian Glew manages the National Archive of British Art from 1900 at Tate. Adrian curated Reception, Rupture and Return: The Model and the Life Room in the Archive Gallery, Tate Britain 2014-5, and assisted realising Charlotte Moth’s current display,

Choreography of the Image. In 2001, Adrian curated the virtual Church-House project (tate.org.uk/context-comment/video/ stanley-spencer-virtual-church-house) for Tate’s Stanley Spencer retrospective. He established microsites on Tate’s website, for instance the Artist Placement Group, Audio Arts and Naum Gabo and worked on the project, Archives & Access - 53,000 items digitised alongside artworks (http://www. tate.org.uk/art/archive). Adrian edited Letters and Writings by Stanley Spencer and wrote an introduction to Wassily Kandinsky’s Concerning the Spiritual in Art (Tate: 2001 & 2006). He has published in The Burlington Magazine, Art Monthly and UAL’s Bright Light and is currently a director/ trustee of four bodies relating to archives, public monuments and artists. DR. ALISON GREEN Course Leader for MA Culture, Criticism and Curation at Central Saint Martins, University of the Arts London Alison Green is an art historian, critic and curator with twin interests in contemporary art and the legacies of Modernism. She has worked in museums and contemporary art galleries and has been writing criticism on contemporary art since the mid1990s. Recent writings and talks include: exhibition review, What Would You Expect? (Christopher Williams at Whitechapel Gallery), Source (2015) and ‘Intermedia, Exile and Carolee Schneemann,’ in Across the Great Divide: Intermedia from Futurism to Fluxus (Cambridge Scholars Press, 2015). Forthcoming writings include: exhibition review, ‘Silent Explosion: Ivor Davies and Destruction in Art,’ Burlington Magazine (2016), book reviews, ‘The Artist as Curator,’ Art Journal (2016), essay, ‘Stout’s Doubt,’ Journal of Contemporary Painting (2016), essay and co-edited journal issue, ‘Fifty Years of Art and Objecthood,’ Journal of Visual Culture (2017). Her book, Curating Under the Sign of Art will be published by Reaktion in 2017. PROFESSOR AMY DE LA HAYE Rootstein Hopkins Chair of Dress History and Curatorship at London College of Fashion, University of the Arts London and Co-Director of the Centre for Fashion Curation Amy de la Haye is, with Professor Judith Clark, joint Director of UAL’s Research Centre for Fashion Curation. She teaches on the MA Fashion Curation and supervises 7 PhD students. She was Curator of 20th Century Fashion at the V&A from 1991-1999 and has continued to work within museums, especially Brighton. She is co-author of Exhibiting Fashion: Before & After 1971 (Yale, 2014), Worth: A Biography of an Archive (V&A Publishing 2014) and is the author of the V&A’s Clara Button children’s books. She is currently working on an exhibition on the biography, dress and paintings of the artist Gluck; on a special issue of Fashion Theory on collecting and an exhibition on LCF’s shoe archive. SARAH MAHURTER Manager, University Archives and Special Collections Centre Sarah Mahurter leads on archive and special collection management at University of the Arts London, where she has extensive experience of embedding the use of archives and special collections into teaching, learning and research. She convenes the University’s community of practice in archives and special collections management and works with Judy Willcocks and colleagues to develop the use of object-based learning. She co-edited Reflections on archives, museum and special collections (UAL, 2016). DR. JO MELVIN Reader in Archives and Special Collections at Chelsea College of Arts, University of the

Arts London and Senior Research Fellow at the Henry Moore Institute Leeds Recent projects include Animal, Vegetable, Mineral, Waddington Custot Gallery, Christine Kozlov: Information, No theory at the Henry Moore Institute, Leeds, Five Issues of Studio International, Raven Row, London, Palindromes: Barry Flanagan and John Latham at Flat Time House, London and The Xerox Book at the Paula Cooper Gallery New York. Recent catalogue essays include Seth Siegelaub: Beyond Conceptualism at the Stedijk Museum, Amsterdam and British Art and Conceptualism 1966-1979, Tate Britain. She is currently working on a monograph on Noel Forster, The Seth Siegelaub Source Book, to be published by König in late 2016 and on the catalogue raisoneé of the sculptor Barry Flanagan to be published by Modern Art Press in 2018. DR. JOANNE MORRA Reader in Art History and Theory and Founder of The Doctoral Platform at Central Saint Martins, University of the Arts London Dr Joanne Morra holds a PhD in Art History and Theory (Leeds University), an MA in Feminism and the Visual Arts (Leeds University), an MA in History of Art (University of Toronto), and a BA Hons in History of Art and English (University of Toronto). She is presently working on several projects, including a single-authored book entitled Inside the Freud Museums: History, Memory and Site-Responsive Art (I.B. Tauris 2016). Morra has recently curated an exhibition Saying It, of work by Mieke Bal and Michelle Williams Gamaker and Renate Ferro at the Freud Museum, London (2012). She is a Founder and Principal Editor of the Journal of Visual Culture and a Founder of the cultural theory journal Parallax.

CHARLOTTE MOTH Lecturer in Fine Art, Goldsmiths, University of London From 1999 Moth has continually developed her collection of analogue photographs called the Travelogue. It documents an itinerancy of movement between places, architectures, modes of thinking and research. Through conversations and collaborations developed within specific situations, her work (film, books, installations) is interdisciplinary. Moth studied Fine Art at Kent Institute of Art and Design, (1997-2000) and Slade School of Art, (2000-02), was a researcher at the Jan van Eyck Academie, Maastricht, (2004-5). Solo shows are Choreography of the Image at the Archive Gallery at Tate Britain (until April 2016). Forthcoming exhibitions in 2016 are the Kunstmusum Liechtenstein and Parc St Leger, Centre d'art contemporain, Pougesles-eaux, France. Currently lecturer in Fine Art at Goldsmiths, Moth is a practice-based PhD candidate at the Royal College of Art.

Donald Smith is an artist and the founding Director of Exhibitions at CHELSEA space, which he established in 2005. His curatorial projects include Vertigo: Marcel Duchamp and Mark Titchner (2007); Frank Sidebottom: CHELSEA space is Ace (2007); Mick Jones: The Rock & Roll Public Library (2009); Stephen Willats: West London Social Resource Project (2011); Ideal Home (2011); Red White and Blue: Pop|Punk|Politics|Place (2012); Almost Bliss: Notes on Derek Jarman’s ‘Blue’ (2014). Smith is Practitioner in Residence for MA Curating and Collections at Chelsea College of Arts and is currently commissioning editor for a monograph on the artist Noel Forster (1932-2007). PROFESSOR CAROLYN STEEDMAN Emeritus Professor in the University of Warwick History Department Carolyn Steedman’s most recent book, An Everyday Life of the English Working Class was published in December 2013. It has a lot to do with the stockings made by the framework knitter on whose diaries it is based. In Labours Lost: Domestic Service and the Making of Modern England (2009) she discussed stays as part of the wage system in 18th Century households. She is currently working on a book Poetry for Historians, not poems for historians, but a discussion of the kind of writing `history’ is. She hasn’t lost her interest in material objects in the everyday life of the past, in fact, there’s a lot of advantage to seeing poetry and other everyday writing as material things.

JENNIFER MURRAY PhD candidate, Ligatus research centre, University of the Arts London Jennifer Murray has worked as a book conservator since graduating from the MA Conservation at Camberwell College of Arts in 2008. She is currently in her second year of PhD studies based at Chelsea College of Arts, funded by the AHRC TECHNE. Her supervisors are Prof. Nicholas Pickwoad, Dr. Athanasios Velios and Prof. Michelle Brown, FSA (Professor Emerita, School of Advanced Study, University of London).

PROFESSOR CAROL TULLOCH Professor of Dress, Diaspora and Transnationalism at Camberwell, Chelsea and Wimbledon Colleges of Art, University of the Arts London Carol Tulloch is a writer and curator with

DONALD SMITH Director of Exhibitions, CHELSEA space and Practitioner in Residence, MA Curating and Collections

a specialism in dress and black identities. She is a member of the Transnational Art, Identity and Nation Research Centre (TrAIN) and is the TrAIN/V&A Fellow in the Research Department of the Victoria and Albert Museum. She has recently published The Birth of Cool: Style Narratives of the African Diaspora (Materializing Culture), Bloomsbury, 2016. JUDY WILLCOCKS Chair of the London Museums Group Board and Head of the Museum & Study Collection at Central Saint Martins, University of the Arts London Judy Willcocks is a Senior Research Fellow at Central Saint Martins, University of the Arts London specialising in object-based learning and university/museum partnerships. JACQUELINE WINSTON-SILK Art Collections Officer, University Museums & Special Collections Service, University of Reading Jacqueline Winston-Silk was formally Project Curator at Camberwell College of Arts, where she catalogued the historic Inner London Education Authority (I.L.E.A.) Collection in 2015. Jacqueline continues to contribute towards the development of the collection. In her current role, Jacqueline manages the art collections for the University of Reading’s University Museums & Special Collections Service, based at the Museum of English Rural Life. She holds a Masters Degree in Museum Studies from the Institute of Archaeology, University College London and a Bachelor of Arts (Hons) Degree in Photographic Arts from the University of Westminster. Jacqueline previously held roles at the Museum of Domestic Design & Architecture (Middlesex University), The Geffrye Museum and The Design Museum.

UAL COURSES AND R ESEARCH CENTR ES R ELEVANT TO ARCHIVES AND SPECIAL COLLECTIONS

Courses: BA (Hons) Culture, Criticism and Curation (Central Saint Martins) MA Conservation (Camberwell College of Arts) MA Curating and Collections (Chelsea College of Arts) MA Culture, Criticism and Curation (Central Saint Martins) MA Fashion Curation (London College of Fashion)

Research Centres: Centre for Fashion Curation – innovative and experimental work within fashion curation Ligatus – particular interests in historical bookbinding Transnational Art, Identity and Nation (TrAIN) – a forum for historical, theoretical and practice-based research in architecture, art, communication, craft and design Photography and the Archive (PARC) – innovative research into photography and culture

For more information on the University’s courses, including short courses, relevant to archives and special collections go to the University’s website and click on Course Finder: arts.ac.uk/study-at-ual/courses/

For more information on UAL’s research centres go to the University’s research website: arts.ac.uk/research/ual-research-centres/