Piergroup – We Love Real Life

Pier Arts Centre Plus Tate Learning Project February to October 2012

Piergroup: Established in 2006, prior to the reopening of the Pier Arts Centre in July 2007, Piergroup is a shifting and flexible collective of people, who participate in a programme that reflects their wide range of interests.

Activities include: practical workshops; working with artists; studio visits and involvement with practical aspects of the gallery’s wider exhibition and education programme.

Piergroup & PTLP: Through a series of consultation sessions held earlier in the year, Piergroup established a set of expectations and aspirations for themselves and for the longer term strategic engagement of young people with the Pier Arts Centre.

Collection: The Pier Arts Centre Collection will act as the focus and cornerstone for the project and provide the benchmark against which quality can be measured.

Place: Defines the reach of the project – local, national and international

Community: At the heart of the project are people: the initiators, the participants the audience and the communities that develop through the project.

The principles that define the Pier Arts Centre Piergroup Plus Tate Learning project are Collection I Place I Community, key, thematic strands that arose through discussion with colleagues at the Pier Arts Centre, initiated by the ‘Critical Friend’ visit and the consultation undertaken with Piergroup.

From the consultation sessions, the expectations of the young people participating in this project and their aspirations longer term for the Piergroup, can be summarised under the following headings: • Inspiration

• Experience • Knowledge • Opportunity

• Achievement

The consultation process has also identified the following objectives for the project and for the longer term strategic engagement of young people with the Pier Arts Centre.

• Provision of layers and levels of engagement for young people to access the gallery and participate in a rewarding and enjoyable way • Piergroup participants moving from being ‘beneficiaries’ to being ‘activators’ • Recognised progression routes for young participants and audiences • Communication networks for those who leave Piergroup to study on the UK Mainland • Channels through which young people can make an effective contribution to the organisation

Project Outline Through a process of research and collaboration with artists and PAC staff, the young people participating in the project hoped to realise their expectations focussing on curation, mentoring and peer critique In terms of a visible outcome for the project, the young people have presented a display of personally selected works from the Pier Arts Centre’s permanent collection, as well as collaborating with a number of artists in a programme of talks and workshops.

This straightforward outcome has provided a visible and practical platform from which the more complex issues and expectations of both the young people themselves and the PTLP are being explored.

Through a variety of talks, participatory & practical sessions, supported by opportunities for personal response and research, the young people’s overarching priorities have been met.

Workshop with Pier Arts Centre Curator, Andrew Parkinson

Working with Sarah Forrest, Margaret Tait Film Resident

Working with Christine Borland in preparation for her exhibition at the Pier Arts Centre.

Participation in Divine Imperfect – new work by Christine Borland

Working with Melissa Munro, Curator, National Museum Wales

Final Selection

Installation

Expertise from Pier Arts Centre Director, Neil Firth

VIPS – Pier Arts Centre Director Neil Firth and Scottish Cabinet Secretary for Education, Mike Russell

The Exhibition

We Love Real Life Works from the Pier Arts Centre Collection curated by Piergroup 1 September – 13 October 2012

The exhibition is part of a nationwide learning programme, a collaboration between the Plus Tate network of visual arts organisations, of which the Pier Arts Centre is a partner.

The programme is supported by J.P. Morgan.

We Love Real Life Works from the Pier Arts Centre Collection curated by Piergroup 1 September – 13 October Elisabeth Dambach • Alexander Firth • Amy Firth Emma Fraser • Emma Lawson • Brandon Logan Sigurd Smith • Stephanie Spence • Miriam Wilson This special display is the outcome of six months of individual and collaborative research and consultation undertaken by Piergroup. The group includes senior school pupils, students studying art and art history and recent art graduates.

Piergroup has also involved Hannah Floyd, Kristyn Grieve, Kathy Hunter, Holly Pearson, David Porteous, Halina Romaniszn and Sandy Spence in earlier stages of this project.

Peter Lanyon 1918-1964, Box Construction 1939-40 wood, glass, cardboard and gelatine filter in a wooden box

‘Our first thoughts in exploring a theme for this exhibition developed after noticing how many of the works in the collection appeared to have very ‘human’ qualities – how objects or patterns were represented in a way that suggested human life, a movement or dimension – even when there was no explicit representation of human forms in the works.

Further research into the Pier Arts Centre collection revealed that there were many approaches that connected the works in this way.

We then looked at the question of how to represent ‘the human’ in art, and how ‘the human’ could mean many things – the figurative and the physical; the heart, its beat and pulse represented in a quite literal way, to the more abstract and conceptual; the ‘interior’ idea of the brain, of thought and the human mind.

Underpinning all these characteristics is the very human, domestic scale of the works, allowing us the opportunity to select from both the core collection as well as the contemporary additions in bringing this, our final selection together.’

‘Experiencing the actual process, from beginning to end, of organising an exhibition has been fantastic – I feel as though I have learned so much. The project has given me a new understanding of the way galleries organise their collections, and an awareness of how works can be displayed to complement the space or suggest connections with other works.

It has really made me look again at the Pier Arts Centre collection, and see underlying themes and connections I had never noticed before. Working in a group has been a lot of fun, and it has been very rewarding discussing different ideas and making decisions together.’

Emma Lawson 2nd Year: MA History of Art & English Literature Edinburgh University

Alan Davie b 1920, Energy is Delight 2001 screenprint on paper

‘The project has been a great education tool – learning from both the staff at The Pier Arts Centre and from our peers, the detail that goes into curating an exhibition space; left to our own devices, we attempted to form conclusions and resolutions before hearing how staff at the Pier made their decisions.

The provision of a group that encourages young people to get excited about art, and to think further than making art for school courses is such a wonderful thing. Using work from the Pier as inspiration and conversation starters has created a group that is diverse and changing, but still robust and welcoming of ideas and conflicting opinions.

As our ideas have formed and grown so has the life and vitality of the group, nurtured of course, by the Education Officer, as well as a few cups of tea and a biscuit or two.’

Alexander Firth 1st Year: BA (Hons) Interior Design Glasgow School of Art

Eduardo Paolozzi 1924-2005, Targets 1948 ink on blotting paper

‘As a student, working with a collection of such merit and interest has been an invaluable experience. The things that I have found most stimulating have been the surprises of the process; seeing connections within our selection that were never intended and which have added new layers to our line of interest.

At the Pier Arts Centre, the level of work and careful consideration that goes into curating an exhibition is monumental. However, the result is fluid and looks almost effortless. Learning about how the staff at the Pier curate an exhibition from beginning to end has affected the way I will experience exhibitions I visit in the future.’ Anish Kapoor b 1954, from: 12 Etchings 2007 colour etching on paper

Amy Firth 3rd Year BA (Hons) Painting Edinburgh College of Art

‘Taking part in this project has helped me to understand the work and problem solving that goes into producing an exhibition. I have enjoyed learning from the staff at the Pier Arts Centre in their roles in the organising of an exhibition.

I feel this experience has helped me have a different outlook on my favourite pieces from the permanent collection. It has also helped me work and discuss with others whom I may not have met if it weren’t for this project and I’ve enjoyed discussing their personal views on the collection.

Overall I feel that it has been a successful experience and I look forward to taking part in something similar should that option arise.’

Stephanie Spence 3rd Year BA Fine Art Textiles Orkney College

Barbara Hepworth 1903-1975, Forms Ascending 1957 oil on board

‘For me, the best part of having been involved in the project so far, is that it has given me the chance to talk freely with peers about artwork and express my views on a piece, without feeling intimidated or that my opinion has any less value.’

Brandon Logan S5 Stromness Academy Robert Adam 1917-1984, Woman 1965 larch

‘Pier Group has served as a fantastic opportunity to begin to look at both the collection at the Pier, and the curation of exhibition spaces in other galleries from a different perspective.

It has been proved to us that the thought behind selection and placement of works is intrinsic to the success of an exhibition; both as we walked through the gallery as a group collectively piecing together the nature of the permanent collection, and then as the Pier Arts Centre Curator showed us how changing exhibitions can affect the placement of permanent works.

Observing how the exhibition space can set restraints and challenges as well as inviting new ideas in the selection of works has affected my thoughts on the orchestration of a room, as I move on to begin my first year studying Interior Design at Glasgow School of Art.’ Katy Dove b 1970, Double You 2004 screenprint

Alexander Firth 1st Year: BA (Hons) Interior Design Glasgow School of Art

‘It’s been important to me to be involved in a project like this, as it can be hard to find opportunities like this and to keep some focus on art after graduating. It’s also been great to have a closer look at the Pier’s permanent collection - pieces that I’ve seen perhaps many times but not thought about in such a deeply analytical way.

I have definitely learnt about the subtle way that work in the Pier Arts Centre is displayed, that there are many connections between the works and this is thought about in great detail before any piece is hung. This has been a big factor in the way we have chosen work and how we have decided which pieces should be displayed together.

The involvement in the project led me to look at some artists in depth, which always helps me to keep thinking creatively and to become inspired.

The best part for me has been connecting with other people who are also interested in art, and hearing their ideas and opinions as I feel this can broaden your own horizons.’

Miriam Wilson BA (Hons) Fine Art 2012 Duncan of Jordanstone, Dundee

Barbara Hepworth 1903-1975, Pastorale (from 12 lithographs) 1969 lithograph on paper

‘Being involved in the Pier Group is a fantastic opportunity; it has not only given me the chance to learn more about the Gallery but has also given me an insight into what is involved in setting up an exhibition and all the factors that have to be taken into account.

It has also given me the chance to find out more about the artists in the Pier Arts Centre collection and their work.

PS: My first day at college went well!’

Elisabeth Dambach 1st Year: Fashion and Textiles Telford College

Martin Boyce b 1967 untitled 2009 brass and perforated steel

‘I’m drawn to the angular, deliberate brushstrokes of ‘Landscape Head’ and the way that the face emerges from the varying tones of teal and green. It makes me think of hidden emotions, exposed through differing lights and situations.

In my own work I am interested in studying structure, especially through buildings and architecture and I feel that this helps me relate to the more structural shapes and forms within this piece.

Although this piece is relatively historical, I like the way that it relates to the contemporary sculpture by Martin Boyce and the connections and contrasts with many other works in terms of their materials and modernist approach.’

Stephanie Spence 3rd Year BA Fine Art Textiles Orkney College John Wells 1907-2000, Landscape Head 1950 oil and pencil on board

Preview 31: August 2012

Next Steps

Through the consultation period the overarching concepts of Collection Place Community were established as a ‘header’.

As a result of developing and delivering the project the more dynamic themes of Relect Participate Influence have emerged as a ‘footer’.

Reflect: the opportunity for new and regular participants to review and consult Participate: the opportunity to initiate, be involved and take part in a range of programmes and projects Influence: the potential for young people to inform, challenge and encourage change

Feedback from Piergroup A ‘map’ has been devised following the consultation sessions, based on the aims and objectives established by Piergroup and the various mechanisms through which they might be achieved. The specific goals of the PTLP have been added and the group members are currently each completing their own personal ‘journeys’ of participating in the project.

New Session – New & Familiar Faces – New Ideas