The Plaster Cast Collection of the Glasgow School of Art: History, Aura and Experience
The Plaster Cast Collection of the Glasgow School of Art: History, Aura and Experience
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格拉斯哥艺术学院的石膏收藏：历史、光环和经验
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发表时间：
2017
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通讯作者：
T. Stevens
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作者：
T. Stevens
150多年来，格拉斯哥艺术学院的工作室和走廊一直装饰着大量的石膏模型-真人大小的希腊，罗马和中世纪人物，较小的解剖学例子以及建筑细节和装饰的选择。这些模型也提供了理解当代收藏模式的手段。许多早期的例子是捐赠的机构，如格拉斯哥Dilettanti社会和格拉斯哥建筑学会，后来，有一个加速收购过程，以取代损坏的作品或获得多个副本的流行需求项目，其中一些是从学校借给其他教育机构。这些后来的收购是从提供贸易目录的一些英国和欧洲公司中的一家购买的;在这些公司中，Giusti and Co.，一家专门从事石膏模具制作和铸造的公司，一直与GSA保持联系，直到20世纪90年代末。
石膏模型是学校早年的重要教具，当时“从古董中取材”是科学与艺术系管理的艺术教育结构化计划的关键组成部分，被称为南肯辛顿系统。到了世纪中期，用石膏模型教学已经变得不那么时髦了，众所周知，英国各地的艺术学校都处理掉了整个石膏模型收藏。然而，在GSA，个别员工和学生总是表现出足够的兴趣来保留这些藏品。此外，演员们与著名的麦克阿瑟大厦内部的联系意味着他们的相关性具有额外的文化意义。
在2014年，麦克米伦大楼遭受了一场戏剧性的火灾，许多石膏模型被损坏。对一些人来说，效果相对较轻，这些演员在GSA的里德大楼找到了一个临时的家，在那里他们的存在提供了一个有趣的并列史蒂芬霍尔的当代建筑反应的麦克劳德大楼。对于收藏中的其他物品，高温和烟雾的影响是毁灭性的。这在演员们的故事中迎来了一个引人注目的阶段：由格雷西拉·安斯沃思领导的一场前所未有的保护运动，试图在火灾发生后立即保护他们。其目的并不是要将它们保存在“琥珀”中，而是作为自豪地佩戴着它们的伤疤的物品。因此，它们的光环和包浆具有独特和更新的意义。作为2019年重新开放的Mackdoor Building的一部分，石膏模型的收藏将被重新安装，成为GSA社区的骄傲成员。不再仅仅是一个背景，他们现在代表的记忆和经验的对象，石膏模型的集合将有助于对工作人员和学生一样的新的创意方向。
For over 150 years the studios and corridors of The Glasgow School of Art have been adorned with an extensive collection of plaster casts – a diverse mix of life-size Greek, Roman and medieval figures, smaller anatomical examples and a selection of architectural detailing and decorations. The casts also offer means of understanding contemporary patterns of collecting. Many of the early examples were donated by bodies such as the Glasgow Dilettanti Society and the Glasgow Architectural Society, and later on, there was an accelerated process of acquisition to replace damaged pieces or to acquire multiple copies of popular in-demand items, some of which were loaned from the School to other educational institutions. These later acquisitions were purchased from one of a number of British and European companies who provided trade catalogues; and of these companies, Giusti and Co., a Glasgow-based firm specializing in plaster mold making and casting, retained links with GSA until the late 1990s.
Plaster casts were important teaching aids from the School’s earliest years when ‘drawing from the antique’ was a key component in the structured programme of art education managed by the Department of Science and Art and known as the South Kensington system. By the mid-20th century, teaching from casts had become less fashionable, and it is known that entire cast collections were disposed of at art schools across the UK. At The GSA, however, there was always sufficient interest shown by individual staff and students for the collection to be retained. In addition, the casts’ association with the interior of the celebrated Mackintosh Building has meant that their relevance has taken on an added cultural significance.
In 2014 the Mackintosh Building suffered a dramatic fire, and many of the plaster casts were damaged. For some, the effects were relatively light, and these casts found a temporary home in the GSA’s Reid Building, where their presence offers an interesting juxtaposition to Steven Holl’s contemporary architectural response to the Mackintosh Building. For other items in the collection, the effects of heat and smoke were devastating. This ushered in a remarkable phase in the casts’ story: an unprecedented conservation campaign led by Graciela Ainsworth that sought to preserve them “as were” immediately after the fire. The intent was not to preserve them “in amber”, but as objects that proudly wear their scars. As such, their aura and patina carries unique and renewed meanings. As part of the re-opening of the Mackintosh Building in 2019, the collection of plaster casts will be re-installed as proud members of the GSA community. No longer simply a backdrop, they now represent objects of memory and experience, and the collection of plaster casts will contribute towards new creative directions for staff and students alike.