Teaching Collections and Fine Art Pedagogy

我将在一个合作项目的背景下进行我的研究，该项目考察20世纪30年代至70年代的艺术教育和东北文化。我的研究将考虑20世纪美术系内教学收藏的作用、理论基础和影响。我将以纽卡斯尔大学的哈顿画廊藏品为个案进行研究，尤其是在劳伦斯·高英教授和艺术历史学家拉尔夫·霍兰德的指导下，于1940年的《S至1960年的S》期间形成的教学藏品。我将考察教学收藏的教学意义及其对艺术生产具体例子的影响的证据，并考虑这样一个概念，即英格兰东北部的物品收藏可能影响了20世纪和21世纪的艺术故事。建议的研究过程：我将采取从总体教学收藏概述到专注于高英和霍兰德收藏的具体角色和意义的方法，然后重点关注收藏中个别物品的影响。第一步--在美术教学收藏本身的历史背景下理解哈顿教学收藏，通过对已有研究的文献综述。第二步--确定使用教学藏品的证据的时间线，例如，从古典艺术和古董收藏对文艺复兴思想发展的影响，到哈顿收藏的起源，直到高英和荷兰的收藏品。步骤3-通过审查当前目录和研究档案，了解哈顿藏书的内容，重点关注哈顿藏书的内容。步骤4-收集信息，洞察哈顿教学藏书目前的使用情况。步骤5-从我作为目录用户的个人经验和与现有学生进行的可能研究中，确定目录中的信息作为理解和访问馆藏的资源的作用可能需要改进的地方。步骤6-研究有什么证据可以确定将每个对象纳入教学收藏的具体原因，从而更好地了解每个对象在收藏中的作用及其教学目的。步骤7-对高英和霍兰德收藏及其在美术系工作室和艺术史教学中的作用进行文献回顾(或整理通过步骤1-5获得的信息)。步骤8-通过采访和调查曾在美术系工作的艺术家和艺术历史学家，从收集的账户中收集教学收藏的作用和影响的进一步证据步骤9-考虑如何让更广泛的东北社区就他们对哈顿教学收藏的了解发表意见。步骤10-考虑如何将哈顿教学收藏作为美术部门艺术教育不可或缺的一部分保留下来，并作为整个东北社区的资源进行维护和推广。(可能与Tyneside Cinema合作，第三时代的大学？与平等艺术和其他组织合作，让难以接触到的社区参与进来(例如，痴呆症患者)。步骤11--通过研讨会、电影、会议和展览，与其他学生合作，促进所进行的研究。

I will be undertaking my research in the context of a collaborative project which is examining art education and the culture of the North East between the 1930s and 1970s.My research will consider the role, rationale, and influence of teaching collections within Fine Art Departments in the 20th century. I will focus on the Hatton Gallery Collection at Newcastle University as a case study, particularly concentrating on the teaching collection formed in the 1940's to 1960's under the guidance of professor Lawrence Gowing and art historian Ralph Holland. I will examine the pedagogical significance of the teaching collection and the evidence for its influence on specific examples of artistic production and consider the notion that a collection of objects in the North East of England may have influenced the story of art in the 20th and into the 21st century.Proposed research process:I will take the approach of working through from an overview of teaching collections in general, to concentrating on the specifics of the role and significance of the Gowing and Holland collection and then focus on the impact of individual objects within the collection.Step 1 - To understand the Hatton Teaching collection in the context of the history of fine art teaching collections per se, through a literature review of the existing research. Step 2 - To establish a time line for the evidence of the use of teaching collections, eg from the influence of collections of classical art and antiquities on the development of Renaissance ideas, onwards to the origins of the Hatton collection and through to the Gowing and Holland acquisitions. Step 3 - To focus on the content of the Hatton Collection by gaining an understanding of its content through review of the current catalogue and studying the archives.Step 4 - to gather information and gain an insight into how the Hatton Teaching collection is currently being used.Step 5 - To identify, from my personal experience of Step 3 as a user of the catalogue and from possible research undertaken with existing students, how the information in the catalogue may need improving in its role as a resource for understanding and accessing the collection. Step 6 - To research what evidence exists that can identify specific reasons for the inclusion of each object in the teaching collection and thereby gain a better understanding of the role of each object within the collection and its pedagogical purpose.Step 7 - to undertake (or collate information gained through steps 1 - 5) a literature review of the Gowing and Holland collection and its role in the studio and art history teaching of the Fine Art Department.Step 8 - to gather further evidence of the role and influence of the teaching collections from accounts gathered through interviews and surveys on artists and art historians who have worked in the Fine Art department.Step 9 - to consider how we may involve the wider North East community in contributing their views on what they know about the Hatton teaching collections.Step 10 - to consider how the role of the Hatton teaching collection can be preserved as an integral part of art education with the Fine Art department but also maintained and promoted as a resource across the North East community.(A possible collaboration with Tyneside Cinema, University of the Third Age? Collaboration with Equal Arts and other organisations to involve hard to reach communities, eg people living with dementia).Step 11 onwards - to work with the fellow studentships to promote the research undertaken, through seminars, film, conferences and exhibitions.