Basic Design: a practice-led investigation into the significance of space and form in art school pedagogy

基本设计：以实践为主导的艺术学校教学中空间和形式意义的调查

• 批准号: 1644452
• 金额: --
• 依托单位: Newcastle University
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2015
• 资助国家: 英国
• 起止时间: 2015 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-1644452
• 关键词: Basic; Design; practice; led; investigation

This practice-led PhD research will explore the significance of the Basic Design Art School pedagogy that developed particularly in the North East at Newcastle under the auspices of Victor Pasmore and Richard Hamilton. It is one of three AHRC Collaborative Doctoral Awards exploring art education in the North East and is in partnership with Tyne and Wear Museums. Research Questions:The project as a whole seeks to tackle the following questions: - What role did art education play in the culture of the North East between 1930 and 1970? - What were the key innovations in art education at Newcastle University?How did these impact pedagogic goals and perceived values of arts? How important were individuals and their artistic practices to these developments? What was the significance of these developments to curriculum development and teaching at both national and international institutions?And in particular this practice-led element addresses the following research questions: - How might Basic Design be reconsidered in the present through its interrogation by contemporary practice? - What is the role of sculpture within Basic Design? What insight can a sculptural approach bring to the largely two-dimensional outputs of Basic Design? How can the exercises undertaken as part of Basic Design bring fresh insights to contemporary sculptural process?Research ContextNewcastle's Hatton Gallery and school of Fine Art have played a significant role in modern art history. During the 1950s and 1960s its staff included some of the most prestigious names in British art; Victor Pasmore, the Master of Painting, was one of Britain's leading abstract artists and Richard Hamilton, his chief assistant, was soon to become known as the 'father of Pop-Art'. What also made the Fine Art School one of the most advances and progressive in the country was the Basic Design course, which emerged as a radical form of art training and continues to underpin art education today. The history of this educational development has, until recently, been under investigated but it has received some recent partial recognition through the Tate's 'Art School Educated' research (2009- 2014) resulting in the 'Basic Design' exhibition (2013), and a two-day conference on Hamilton and Pasmore at Newcastle, 2013 convened by Frances Spalding. It quickly transpired that the Tate's project was built on a false premise as many of the major developments of the period were generated in the North of England at Leeds College of Art and Newcastle (then King's College Durham), and notLondon. More than this, other aspects of the teaching at Newcastle, and more broadly across the country, remain almost wholly neglected in studies of Fine Art pedagogy; namely the constitution and role of the 'teaching collection', and, linked to this, how expertise from Universities integrated with initiatives such as the Workers Educational Association to teach outside the University.Research ApproachThis practice-led PhD will draw on the archives of Tyne and Wear Museums, specifically the Hatton Gallery, and the Fine Art Education Archive at Bretton Hall. Material to be consulted will include works of art, education material, interviews and associated writings. If appropriate, interviews will also be conducted with former students and staff who taught on or undertook Basic Design. Research will progress through a series of experimental case studies investigating, in particular material, sculptural and spatial aspects of Basic Design.This research will make an important contribution to understanding Basic Design and its contemporary relevance, provide a significant response to an important but neglected archive, reinvigorate understanding of teaching collections and contribute to emergent research on art education, both regionally and nationally.

这项以实践为导向的博士研究将探索在维克多·帕斯莫尔和理查德·汉密尔顿的主持下，在纽卡斯尔东北部特别发展起来的基础设计艺术学校教学法的意义。这是AHRC探索东北部艺术教育的三个合作博士奖之一，并与泰恩和沃尔博物馆合作。研究问题：作为一个整体，该项目试图解决以下问题：-1930年至1970年间，艺术教育在东北地区的文化中扮演了什么角色？-纽卡斯尔大学艺术教育的关键创新是什么？这些创新如何影响教学目标和艺术的认知价值？个人及其艺术实践对这些发展有多重要？这些发展对国内和国际机构的课程开发和教学有什么意义？尤其是这种以实践为导向的元素解决了以下研究问题：-如何通过当代实践的审问来重新考虑基础设计？-雕塑在基础设计中的作用是什么？雕塑方法可以为基本设计的主要二维输出带来什么洞察力？作为基础设计的一部分，这些练习如何为当代雕塑过程带来新的见解？研究背景纽卡斯尔的哈顿画廊和美术学院在现代艺术史上发挥了重要作用。在20世纪50年代和60年代，它的员工包括英国艺术界一些最负盛名的人物；绘画大师维克多·帕斯莫尔是英国领先的抽象艺术家之一，他的首席助理理查德·汉密尔顿很快就被称为“流行艺术之父”。基础设计课程也让美术学校成为这个国家最先进、最进步的课程之一，它是一种激进的艺术培训形式，至今仍是艺术教育的基础。直到最近，这一教育发展的历史一直在调查中，但最近通过泰特艺术学院教育研究(2009-2014)以及由弗朗西斯·斯伯丁(France Spalding)在纽卡斯尔召开的为期两天的汉密尔顿和帕斯莫尔会议(2013)，它得到了部分认识。人们很快发现，泰特的项目是建立在一个错误的前提上，因为那个时期的许多主要发展都是在英格兰北部的利兹艺术学院和纽卡斯尔(当时的达勒姆国王学院)产生的，而不是伦敦。不仅如此，纽卡斯尔乃至整个国家的美术教学的其他方面在美术教育学的研究中仍然几乎完全被忽视；即“教学收藏”的构成和作用，以及与此相关的是，大学的专业知识如何与工人教育协会等倡议相结合，在大学外授课。研究方法这个实践指导的博士学位将利用泰恩和韦尔博物馆的档案，特别是哈顿美术馆和布雷顿大厅的美术教育档案。征集的材料包括艺术作品、教育材料、访谈和相关著作。如果合适，还将与教授或从事基础设计课程的以前的学生和工作人员进行面谈。研究将通过一系列实验案例研究，特别是对基本设计的材料、雕塑和空间方面的研究。这项研究将对理解基本设计及其当代相关性做出重要贡献，对一个重要但被忽视的档案做出重大回应，重振对教学收藏的理解，并为区域和国家艺术教育的紧急研究做出贡献。