The Courtauld Institute of Art and Welling School are happy to present to you our zines. These are the result of a collaboration that has taken place over the 2014-15 academic year, where 150 pupils in year 7 at Welling School visited The Courtauld Gallery and have taken part in art and art history workshops. From Medieval saints to Paul Gauguin’s radical nudes, the students have explored the collection working with artists, academics, and designers. Ten students were selected from their peers to make these zines, investigating the theme of gender in The Courtauld Gallery. Ultimately, this project is a celebration of the ways in which art history and art practice can complement and enrich each other.
This project was in response to Welling School’s exciting curriculum model of the ‘canon’. Lessons offer a way to teach history through the lens of history of art for year 7 students. To extend and enrich this curriculum, students were taken on trips to The Courtauld Gallery focusing on different elements of the collection and working with a new academic, educator, or artist each time. For example, the first visit in November 2014 looked at Jasper Johns and symbolism.
These trips to the gallery were complemented by afterschool seminars and workshops, where students were handpicked to attend due to an interest in art history. Themes of these included: 19th century art, modern British sculpture, and wood cut prints.
Following the success of this model in the Autumn and Spring terms, we decided to stretch a small group of students and challenge them to create a zine (or fanzine) stemming from the theme of The Courtauld’s exhibition Goya: The Witches and Old Women Album. To create these, they thought critically about gender in response to The Courtauld’s collection, learning how to research in a gallery and art library. Moreover, they reflected on the development of feminist art history reading original texts by seminal feminist art historians such as Griselda Pollock and Linda Nochlin. Finally, they learnt about the activist history of zine-making, experimented with this form of communication, and to quote one of the students, ‘learnt that zines really help to get your message out to the world’.
Over one visit to the gallery, two afterschool workshops, two full-day workshops, and just one day to print at The Common House, the students produced a series of five professional zines that relate to notion of Gender and The Courtauld. Taking just two pieces of artwork from The Courtauld’s collection they constructed critical arguments on themes such as Trapped and Free, Blue Sky Dark Purpose, Working Girls, Judging Feminism: Motherhood, and Women as Objects. And here they are!
And to close, I would like to leave you with this comment from one of the Welling School teachers involved: ‘The project became an opportunity for the students to intervene in their own learning through probing the very subject they study, and steering their own path as critical thinkers. Through working together with academics from The Courtauld Institute they have made a real engagement in theory and principles of art history.’
(An exhibition at Welling School, which included work from this project)
To find out more, or if you are interested in running an extended project in your school, contact Meghan Goodeve on firstname.lastname@example.org or 0207 848 1058.