Photographic Prints Archive

Sarah Way: Interpreting the Conway with BeyondAutism

One of the main aims of digitising our amazing photographic archive and putting it online for the public to access for free is to allow our materials to connect with new audiences. We want to allow our images to become resources for a myriad of endeavours, from academic to recreational to personal and everything in between!

Part of the benefit of working with such a large group of volunteers is that we are able to hear ideas from many people with diverse experiences every day and test them right from the start of the digitisation process. We have some great examples of that here in this blog – but what about creative members of the community who aren’t able to frame their interpretations into a blog post or to help us digitise our images because of their physical and learning needs? What would they make of our collection?

This summer we were lucky enough to have a chance to answer this question through a partnership with BeyondAutism and their Post-19 service. BeyondAutism is a pioneering service led by the Head, David Anthony.  The college offers young adults with complex needs aged 19 to 25 “an individualised personal curriculum.”

This image shows students and teachers at BeyondAutism as they cut copies of the Conway digitised images and paste them onto large canvas supports to create collages.

BeyondAutism students and teachers creating the artwork

“Our students follow a programme of study that best prepares them for adulthood, focusing on the skills required for independent or supported living, training and employment, health and wellbeing and community participation.”

This image shows Courtauld staff and interns enjoying the creation process with students and teachers at BeyondAutism as they cut copies of the Conway digitised images and paste them onto large canvas supports to create collages.

Courtauld Digitisation staff and interns getting involved in the creative process

After an initial meeting, we decided to start a collaboration. The wealth of creativity amongst their cohort and the bountiful diversity of images in our collection made us confident we could find some way to forge a meaningful workshop. A few weeks later David struck gold: we could use our library of London architectural photography to allow his students to explore ideas for independent or supported living. The students would creatively interpret what being part of the community of London meant to them in a very instinctual, tactile way.

A tactile approach to our image collection

We provided hundreds of images and large canvases while the team at BeyondAutism provided specialist support, tactile materials and lots of PVA glue. Eight brilliantly dedicated students, the college staff, our Digital Media team and interns all got involved in co-producing. We started tentatively with a few images stuck on a very large blank canvas in the morning but by the afternoon we were pouring glue freely over multi-textural work and brightly coloured feathers contrasting the Conway’s black and white images of iconic skyscrapers and monuments.

This image shows a particular student at BeyondAutism who benefits most from working in a room alone with his teacher so that they can concentrate undisturbed.

A student at BeyondAutism working on a solo project with his teacher

The results were a very sensory, sticky and wonderfully original set of collages, all unique in their outcome, all reflective of a much bigger process of coming together, learning from each other and understanding the beauty of diversity. We built our digitisation project around Samuel Courtauld’s vision of “Art for All” and this experience has made us determined to be bolder in exploring what this can mean at every level.

This is a tilted image showing all four collages created at the BeyondAutism workshop

The finished works at the close of day

We will exhibit the collages in The Courtauld’s Conway Library this autumn, so if you are interested in attending the opening and hearing more about this topic do contact us at: digitisation.volunteering@courtauld.ac.uk.

This is a picture of the first artwork. It is a collage of neat cut outs of London buildings in black and white with limited colour accents in green and red at the top

BeyondAutism Workshop Untitled 1

This is a picture of the second artwork. It is a collage of roughly ripped cut outs of London buildings in black and white with red feathers, blue transparent film, and yellow tiger print elements, as well as a dinosaur sticker and a stylised man

BeyondAutism Workshop Untitled 2

This is a picture of the third artwork. It is a collage of roughly ripped cut outs of London buildings in black and white with yellow, green and orange feathers, blue transparent film, and yellow tiger print elements.

BeyondAutism Workshop Untitled 3

This is a picture of the third artwork. It is a collage of neat cut outs of London buildings in black and white with blue transparent film, pink paper a red pooling element and a stylised man.

BeyondAutism Workshop Untitled 4

This is the fifth and final canvas created in the BeyondAutism workshop. It is a collage of pieces of images from the Conway Library depicting mainly London buildings.

BeyondAutism Workshop Untitled 5


Sarah Way
Courtauld Connects Volunteer Manager

Samuel Cheney: Meeting the Photographer’s Gaze – Absence and Presence in Anthony Kersting’s Images of Nepal

Anthony Kersting (1916–2008) has primarily been remembered as Britain’s pre-eminent architectural photographer of the twentieth century, having extensively documented buildings across Europe, Asia, and the Middle East. Yet, by delving into a specific collection held in The Courtauld Institute’s vast Conway Library, we can see that it was not just the aesthetic pleasures of great buildings that caught the photographer’s eye. With many human portraits punctuating his architectural studies, Kersting seemingly had as much of a passion for people as he did for architecture. Human interactions with the built environment that surrounded them repeatedly grabbed the photographer’s attention. A look through his photographs of Nepal can show how Kersting attempted to provide an impression of the country by representing both humanity and architectural landscapes in one continuum.

A short trip to Nepal in February 1971 yielded tens of images which show Kersting’s observations of people within their built environment. This image of Durbar Square in the Nepalese city of Lalitpur exemplifies this, as Kersting adopts a distant vantage point to depict the bustle of urban living among the majestic surrounds of Newar architecture.

AF Kersting, 1971. “Nepal. Durbar Square, Patan”. The Courtauld Institute of Art. KER_PNT_G08923. CC BY NC.

A more intimate interaction between person and landscape is portrayed in the study of the Hindu Pashupatinath Temple in Bhaktapur (Bhadgaon), north-east of Kathmandu. While the image is dominated by the imposing structure itself, our attention is drawn toward two separate pairs of figures. An adult man and a young girl stride nonchalantly past each other in the foreground, neglecting to look at this impressive building that may have, to them, become quotidian. And, sitting on the temple’s entrance steps, a second girl and a much younger child scrutinise something in between them, blissfully unaware (or so it seems) of the watchful gaze of the photographer’s lens.

AF Kersting, 1971. “Nepal. Bhadgaon, Pashupatinath Temple”. The Courtauld Institute of Art. KER_PNT_G08932. CC BY NC.

Alongside depicting the Nepalese architectural landscape, Kersting was clearly also concerned with documenting the people who ubiquitously appear in interaction with their built surroundings. This was highly significant for Kersting’s photographic craft. Through attempting to depict a rounded picture of Nepalese life, both people and architecture become the objects of his urban scene. This objectification depends on a lack of agency, both humans and buildings exist in the photo exclusively as things to be seen. Kersting does not want to interact with these subjects, he only seeks to observe them from the outside. This sustains the supposed authenticity of his scenes – by consciously trying to absent himself from his photographs, Kersting attempts to show how Nepal would appear even if he were not looking. To perpetuate this illusion of being an absent observer, Kersting doesn’t seem to want the individuals in his photographs to appear in interaction with him in any way. Robbed of their ability to act, people regularly become monumentalised in these pictures, just like the buildings that surround them.

This image of a Kathmandu street scene epitomises the usual arrangement of individuals in Kersting’s Nepal collection. The illusion of Kersting’s absence from this scene is maintained by the most prominent figure resisting the temptation to meet the photographer’s gaze. The people who are seemingly unaware of being observed, alongside the carry-poles and market stalls, imbue this snapshot of the Nepalese capital with a flavour of authenticity.

AF Kersting, 1971. “Nepal. A street scene in Kathmandu”. The Courtauld Institute of Art. KER_PNT_F051-093A. CC BY NC.

However, occasionally Kersting cannot remain hidden in his photographs. In some images, this phantasmagorical English photographer captures the exact moment when various Nepalese people spot his presence. A few photos in the collection show some of Kersting’s subjects meet his gaze, as they stare directly back at his voyeuristic lens. Rather than remaining the disconnected objects of Kersting’s photographic gaze, this disturbs the illusion of Kersting documenting an undisturbed Nepal, as he becomes implicated in the images which he has attempted to remain absent from.

One such image is Kersting’s photograph of the Golden Gate of Bhaktapur. The Nepalese woman guarding the doorway does not act as if unobserved but, shielding her eyes from the sun’s obscuring rays, visibly strains to examine the photographer.

AF Kersting, 1971. “Nepal. The Golden Gate in Bhadgaon”. The Courtauld Institute of Art. KER_PNT_G08929. CC BY NC.

In the centre of the image, an older girl drags her younger companion (perhaps her sister) through the square. While the taller child rushes across the picture frame, as just another object signifying the bustle of a Nepalese city, the smaller girl noticeably slows, struck with curiosity at the imposing figure of Kersting who is capturing her image for posterity. Along with the closest figure, a man who glances back mid-stride to meet the gaze of the cameraman, this girl causes the illusion of Kersting’s absence to shatter. We are left wondering about Kersting’s positioning within this scene, as the sole European standing alone in this central-Himalayan city square, fuelling the interests of the Nepalese people who encircle him. Kersting is similarly implicated in another photo showing the Golden Gate and the adjacent Palace of Fifty-Five Windows. The foregrounding of his architectural scene is suffused with movement. Like his other photographs of Nepalese squares, Kersting attempts to show the rush of everyday life continuing undisturbed by his photographic intrusion. Yet, Kersting actually captures a moment that makes this photograph the most beautiful of all his images of Nepal.

AF Kersting, 1971. “Nepal, Durbar Square, Bhadgaon. Showing the Golden Gate and the Palace of 55 Windows”. KER_PNT_G08918. The Courtauld Institute of Art. CC BY NC.

Most of the images we have from Kersting’s 1971 trip to Nepal show one side of the photographic process, only exposing the view of the man wielding the camera. However, we should remember that photography is a symbiotic exchange between photographer and subject. Despite his attempts to inculcate the illusion of absence in his photographs, when Kersting looked at the people of Nepal in order to capture their image, the people of Nepal would have looked back at him. Unfortunately, the thoughts of Kersting’s Nepalese subjects are lost, and we are left with only speculations about how these people felt about having their pictures taken or whether they wanted to be photographed at all.

The compositional style of Kersting’s photographs can seduce us into believing that the photographer was a man who wasn’t there. However, by meeting the gaze of our cameraman, Kersting’s Nepalese subjects highlight the photographer’s eternal presence in the images he created.

 


Samuel Cheney
Courtauld Connects Digitisation Intern