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

Verity Babbs: Kersting’s Modern Quirks – A Visual Essay

The limited number of biographical writings on Anthony “Tony” Kersting acknowledge his place among (and arguably his supremacy over) the greatest architectural photographers of all time, having “built up a matchless archive of architectural treasures”. What has rarely, if ever, been discussed, however, is the aesthetic appeal of Kersting’s portrait works to be found among the thousands of photographs housed at the Courtauld Institute of Art’s Conway Library.

Kersting’s architectural photography imbues his selected structures with a feel of stoic timelessness. This visual essay takes previously unanalysed works from Kersting’s portfolio and examines how the photographer was not only taking images of his modern day, but composing them in the aesthetic style of his modern day. These compositional decisions correspond to the 19th and 20th Century fine art shift through Impressionism, Surrealism and Pop Art. That Kersting may have seen these specific works is postulation.

Left to Right: AF Kersting, The Conway Library + Natalia Goncharova, Cyclist, 1913

 

Left to Right: AF Kersting, The Conway Library + Dziga Vertov, Still from Man with a Movie Camera, 1929

Left to Right: AF Kersting, The Conway Library + Paul Strand, Wall Street, 1915

 

 

 

Left to Right: AF Kersting, The Conway Library + Berthe Morisot, The Harbour at Lorient, 1869

 

Left to Right: AF Kersting, The Conway Library + Georges Seurat, Le Cirque, 1891

 

Left to Right: AF Kersting, The Conway Library + Caspar David Friedrich, Wanderer above the Sea of Fog, 1818

 

Left to Right: AF Kersting, The Conway Library + Peter Blake, Marilyn Monroe Merz Screen ABC and ABC, undated

 

 

Left to Right: AF Kersting, The Conway Library + Henri de Toulouse-Lautrec, Avril, 1893

 

 

Left to Right: AF Kersting, The Conway Library + André de Dienes, Marilyn Monroe playing on the Beach, 1949

 

Left to Right: AF Kersting, The Conway Library + Terry Gilliam, Harvest Time for Crunchy Frogs, 1974

 

Left to Right: AF Kersting, The Conway Library + Alfred Stieglitz, Winter, Fifth Avenue, 1892


Verity Babbs
Courtauld Connects Digitisation Intern