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

Sophie Bailey: “I suppose it’s not the place’s fault”

Philip Larkin, when he was “coming up England by a different line”, remembered Coventry as the place “where my childhood was unspent”. New Towns like this are remembered (or unremembered) as gaps in the map of Britain, places to be avoided and embarrassed of. But before they were a joke, they were a dream. Stevenage was one of the many “New Towns” which would be conjured into reality by the New Towns Act of 1946 as part of the construction of Labour’s promised “New Jerusalem”. This included the creation of the NHS and the introduction of the tripartite school system. The old town of Stevenage was selected to be developed as were other well-known New Towns such as Hemel Hempstead, Harlow and Basildon. These were all near London but far enough to allow Londoners to escape the smoke, smog and overcrowding of the city, and would help to reduce the housing crisis in the aftermath of the war. The “Year Zero” phase after the war and the relatively small existing populations in the towns allowed for New Towns to be constructed upon a virtual tabula rasa. Town planning corporations managed the developments of the towns and supplied housing, which was carefully managed to ensure a mix of social classes.

Lewis Silkin, the Labour Minister for Town and Country Planning and the principal planner for Stevenage declared: “[I] am most anxious that the planning should be such that the different income groups living in the new towns will not be segregated… When they leave to go home I do not want the better-off people to go to the right, and the less-well-off to go to the left. I want them to ask each other “are you going my way?””. He intended Stevenage to be “gay and bright” and like all New Town planners aimed to replicate the neighbourly spirit of London slums within a self-contained community, near to the countryside but equipped with its own shops, schools and leisure facilities.

Collage by Sophie Bailey, "Stevenage High Street Constable".

Collage by Sophie Bailey, “Stevenage High Street Constable”. CC BY NC.

Nonetheless, like all things once designated “New”, the New Towns suffered the indignity of ageing and today the modestly utopian vision of the 1950s has faded as fast as the murals. Hemel Hempstead, part of the original wave of New Town developments, once topped a popular vote of the ugliest British towns, with other New Towns like Hatfield (and Coventry) also made the Top 10. Lewis Hamilton, one of Stevenage’s most famous sons, caused a stir in the town when he seemed to refer to it as a “slum” in reference to his life story when accepting an award. Doubtless Hamilton did not mean to compare the town to a real slum, but it is somewhat ironic that New Towns, once symbols of hope, are now associated with the very environments they sought to replace.

The photographs of architecture in the Conway Library at the Courtauld allow us to see these towns in a different light: already a concrete reality which people inhabited, where they shopped and worked, but not yet touched by stigma or decayed by years of neglect. The Conway Library also contains numerous photographs of innovative new private houses, each remarkable for its modernity and worthy of documentation. However, New Towns represent an artistic and political project on a grand scale. More than those of private houses, these photos preserve a moment in the life of Britain.

Many of the photographs depict new developments in pristine condition, imposingly tall and with spotless concrete.

Collage by Sophie Bailey, “Kent House”. CC BY NC.

Collage by Sophie Bailey, “Stevenage Mural”. CC BY NC.

However, the most interesting photos are those in which we can see people interacting with the environment around them. As hoped by its planners, crowds of shoppers fill Stevenage town centre, trailing bags and children. An arm curves round a window to wash it from the outside. Children hold hands under the domineering concrete porch of Kensal House. The beauty of these photographs, and the instantly inhospitable effect created in the photos without people reminds us of the original dream of the New Towns. They were not intended to become dilapidated “concrete jungles”, but to provide dignity and security for the post-war generation. Their inhabitants, perhaps defying the photographer’s wish to capture the buildings and towns alone, insist on presenting themselves to the viewer and making their human realities the central issue of the towns.

 

Further material:

New Towns Spotify playlist

These songs are by people who grew up in or want to record new towns, council estates, the great sprawling suburbs. They capture the mood of these places, the boredom, the evocative images of hot tarmac and train station platforms, the struggle of trying to live a new childhood in a place which seems destined to be forgotten.

Arcade Fire’s The Wilderness Downtown Project

Arcade Fire’s 2010 album The Suburbs perfectly captures the monotonous beauty of the suburbs. Their collaboration with Google Labs is an innovative use of technology for an evocative artistic project. Enter your home address and the website will personalise a short film to your location.

 

 


Sophie Bailey
Courtauld Connects Digitisation Intern