Jessie Palmer: AF Kersting, Canary Wharf, and the removal of the fat cat

My key interest for the past year has been in the figure of the “Fat Cat”[1], to which none of the images I was looking at in the Conway Library could give a literal face. Yet, the collection of AF Kersting seemed to offer some light on my desire to continue looking at this select group of people through his record of the Canary Wharf commercial estate in the early 1990s.

“LONDON, CANARY WHARF, The Tower.”
AF Kersting
CON_B04268_F003_003. The Courtauld Institute of Art. CC-BY-NC.

Leafing through the collection of Kersting’s work held by the Conway Library, one begins to form an image of a photographer who scrutinised his subject matter until no question was left for the imagination. There are only four images he took of Canary Wharf and they stand in stark contrast to the rest of the collection, which features a multitude of similar images taken from minutely different angles, recording as much as possible of an object, building or landscape.

Kersting’s photographs show us Canary Wharf in the early 1990s standing at the opposing side of the river, and take us all the way through to the marble halls of the West Ferry Circus property at the most western side of the site. Thirty years old today, these images are outstanding documents of the architecture of Canary Wharf in the early days of its redevelopment. The images place 1 Canada Square high up in the London skyline and relay a reality far from the built-up area we know today. The relationship between Kersting’s habit of not including people in his images of buildings and landscapes, and the current intensive and pedantic control of the site’s media coverage, lends itself to a new conversation about the presentation of the financial industry.

“LONDON, CANARY WHARF, From the River.”
AF Kersting
CON_B04268_F003_005. The Courtauld Institute of Art. CC-BY-NC.

Arguably, there is much to glean from an image that documents something that only wants us to see its surface. For example, the empty and flawless nuances of each image reiterate the appearance the financial world wishes to portray to its global audience. The single interior photograph shows a vestibule leading into something of an endless tunnel of infinite reflections, the shuttering of the repetitive architecture rejects our attempt to try and identify ourselves with this alien space of wealth. Similarly the exterior of the Westferry Circus and “The Tower”, (which is referring to 1 Canada Square, the second tallest building at the time of its completion in 1991), suggests, through its scale and uniform appearance, that there are no cracks in its literal physical structure in which to insert ourselves psychologically.

“LONDON, WESTFERRY CIRCUS, CANARY WHARF, The Vestibule.”
AF Kersting
CON_B04268_F003_004. The Courtauld Institute of Art. CC-BY-NC.

In Henrich Wöfflin’s doctoral dissertation, Prolegomena zu einer Psychologie der Architektur (Prolegomena to a Psychology of Architecture, 1886)[2], he focuses on the concept of the psychology of aesthetics and suggests that there is an empathy that we have with objects which influences their design. His particular focus is on architecture and its proportions which, he argues, are understood by viewers in relation to their own: humans actively create buildings that correspond to their own physiques. An example he gives is that facades of buildings are the same as human faces.

Kersting’s documentation of these buildings within Canary Wharf rings true to such a proposal. The design exhibits the nature of the clientele who rent these office floors, actively displaying their wealth and desire for privacy. The structures themselves behave not only in alignment with their inhabitants – the city skyline mirroring the companies’ power and international reach – but also with the inaccessible and largely unknown movements of the financial market, which prefers to be left alone to do its job as the largest grossing industry in the UK.

The tone set by these structures is one of distance and exclusivity. Furthermore, the symbolism of these buildings, in particular the success and association that they have with their “starchitects”, has become something of a novel and “must-have” aspect to new developments cropping up across global capitals. 1 Canada Square’s architects, César Pelli & Associates, who also designed the World Financial Centre in New York, only reiterate how these buildings have been made to accommodate and act as a representation of those inhabiting it.

“LONDON, WESTFERRY CIRCUS, CANARY WHARF.” AF Kersting CON_B04268_F003_002. The Courtauld Institute of Art. CC-BY-NC.

My curiosity wishes to revisit how these images might have been created, particularly when restrictions placed by the owners of Canary Wharf, Canary Wharf Group Plc, are so tightly regulated today. Though we are being given access privileges that might not exist again, the images are largely dictated by Kersting’s style. From behind the lens, he has the ability to crop out the rest of the landscape. Perhaps the photograph from the other side of the river suggests that Canary Wharf has become an island, a disconnected metropolis from the rest of the city? Kersting’s reiteration to his audience of this distance between these developments and the rest of the city becomes an increasingly alarming parallel when one inserts the companies into the offices that tower 50 floors into the sky. I feel a far clearer message relayed, however, is the immense power and money these structures represent. And the way they stand as early symbols of the city against the largely unpopulated docklands of the time.

The faceless nature of the fat cat lets us forget the individuals of the financial machine. It is not necessarily the individuals who see the need to remove themselves but, for example, Canary Wharf Group Plc who is the umbrella voice surrounding the property and enforces film and photography permits. With Kersting’s choice to not include people in the images these photographs only flatten the facade we are presented and, arguably, the face of this industry even more. The flatness compacts and constricts itself even tighter, so that it gives as little information as it possibly can. The flatness of our knowledge is emanated by these buildings’ faces. Its desire to create privacy reflects our image back to ourselves, looking at the light catching on the windows. What else Kersting saw, we will never know. The fat cat wins again.

[1] Fat Cat: If you refer to a businessman or politician as a fat cat, you are indicating that you disapprove of the way they use their wealth and power. www.collinsdictionary.com

[2] Wölfflin, H., 1886. Prolegomena zu einer Psychologie der Architektur, München.

Jane Macintyre on meeting HRH The Princess Royal

My name is Jane Macintyre. I am one of the volunteers working on the Courtauld Connects digitisation project at The Courtauld Institute of Art.

On the afternoon of 12th June, HRH The Princess Royal visited both The Courtauld Gallery and the Institute in her role as Chancellor of the University of London. Prior to the event, she had expressed an interest in meeting the digitisation team – Tom, Matthew, Faye and Sarah – plus one of the volunteers. About five weeks before the visit a ballot determined, as luck would have it, that the volunteer would be me. I was bursting to tell everyone but had been sworn to secrecy.

It turned out that HRH wouldn’t be able to visit the basement studio or library space, but the prints and drawings room on the first floor of the building substituted as a suitable venue where we could present images. Tom and Matthew had selected a small spread of Conway mounts, Laib photos and Anthony Kersting’s images and ledger books. They took care to choose some particularly relevant images such as the only photograph in the collection of the Princess’s home, Gatcombe Park in Gloucestershire, and some Olympics venues such as the Athens Arena from 1896, the first Olympics of modern times. Faye set up the camera and connected it to her laptop to mimic the studio facility.

HRH The Princess Royal meeting the Digital Media Team. Photo courtesy of Jim Winslet.

Security on the day was tight. At 2.15pm everyone was summoned to the foyer to receive our credentials and a final briefing, then we took our places in the prints room where we awaited a last security sweep before HRH arrived. It seemed like a long time: excitement mounted.

Finally, the Princess came into the prints room accompanied by the Director of The Courtauld, Professor Deborah Swallow. The Princess, clearly well-informed and interested, was first introduced to the prints and drawings team, and after perusing some of the drawings, came over to talk to the digital team. Tom summarised what the project was about, and presented Matt, Faye, Sarah and myself (in strict sequence). The Princess asked me to explain the role of the volunteers and then Tom showed her the selected array of photographs, which led to a discussion on Gatcombe Park and the changes that had been made to it since the photograph was taken in 1945. She also picked up on the photograph of the Athens Olympics, before moving on to the next part of her visit, the launch the Founders’ Circle, a new society to recognise major benefactors to The Courtauld.

So five weeks of anticipation was over in a few minutes. We definitely rose to the occasion and did a good job of explaining the project. Never having met royalty before, I was struck by the level of organisation, coordination and sheer choreography required to achieve a smooth and effective visit.

Mary Caple on digitising at the Courtauld

Mary Caple: Digitisation Volunteer

Mary Caple: Digitisation Volunteer

My name is Mary Caple. I’m one of the volunteers on the HLF Digitisation Project at the Courtauld Institute of Art. Since we started digitising images in March, I’ve spent nearly thirty hours working on the project with Faye, Tom, Sarah, and and other community members donating their time.

I jumped at the chance to get on board with this initiative. During my undergraduate degree at Concordia University in Montréal, Canada, I took museum studies courses, designed exhibitions, and questioned various approaches to digitisation with my peers. What kinds of possibilities arise when exponentially more data is freely available online? Can digitisation make archives more accessible to a broad array of people within and outside academia? Since university I’ve researched in archives and worked on curatorial projects, but this role brings two firsts. Collections photography and the digitisation process are new to me.

One of the many reasons this project at the Courtauld is special is its approach to volunteer participation. While we are welcome to request a particular task on any given day, by default we rotate through jobs from cataloguing to photography. This way, each person involved digitising the Conway, Kersting, and Laib collections can try something new as well as play to their strengths. Switching around has another benefit. By spending time with distinct parts of the collections and approaching them on Tuesdays as a photographer, Thursdays as an archivist, and Fridays as a geographical sleuth/transcriber, a potentially overwhelming behemoth undertaking instead feels like a treasure trove. The ability to approach our material from these different angles keeps perspective fresh and gives a sense of what lies ahead in the months and years to come as the project progresses.

Here, I’ll take you through each of the three types of tasks each volunteer performs when they come in to the Institute. By starting with the small parts – the daily tasks of the 50+ volunteers involved –  I hope you’ll gain an understanding of what goes into getting a large-scale digitisation initiative like this one off the ground.

Labeling/Sorting

Boxes waiting to be labeled

Boxes waiting to be labeled

The first task on the roster for most volunteers involves sorting and labeling the collections. Over the last month and change we started labeling the Conway collection. Most of these items are printed photographs mounted on card stock, sorted in files, which are housed in boxes found on shelves of the library. As such, they’re also a bit sturdier (less easy to break, tear or maim) than the film and glass negatives of the Kersting and Laib images and a good point of departure for learning how to handle archival objects.

Everything gets a number in our very own Library of Babel. Lots of time is dedicated to going through and numbering each box with sticky labels, and numbering the files and cardstock pages (as well as the occasional news clipping) in each file in pencil by hand. These numbers come in handy later on when we’re taking photos – a number becomes the unique identifier for each image, and what you’ll see eventually when you navigate to the image’s page on the online site. We’re creating a new archival framework that will organize the way the images live in their online home.

While labeling is a great way to get to know the geographical and temporal depth of the Conway images, there are also small surprises. I learned one of my favourite archival lessons from Faye while sorting images. Every file containing architectural images is sorted from distance views to interior details, outside to inside. Keep an eye out if you find yourself flipping through them. 

Transcribing the Kersting Logs

Another task dealing with the words and numbers of images involves “digitising” Anthony Kersting’s photograph ledgers by data entry. Kersting meticulously wrote down the date, place, and distinguishing information about thousands of photos he took all around the world throughout the 20th century. Transcription volunteers go through his logbooks and enter this information into a Google Form Faye has set up. This simplifies the data input procedure, hiding the entire spreadsheet of information each time we sit down to work.

Kersting may have been a globetrotter, but he was also a passionate explorer of his own backyard. A recent newcomer to the UK, I’ve found tracing his travels from Cumbria to Herefordshire and beyond a terrific learning experience. Often some Googling is in order to clear up undecipherable spelling or to clearly pinpoint where his travels had taken him for a given photo.

Tracing his photographic path through 1960s Middle East has been a particularly moving experience. I trawl through Wikipedia sites and old travel guides to find location information for castles and towns Kersting rolled through. Borders have changed. Many of the sites Kersting thought interesting enough to photograph have now been destroyed or badly damaged by the conflict in Syria. 

Taking the Photos

Taking the photos

While boxes are labeled and data is inputted, we’re moving along with photographing the collection. This is a chance for the social volunteers among us to get collaborative – the photo team always consists of two volunteers. One person positions the images under the camera. The other uses the studio computer to edit each for uniformity and add some simple metadata to the files. While we’re welcome to have a look at the images whenever we’re in, this job provides a great chance to have a look at each and every image going up.

You might be wondering why we’re using a camera instead of a scanner to digitise. While a scanner might complete the job more quickly, and many digitisation projects do use scanners to capture images, the use of a camera here serves a particular purpose. As many of the images we’re working with are mounted, an image taken with a camera can capture that extra layer of depth – the sliver of space between board and photograph is given life. We hope to give the computer user a taste of the experience of getting to see these collections in person – the entire boards are treated as archival objects rather than just the photographs mounted to them. Tom Bilson, the Courtauld’s Head of Digital Media, describes this beautifully – ask him if you ever see him in person. 

Spending time on each of these tasks gives volunteers a sense of the larger momentum of the project while they work on smaller tasks. Returning to the same task you worked on a few days, weeks or a month or two previous comes with the surprise of seeing how much the other volunteers and staff have completed in the interim. Something as small as a giant leap in the number of boxes labeled, having moved on to a geographical locale further down the alphabet or thematically different, or seeing a new subject arise (architecture has taken awhile!) is exciting.

Now that the overview is out of the way, I’m looking forward to diving into some specific stories about the collection to share with you in months to come.

Getting to know our volunteers

Interviewing volunteers is one of my favourite parts of being a Volunteer Coordinator, I never get bored of hearing people’s stories and what led them to become a volunteer. This past month and a half I have interviewed over 40 new volunteers for our digitisation project so it’s been a brilliant 6 weeks for me.  Now that I’ve listened to everyone’s motivations, goals and stories I thought I would blog about what I’ve learnt in a Q&A style…

After interviewing over 40 people, would you say there is a typical digitisation volunteer?
In short, no. We are really, very lucky to have attracted such a diversity of experience, skills, knowledge-bases and strengths in such a short space of time. We have a very multicultural volunteer team so far, which I think is a great strength as we are digitising photographs from all over the world. We also have a wide age range amongst our volunteers, spanning from 18 to 70+. We have people with professional and unpaid experience from a wide variety of sectors like finance, education and architecture, as well as many who have formerly trained in art history, conservation and archiving, and also many enthusiasts – so this is a chance not only for volunteers to learn from us, but for us to learn from them and for there to be lots of shared learning from each other. A real network is already emerging!

Getting to know the Conway Library © The Courtauld Institute of Art

Is there a main motivation for getting involved in the Digitisation project so far?
As you would expect, everyone has a slightly different take on why they want to volunteer, but in general there are four main motivations for becoming a digitisation volunteer that crop up in most of the interviews so far, with many people mentioning at least two at some point in their interview:

  1. A passion for creating an open data platform as a way of opening up stories, diversifying audiences, breaking down barriers and improving access to art for communities who might not be able to access the originals.
  2. The pull of being involved with the Courtauld Institute of Art, as a world-class cultural institution.
  3. The chance to gain hands-on experience on a digitisation process, with a view to move into employment or further training in this field.
  4. The desire to spend free time discovering images that are interesting, beautiful and have not been made public before.


Has anything about the interviews so far surprised you?
After managing volunteers for quite a few years, I have learnt not to make assumptions; but I am always very moved by people’s passion, drive and commitment to use their free time to help organisations further their cause, and I am overwhelmed by the variety of skills and perspectives they bring with them. It’s very motivating to be around them!

 


Sarah Way

Courtauld Connects Volunteer Coordinator

Introducing our new digitisation project


Hello and welcome to our
 Digital Media blog – so nice of you to come and visit!

This post is an introduction to the HLF Digitisation Project here at the Courtauld Institute of Art. The project is run by Tom Bilson, Head of Digital Media, Sarah Way, Volunteer Coordinator, and myself, Faye Fornasier, Digitisation, Metadata & Cataloguing Coordinator, and together with our amazing volunteers we will use this space to talk about what we’re doing and share our work and serendipity.

The digitisation pilot, running now until August, will be a journey of discovery and exploration. It will set the pace for the rest of the project, which, if funded, will run for four years and complete the digitisation of the Courtauld’s photo libraries, started last summer with the Witt Library as a separate project, and part of the overarching Courtauld Connects.

The three collections we are covering are the Conway Library, just under a million mounted photographs and cuttings of architecture and sculpture started by Lord Conway of Allington; the complete archive of black and white prints and negatives by photographer Anthony F. Kersting, covering architecture of almost every European country, Asia, New Zealand, the Middle and Far East; and The De Laszlo Gift of Paul Laib Negatives, with over 20,000 images of works of all the major artists active in Britain between 1900 and 1945. 

One of the boxes of prints from The Kersting Archive © The Courtauld Institute of Art

So far, the work has been great fun. In January we had our Volunteer Open Day, which was fantastically rewarding with over 137 registrations. In February we set up the Digitisation Studio from scratch, redecorating and building furniture ourselves; Sarah met over 40 prospective volunteers in one-to-one interviews and launched the shift booking portal, while also finding the time to go on an amazing trip abroad; Tom went shopping for a Content Management System & website for our new images, and transitioned between two fascinating exhibitions by artists working with the collections; and I got the photographic equipment up and running, tested the imaging settings and workflow for different materials, and put together some step-by-step instructions for when the volunteers arrive, on Tuesday next week.

Yesterday, we had an induction event with our first 26 volunteers and they’ve already signed up for most of the next three weeks. The volunteers will bring all sorts of different experiences to the digitisation process and and insight on the images themselves, so over the course of the project we will ask them to share their stories and discoveries. What more can I say – we’re incredibly excited. 

Some of the negatives have never been out of their box and seeing what happens when they go online will be magical – so save this page for updates but also let us know what you would like to find on this blog. We will be happy to answer any questions and post suggestions are always welcome.

Introducing volunteers to the aims of the project © The Courtauld Institute of Art

 

 Faye Fornasier

Digitisation, Database and Cataloguing Coordinator
Courtauld Connects