Collecting for the People: a history of contemporary art in British museums

Course Dates: 22/02/22 - 29/03/22
Time: 18:30 - 20:30
Location: KS - Keeley Street
Tutors: 
Have you ever wondered how works of art and cultural objects have been collected for public museums and galleries in Britain? Who collected these objects? What functions have public collections played in society? Why ‘collect for the nation’?
This course takes place in the classroom, please follow this link to find out what we are doing to keep you safe: Staying COVID-19 secure at City Lit
Download
Book your place
In stock
SKU
175898
Full fee £129.00 Senior fee £129.00 Concession £79.00

Course Code: VB519

Tue, eve, 22 Feb - 29 Mar '22

Duration: 6 sessions (over 6 weeks)

Or call to enrol:020 7831 7831

Please note: We offer a wide variety of financial support to make courses affordable. Just visit our online Help Center for more information on a range of topics including fees, online learning and FAQs.

What is the course about?

This course starts by exploring the fascinating roots of museum collecting from the early European ‘Cabinets of Curiosities’ to notable historical collectors in Britain including Sir Hans Sloane and Bess of Hardwick. Discover why in the 18th and 19th centuries, new collections in Britain developed as a result of the shift from private to philanthropic models of collecting, including some of the major civic collections of Birmingham, Liverpool and Manchester. In the 20th century we look at how modern art in Britain was championed by organisations such as the Contemporary Arts Society and the National Art Collections Fund; and focus on important postwar public collections in London, Bradford and Edinburgh.

The course ends by considering how and why major public collections developed as urban regeneration projects for the new century, including Tate Modern, Baltic Centre for Contemporary Art and Turner Contemporary. We explore how public collections including MIMA in Middlesbrough and Kettle’s Yard in Cambridge are creating exciting socially-engaged practice for the future.

What will we cover?

-Examine the shift from private to public models of collecting in Britain.
-Reflect on how collecting policies and trends have influenced museums acquisitions.
-Consider the relationship between public collections and their audiences.

What will I achieve?
By the end of this course you should be able to...

-Name two public museum collections in Britain.
-Identify two to three major artworks from museum collections studied on the course.
-Describe one example of how a museum uses contemporary art to engage with audiences.

What level is the course and do I need any particular skills?

This course is suitable for all levels.

You should be able to follow straightforward written and verbal instructions, demonstrations, hand-outs and health and safety information, and will be invited to take part in group discussion of historical/art historical/questions.

How will I be taught, and will there be any work outside the class?

You will be taught with slide presentations, and group discussion.

Are there any other costs? Is there anything I need to bring?

You might wish to purchase a notebook for taking notes. You might wish to buy some of the books on any reading list given out in class.

Chantal Condron

Chantal Condron has worked widely in the public and private arts sector for over 25 years including at the Government Art Collection, Tate, Sotheby's, Visiting Arts and University of London Library. She holds a BA in History of Art & Architecture from the University of East Anglia; and an MA in History of Art & Archaeology from SOAS, University of London. Chantal is currently the curator of public engagement at the Government Art Collection where her recent projects include delivering the public programme for Ways of Seeing, the loan of almost 70 artworks to unusual public spaces in Waltham Forest London Borough of Culture. As curator of modern and contemporary art, she led art programmes at the University of Hull, Whitechapel Gallery, Birmingham Museum & Art Gallery and Ulster Museum, Belfast; and she has presented art talks widely in the UK and abroad. In 2019, her book, 'Peter Hedegaard', the first monograph on the Danish abstract artist, was published by Rocket Gallery, London.

Please note: We reserve the right to change our tutors from those advertised. This happens rarely, but if it does, we are unable to refund fees due to this. Our tutors may have different teaching styles; however we guarantee a consistent quality of teaching in all our courses.