Sunday 20 May 2012

Contemporary artists revolutionise museums?

To return to another theme: the way that 'contemporary artists' are transforming museums (not!). Be warned: there is more to come on this subject in later posts.

Contemporary artists are helping museums unlock the potential of their collections and reach new audiences read the headline of an article in the Museums Journal by the usually reliable Simon Stephens. He managed to knit together a disparate set of projects to support the case including: 
  • Nottingham where 1000 young artists are working in the New Art Exchange and Nottingham Contemporary Galleries taking part in Young Artists. Might there be a hint here about the word gallery and artists? The title of the project is hardly inspiring but it probably does what it says
  • 10 artists matched with 10 museums and galleries for a range of after hours events in museums. We have mentioned this before. Ten of them; hardly a widespread welcome by the museums 
  • The Haywood gallery will become a 'school run by artists'. Not surprising in a gallery
  • Grayson Perry at the British Museum. This was obviously a terrific success but people with large budgets and lots of spare space like the BM can indulge such projects
  • The Museum of London worked with artists to produce four artworks, opening out the debate ... a bonus point for additional jargon  about 'opening a debate'
  • Snibston colliery site
  • National Trust Trust New Art which was run at five properties
  • Alchemy at Manchester Museum
  • Welcome Museum
  • New Expressions which we mentioned in an earlier posting 
This does not sound as though projects are nearly as widespread as the headline suggests. One would expect galleries to work with artists and large sites like Snibston and the National Trust have spaces ready made for art of one form or another. Most museums are probably quietly jealous of them as good quality narrative art can help to bring spaces alive and give an edge to large spaces. What none of these suggest is that artists were engaged in helping tell the original stories of the objects.

Simon goes on to speak of the 'ability of artists to look at collections in fresh and innovative ways which appeals to curators.'

This sounds like a big love-in which has little core motivation. There is an overtone of misunderstanding, alienation, jealousy of knowledge between artists and historians: a theme that was explored so well in John Fowles' short story Poor Koko in his Ebony Tower collection. A burglar ties up a man in a lonely cottage and then burns his books in front of him because he cannot stand the thought of others having knowledge which is inaccessible to him.

A diary piece in the same issue of MJ took the Mick out of the same thought. Asked what  museums were for, a hapless and fictional museum director replied 'to serve the public' and was told 'No, they are there for artistic excellence'. They were then taken off for re-education.I used to study history. Now I explore art.

Thursday 17 May 2012

Winning friends and influencing people II

The recent Local Council elections sent the Coalition into a spin as it tried to decide what to do now that the country did not like it. 'Turn right' said the backwoodsmen; 'turn left' said the inner cities; 'just do something without making a mess of it for once', said others.

The draft Queen's speech which is apparently handwritten on vellum and takes three days to dry - it is so hard to find a monk to make the changes in a hurry nowadays; no wonder HVIII dissolved their monasteries - was to be revised.  The PM and his Deputy headed off to a tractor factory in Essex to show that they were in touch with people.

The choice of Essex was obviously a careful one. It was not too far from London and south of the bad lands which start somewhere around Watford. As one commentator remarked, 'it was a triumph to find a British factory still making something; and within reach of London too.'  The tractors were blue and yellow - the source of a very laboured and badly delivered 'joke' by the DPM which fell on dead ears. The speech was not aimed at the bemused tractor drivers but at the media. It all smacked of something from the television series 2012: the result of some over-enthusiastic young spinner/policy wonk in No 10 who should not have been allowed out.

Political sketchwriter Simon Carr was his usual pithy self. 'It did not matter what they said, no one was listening', he said. 'They came to Essex not only to show they got it but to show they really, really got it, with a cherry on top. They talked of things of which they were hugely proud such as life chances, and focus, and delivery, and monetary policy, and governing for the whole country. Everything we [journalists] had heard before we did not want to hear again.

'Asked about the price of fuel one of them said, "The world diversifying its fuels supplies will have a good effect for people using tractors". Surprisingly this reply does not seem to have got a round of applause.

'Ed M had said, no one has any respect for politicians any more. This may be true but judging from Basildon I'd be surprise if anyone is listening.'

So that is being in touch with people. It gives you such confidence.

Wednesday 16 May 2012

Winning friends and influencing people I

Managing people to do things and knowing that they have delivered 'satisfactorily' - a term to which we will return - and that you have obtained value for money is not as straightforward as some believe. It is easy to convince yourself that 'they', the often invisible 'others', are indolent, inadequate, unimaginative slackers who are not engaging brain, working too slowly or sub-optimally; or are showing signs of sloping off at every opportunity. The truth is rarely simple. Here are examples from education where Ministers struggle to extract 'value' from their vast expenditure.

'Teachers delivered a stinging attack on the new Chief Inspector of Schools ... accusing him of introducing a 'climate of fear' in schools', said a headline. One of us is a teacher who has been through many Ofsteds, another has had the dubious privilege of reading a detailed Ofsted report and came out spluttering not only at the poor quality of the piece of work but at the appalling way in which it drew conclusions on the most circumstantial evidence or from single examples.

Education is not a happy industry at the moment - mind you, nor are health or care professionals, the police ... in fact all except city bankers and politicians I guess. However, some of the noises coming out of Ofsted turn the clock back to the early 80s when those invisible others were slackers, scabs and surrogate anarchists (analogous to vegetarians as the Telegraph once remarked).

'Satisfactory' is no longer adequate and should be replaced in Ofsted reports with 'requires improvement'. Hang on; is this satisfactory derived from the word satisfacere in Latin meaning 'meet the expectations, needs or desires'. Surely, if a school is satisfactory it therefore meets the needs of the test or inspection. Back to your Latin lessons Ofsted. Stop trying to re-write meanings in the English language. Perhaps a maths lesson on averages would be useful as a way of reminding you that we cannot all be above average. It is politically desirable to sound macho, thrusting and driving for improved performance but it does make you look awfully silly.

The process of Ofsted is so flawed. A short sharp inspection is to meant to stand in for a real assessment in the same way that exam results are somehow meant to smooth out assessment of genuine value-added, ignoring the obvious realities that children grow up in fits and spurts and that life throws problems at different times in different ways which disrupt the smooth path to nirvana imagined by policy makers.

In a letter to a newspaper, a primary school head teacher said 'I have been through four Ofsted inspections in my time at various schools and now live in dread of the unexpected car in the car park in the morning which might indicate that they have arrived for a snap inspection'. It sounds like a dawn visit from the Stazi or KGB. She went on to describe the inspectors as failed teachers, one too old and another who only had experience of teaching languages in a secondary school. 'I am watching good people leave this profession because of the way we have been treated'. she concluded.

'What a contrast', said another letter, 'to the inspections we used to have from HMIs who took each teacher aside for a quiet and confidential chat about ways in which they might change their approach, or new strategies for teaching. Each conversation was facilitative and useful, not judgemental.'
Another suggestion was that any Ofsted Inspector judging a school as below par should have to spend the next six months in the school, helping to put things right. I am not sure I would like to be the head teacher of that school with a disgruntled inspector under my feet but I bet that inspector would have a different view of reality at the end of that time.

You meddle with education at your peril as many Ministers of Education would attest, only one of them having ever had a meaningful career after passing through that department. Michael Gove is discovering this the hard way.

'Head teachers vote to reject Gove's new test for primary school pupils', said a headline. A teachers' union spokesman said, 'They have created a new monster to replace SATs. The tests will cost millions to introduce which would be better spent on professional development of teachers in accurate and reliable assessment. The screening test is inferior to what schools do already but if it is to happen it should be used as a diagnostic test and not a stick with which to beat schools'.

To this a DES spokeswoman replied that 'too little attention has been paid to spelling and handwriting over the past decade'. And what was her evidence? I bet it is was something a minister heard at a cocktail party: something which reinforced the view that those invisible others never do what you want them to in the way that you want them to.

Monday 14 May 2012

Artistic intervention

Just occasionally something comes along which you feel meets your definition of artistic delight. Years of travelling on the District Line in SW London never produced such joy as this flashmob in Copenhagen.

If you are also inspired then search out their other inspired intervention or installation
at Copenhagen station.

You can keep your contemporary artists barging in to tell us how to do our work. This is art and exactly what music should be about: joyous.