An evaluation of the impacts and legacies of enquire and Watch this Space 2 3

Inspiring Education Summary The impacts and legacies of the • The programmes helped both national programmes at a glance and local government departments to in Galleries The evaluation of the enquire and Watch achieve their objectives in support of young The impact of two this Space programmes from 2004-9 has • The programmes increased young people’s people, education and the arts. They have demonstrated how a modest investment can access to, and interest in, the contemporary contributed to the development of education pioneering programmes lead to extensive participation in art by children visual arts, artists, galleries and museums in policy and to other programmes and their on the relationship between and young people, improve the quality of gallery their local area. achievements have been recognised by and museum education and teaching, and have Ofsted in its report, Drawing Together: art, galleries, schools and an ongoing impact on young people’s • They provided both gallery educators and craft and design in schools 2005/08 (2009) young people education and career options. artists at the beginning of their careers, and teachers and youth workers with little • The research findings about the learning These Strategic Commissioning programmes (1) previous experience of working with galleries benefits to children and young people of have enabled substantial sector development and museums, invaluable experience, insights engaging with contemporary art are an and organisational change through research, and skills. ongoing resource to inform effective practice professional training and partnerships. These and advocacy. legacies will support further participation and • They showed gallery educators, artists and educational opportunities into the future, across teachers new and creative ways to work with • The research and development model, which England. children and young people and changed their was unique in the Strategic Commissioning ideas about how galleries, museums, schools programme, proved highly effective in Through this report, engage makes the case for: and youth groups can work together. developing and testing new ways of working for galleries, museums and schools and has • opportunities for children and young people • They sowed the seeds of relationships – informed other research. to engage with the visual arts and artists in bilateral partnerships and wider networks order to support and extend their education, - that will last well beyond the end of these • The programmes demonstrated to gallery and for other social benefits programmes. and museum managements the value of • a network of local, regional and national investing in education and in relationships galleries, museums and visual arts • They established new relationships between with young people, schools and youth organisations across the country that share local and national galleries/museums, organisations. skills and resources, carry out advocacy and galleries and universities, galleries and coordinate provision government departments, and galleries and • They increased engage’s reputation as a • teachers to work with galleries and artists in national funders in the public and charitable creator and manager of large-scale, national order to enhance educational standards and sectors. programmes of direct local relevance and excellence appeal, that are helping to maintain the UK’s • training and support for artists, gallery • They attracted investment from funders keen position as a leader in the field of gallery educators and teachers to work in to invest in young people’s engagement with education internationally. partnership, and share specialist expertise contemporary art, and in excellence in gallery and resources – including IT and new media education. 1 Strategic Commissioning for Museum and Gallery Education is funded by the Department for Culture, Media and Sport and the • developing young people’s life skills and Department for Education with the aim to develop capacity in the knowledge of visual culture to enable them to sector and increasingly effective educational opportunities for access education, training and employment schools, children and young people. in the cultural sector and creative industries, and contribute to the economy of the country. 4 5 Inspiring Education in Galleries

The Young People

Introduction Katie Hope Glen Stanton

In 2004, twelve art galleries in six English The most valuable skill that Stour Valley Arts Working at the Sainsbury Centre for Visual towns and cities (2) embarked on enquire, (SVA) has taught me is how to work in a team Arts (SCVA) has been a hugely influential a programme of projects with children and and how to be confident around new people. stepping stone in my journey. Working as a young people and associated research to This was achieved through participation in team with students from other schools that find out exactly what galleries contribute to many activities and days out working with shared the same enthusiasm was exciting. education and how young people learn with artists and other schools. I am grateful for It was encouraging to know that there was or through contemporary art galleries. these skills as they have been useful at school an extra-curricular place where students and in working environments. passionate about their subject could go to enquire was designed by engage (the National exercise the skills learnt at school, in a more Association for Gallery Education) and Arts The best part about SVA is that it took me to professional and publicly accessible scene. Council England (ACE) and funded by the places I had never been before and showed Department for Culture, Media and Sport me around different art galleries. This has The opportunity to visit Documenta in Kassel (DCMS) and the Department for Education made learning with SVA easier than it is to in 2007 and become part of an internationally (DfE), as part of their joint Strategic learn at school because it is interactive. established exhibition was incredible. The Commissioning for Museum and Gallery experience gave me the chance to step out Education initiative. The project was only The whole experience at SVA has changed of the classroom, and open my eyes to an intended to run for 18 months, but the initial my views and perception of art for the better. international appreciation for art. I knew results were so interesting to the gallery sector, It has influenced me to be bold in my art then, as an artist, that there was so much to the participating schools and the sponsoring lessons and to show off my creativity to more I could achieve, beyond my A-levels government departments that three further everyone around me. I have also used my and Foundation. phases of research were commissioned. work created with SVA in many of my art projects which have helped to boost my I applied to study Critical Fine Art Practice In the same year and as part of the same final marks a whole grade, as it shows passion at the University of Brighton; a specialist art Strategic Commissioning programme, engage for the subject and that I can think outside the course that fuses art theory; historical and was asked by the Museums, Libraries and box. philosophical, with the practical application. Archives Council (MLA) to manage a professional I’m now in my third year of study and, development programme called Watch this As I look to the future I can now see art separate from my course, I have been Space. The aim of this programme was to work college and the view to be an art educator. commissioned by Lord Gage and his wife with gallery educators, artists, teachers and This idea had developed from time spent to paint wall murals for their house in East trainee teachers to strengthen the relationship with SVA and the extra work that I have Sussex. Although presently I don’t envisage between galleries and schools. done with other art educators from SVA. myself becoming a freelance wall mural Katie Hope, achieved Arts Award and now artist, I do believe that because of my Both programmes will conclude in March 2011. volunteers with Stour Valley Arts experiences with SCVA, I’ve acquired a This paper reflects on their impact on galleries, broader appreciation for art, without which, schools, teachers, gallery educators and young I wouldn’t be where I am now. people, and on the longer-term legacies they Glen Stanton, member of enquire young will leave. (3) people’s group, Sainsbury Centre for the Visual Arts, phase 2 2 London: Bow Arts Trust, Chisenhale Gallery, Whitechapel Gallery, SPACE Studios; Gateshead: Baltic; Newcastle: Hatton Gallery, The Laing Art Gallery, ISIS Arts, Amino; Bexhill on Sea: The De La Warr Pavilion; Brighton: Fabrica; Eastbourne: The Towner Art Gallery Top: Katie Hope working at Stour Valley Arts in 3 Ed. Taylor B (2006) Inspiring Learning in Galleries and Taylor, King’s Wood, Challock B & Houghton, N (2008) Inspiring Learning in Galleries 02. In 2009, Stuart Davies Associates were commissioned to update Bottom: Glen Stanton working in the education the evaluations and to provide an over view of the impact and studio at Sainsbury Centre for Visual Arts legacies of both programmes. 6 7 Inspiring Education in Galleries

The beginnings of enquire The beginnings of Watch this Space Who took part in enquire? 858 teachers, 369 youth leaders, 202 artists, 505 gallery educators, 126 other gallery staff In 2004, three factors were affecting galleries’ The purpose of Watch this Space was to Between 2004 and 2009, enquire involved and 25 university research staff have ability to come up with coherent strategies for initiate, build and sustain relationships that participated in professional development supporting teachers and children and young introduce school students to contemporary 11,940 children and young people aged 5-21 activities linked to enquire. people’s education. The first was a lack of art galleries. The programme set out to: 224 schools, pupil referral units, youth centres research into how children and young people and colleges, of which 30% had never worked Who took part in Watch this Space? learn in galleries. The second was that gallery • create new links between schools and with a gallery before education was a relatively new field and there galleries, through teacher placements 462 teachers and youth leaders 129 teachers from 110 schools (30% primary, were few opportunities for people working as • develop teachers’ skills in, and knowledge 268 artists and 152 gallery educators 70% secondary) gallery educators to exchange knowledge and and understanding of, working with galleries 40 art gallerys/museums and other visual 80 galleries experience with each other. The third was that, • increase the capacity of galleries to work with arts organisations 15 trainee teachers and their tutors from unlike museums, few art galleries had made the schools 8 higher education institutions. 7 universities link between their education practice and the 84 early career artists and gallery educators, academic community. About one third of galleries in England have Family members, friends and members of the hosted by 84 teachers specialist gallery education staff, and most of public have attended exhibitions and events 5,500 young people, taken on visits to galleries. engage’s plan was to design a research those have only one. It can be hard for these organised by young people. programme that would test, analyse and staff, and the freelance artist educators who NORTH WEST NORTH EAST EAST describe the different ways in which galleries work with them, to find opportunities for Whitworth Gallery Baltic Gateshead Sainsbury Centre for the Visual Tate Liverpool Hatton Gallery Newcastle upon Tyne Arts Norwich help children and young people to learn. There professional development that increase their Tullie House Gallery Carlisle MIMA (Middlesborough Institute of Outpost / Fruitful Arts Norwich Abbott Hall Gallery Kendal Modern Art) Babylon Gallery Ely were two fundamental questions that needed capacity to work effectively with children and Salford National Glass Centre Sunderland Wysing Arts Cambridge FACT Liverpool Northern Gallery for Contemporary Kettles Yard Cambridge answers: ‘what do children and young people young people and their teachers. Folly Lancaster Art Sunderland Ruskin Gallery Cambridge Storey Gallery Lancaster Shipley Gallery Gateshead Kings Lynn Arts Centre learn from working with galleries, art and Arts Centre Washington FirstSite Colchester Bluecoat Arts Centre Liverpool ISIS Arts Newcastle upon Tyne Essex University Gallery Wivenhoe artists?’ and ‘what are the ideal conditions for Watch this Space was created to fill this gap. Lady Lever Gallery Liverpool Amino Arts Newcastle Upon Tyne Castlefield Gallery Manchester Laing Art Gallery Newcastle Upon Tyne LONDON learning?’ By volunteering to ask themselves The programme had two main strands – one The Orleans House Gallery Richmond Manchester South London Gallery these questions, galleries and schools would was a placement scheme for teachers with a Art Gene Barrow in Furness National Portrait Gallery The Hepworth Wakefield Serpentine Gallery increase their knowledge and understanding, local gallery, giving them and their students the and Art Gallery The Photographer’s Gallery Harris Museum and Art Gallery Preston Tate Britain galleries would increase their capacity to work opportunity to familiarise themselves with what October Gallery Somerset House with teachers, and to provide young people a gallery can offer. The other was a placement YORKSHIRE AND MIDLANDS Cafe Gallery The New Art Gallery Walsall Mall Galleries with effective educational opportunities. scheme, in schools, for gallery educators and Tameside Museum and Gallery Ashton under Lyme ICA IKON gallery Birmingham London Printworks Studios artists. Holocaust Centre Newark Mapalim QUAD Derby Embroiderers Guild Cartwright Hall Bradford Space Studios Future Factory Nottingham Trent University Whitechapel Gallery engage had a particular interest in connecting Sheffield Museums Chisenhale Gallery Shire Hall Gallery Stafford Craft Central with teachers and schools that had had little Rufford Craft Centre Notts Bow Arts Trust Potteries Museum Stoke on Trent Arts Inform involvement with their local galleries, and with Solihull Gallery Oxford House Gallery Thoresby Gallery gallery educators and artists at the start of their Nottingham Castle Museum SOUTH EAST Turner Contemporary Margate careers. It also planned to use the programme SOUTH WEST Fabrica Brighton Spacex Exeter Modern Art Oxford to keep gallery educators, artist educators and Atrium Gallery Bath Artworks-Mk Milton Keynes The Study Gallery Poole Reading Museum and Art Gallery teachers, of every level of experience, informed Project Base Redruth Milton Keynes Art Gallery Bristol City Museum and Art Gallery OVADA Oxford about how their practice might need to change Arnolfini Bristol Stour Valley Arts Challock, Kent Plymouth Arts Centre James Hockey Gallery Farnham in response to new policies and priorities. Centre for Contemporary Art and the Natural World Exeter Ditchling Museum East Sussex John Hansard Gallery Southampton Watts Gallery Guildford Burton Art Gallery and Museum Bideford, Devon Lighthouse Brighton The Exchange and Newlyn Art Gallery Brighton Photo Biennial Knowle West Media Centre Bristol Towner Eastbourne Artsway Sway De La Warr Pavilion Bexhill Quay Arts Centre Isle of Wight Canterbury City Council Museums Aspex Portsmouth and Galleries Service Thelma Hulbert Gallery Honiton Tate St Ives 8 9 Inspiring Education in Galleries

What did enquire involve? • continuing professional development. What did Watch this Space involve? The focus of the gallery and artist educators’ sessions was: For the first phase ofenquire (2004-06) there Phase 2 subjects included: Watch this Space expected its participating were twelve galleries, organised in three galleries to take the initiative. Gallery educators • understanding the wider context of clusters - London, the South East (Sussex) and • how gallery education contributes to young arranged their own placements with schools education, e.g. Every Child Matters, working the North East (Tyne and Wear). During those people’s learning that had a track record of working with galleries. with Children’s Services, etc. two years, they worked with local schools and • peer learning and co-learning For the teacher placements, galleries contacted • building relationships with schools colleges on 47 discrete projects, designing and • young people as producers, collaborators, schools with which they had no relationship and • project planning, delivery and evaluating testing ways to make galleries more effective viewers and advocates invited teachers to take part in the programme. learning educational environments and developing new • personal, social and citizenship education • good practice in gallery education. approaches to training teachers and gallery • listening to young people The teachers worked with their host gallery educators in how to use them. (4) • learning about the contemporary arts in a for six days. The focus of the teachers’ All participants received copies of the Watch non-arts museum sessions was: this Space Toolkit and Handbook. (5) Recording, analysing and interpreting what • action learning took place in hundreds of hands-on sessions • continuing professional development. • the opportunities that galleries offer The content of this programme was subject to was always going to be a complex process – • building relationships with galleries change each year to reflect any developments to help them with this, each cluster worked Phase 3 subjects included: • how to use a gallery as a resource in education policy or practice, or the changing with a research team from a local university. • good practice in gallery education. priorities of the MLA. In London, it was the Institute of Education, • working with new media in school and in the North East, the University of Newcastle in the gallery The teachers identified their aspirations in The outputs of Watch this Space included: and in the South East, the University of Sussex. • using contemporary art to teach math terms of personal development, professional • working with and learning from young people development, students’ learning and whole • exhibitions of students’ work Phase 2 (2006-8) began with seven clusters, as producers, collaborators, viewers and school impact. On this basis they designed • teaching resources for use in school and in increasing to ten by the end of 2008, with advocates a project for their students, which included galleries funding from the Foyle Foundation. Phase 3 • working with teachers to find ways of a gallery visit, in consultation with their • follow-up projects in school, based on gallery (2008-9) involved twelve clusters and Phase 4 evaluating the personal development of gallery hosts. visits (2009-11) eleven. Since 2004, enquire has grown primary school children • information about a gallery, produced by not only in size but also in the number and range • effective working relationships with schools The gallery educators and artist educators were young people, for young people. of questions asked and evidence collected. • developing a pool of trained artist educators allocated nine days of which three were training • artists’ and teachers’ continuing professional days, three were days in school and three were More information can be found at The cost of enquire has been £300,000 in development. for project development, leading a gallery visit, www.engage.org/watchthisspace/index. each year from 2005-9, £165,000 in 2009-10, reporting and sharing experience. aspx and £100,000 in 2010/11. More information on the projects through which these questions were addressed can be found 5 Eds Jones, P and Anson, L (2006) Watch this Space Toolkit. London: engage. Eds Jones, P and Daly, E (2008) Watch this A full list of participating organisations across at www.en-quire.org/index.aspx Space: Galleries and Schools in Partnership. London: engage England can be found on page 7. 4 London schools and colleges included Eastlea Community School, In Phase 1 each of the three clusters had Bigland Green School, Stoke Newington Media Arts College, Stoke Newington School; Tyne and Wear schools and colleges particular aspects of young people’s included Walker Technical College, Biddick School, Grindon engagement with contemporary art galleries Broadway Junior School, High Spen Primary School, Hookergate School; Sussex schools and colleges included St Bartholomew’s, that they wanted to research. These were: Hazelwick, St Nicholas and St Mary’s, Brighton and Hove; St Richard’s RC College, Robertsbridge Community College, Filsham • the development of critical skills Valley School, Thomas Peacocke Community College, Claverham Community College, Bexhill High School, Bexhill on Sea; The • the acquisition of cultural capital Cavendish School and Eastbourne College of Technology, • how young people can take control of their Eastbourne. own work and affect their own learning 10 11 Inspiring Education in Galleries

What did these pioneering programmes The cluster model achieve? enquire’s cluster model used the process of The early enquire research found that the designing, delivering and researching a project programme was making an immediate impact to build strong, long-term partnerships between on the children and young people involved, organisations. It overcame the challenge of and was proving particularly beneficial for sustaining a cluster of organisations of different young people who were thought to be types and sizes by ensuring that all partners felt disengaged from their education. As well as equal; no one player took ‘the lead’. learning about contemporary art and getting to know their local galleries, they: Six of the thirteen enquire clusters are still working together (London, Liverpool, Kent, • developed the conceptual and practical skills Cornwall, Sussex, Devon). A further six are they needed to understand and make work continuing to network and share knowledge with • learned to experiment, take risks and learn each other, and to take part in advocacy work. from mistakes • got better at reflecting The London cluster has continued its • increased their ability to appraise and talk collaboration beyond the end of its involvement about their own and other people’s work in enquire. Three galleries (the Whitechapel, • learned to work well with each other and with Chisenhale and Bow Arts Trust) ‘stand as adults colleagues, regardless of differences in • understood more about the role of resources. Outwardly facing, they are all equal ’, contemporary art in society and the working Caro Howell, Head of Education and Public lives of artists. Events at the Whitechapel Gallery. It has Children from local primary schools working at Valley Arts, working with an artist. The resource flourished despite numerous changes of staff Baltic Centre for Contemporary Art (photo Dan was trialed with teachers and the response was These findings were welcome but unsurprising. and has found that the value placed by on the Brady) enthusiastic – and in the first three months there The bigger question was whether the partnership by all the partners is more significant were a total of 1,901 downloads from the programme would have a lasting legacy than the involvement of key individuals. New The Kent cluster has created its own brand, website by teachers. amongst the participants. There is evidence staff have found that they can slot easily into an ‘City, Forest and Sea’, which it uses to run that it has. established network of interested and interesting collaborative projects across the county, The resources have certainly saved me – colleagues. The cluster has developed new joint through proactive engagement with local as the busy teacher – time, as the research enquire and Watch this Space have also initiatives and was successful in its bid to deliver authorities and other providers of cultural links and internet links are provided... the provided opportunities for professional Find Your Talent in East London. activity, According to the Audience Development resource materials are very adaptable for use development amongst gallery educators, Officer at Turner Contemporary, the cluster has with KS1 and KS2. This means that the same teachers and artists, and developed enquire actively encouraged gallery educators ‘created an amazing team, who advocate for unit of work can be used with more than one extensive partnerships. The evaluation to establish working relationships with each other and share an approach in an area year group so that the school can look at of these programmes has looked at whether colleagues in nearby galleries and to share where the visual arts infrastructure is weak’. progression across phases and help with the training has affected practice and career their experience, skills and ideas. In the Solent assessment of pupils’ development of the paths, if there has been organisational change cluster (Phases 3 and 4), the Quay Arts Centre, The first project resulted in ‘Maths through school work portfolio. as a result of working on the projects, and on the Isle of Wight, and Aspex, in Portsmouth, Pattern’: a learning resource for primary Peter McCabe, Teacher, St Simon’s RC Primary whether partnerships are being sustained. are continuing to share artist contacts and schools, full of ideas about teaching KS1 and 2 School The illustrations below demonstrate that there visits. Both organisations learned from the maths, using patterns found in contemporary has been an impact in all these ways. Hansard Gallery, in Southampton, how to art, historical objects and the environment. 6 Arts Award supports young people who want to deepen their engagement with the arts, build creative and leadership skills, and deliver Arts Award (6) and all of the artists This resource was developed by Turner to achieve a national qualification. It is run by Arts Council England involved in their Phase 3 project qualified to Contemporary, Canterbury City Council and Trinity Guildhall and delivered by organisations that support deliver Arts Award Bronze and Silver. Museums and Galleries Service and Stour young people to take part in the arts. 12 13 Inspiring Education in Galleries

The gallery and school partnership

Quay Arts Partnerships between organisations involved in enquire have seeded new ones. In Newcastle, Quay Arts, on the Isle of Wight, has a theatre for example, ISIS Arts worked with the and three galleries. When it embarked on the University of Newcastle’s International Centre enquire programme, it had an education for Cultural and Heritage Studies in phases 1 manager who was not a visual arts specialist. and 2. This led to a contact that resulted in ISIS Through enquire, the organisation worked with Arts and the university agreeing a Knowledge Medina High School. The school’s curriculum Transfer Partnership that will benefit both now includes the opportunity to work with an organisations. artist over several weeks to produce work and curate an exhibition. Quay Arts also runs a Partnership between galleries and schools was regular studio group for young people to also central to the Watch this Space model, develop work beyond exams and to prepare for with schools hosting placements for gallery further education and careers in the visual arts. educators and artists, and galleries hosting placements for teachers and their students. As a result of this partnership, Quay Arts has a As a result of Watch this Space, Modern place on the Island Innovation Trust which runs Art Oxford appointed a Schools Partnership the island’s secondary schools. It secured Coordinator to develop the gallery’s relationship funding for a specialist gallery education post, with three local schools. The post is part- and Heritage Lottery Fund support for a funded by the gallery and the schools, summer education programme in 2010. with the balance met through fundraising. This statement from Oxford School, which The importance of partnership Education is now core to the Gallery and continues to work with the gallery five years has a dedicated space. Previously, work on, demonstrates the value the school placed Both enquire and Watch this Space was scattered around the building. It is in the relationship. increased the capacity of galleries and schools valued and recognised by the Board and to develop and work in partnership, and many staff. The organisation woke up to the The Faculty is very proud of its unique of these have flourished. The impact ofenquire potential of working with schools. partnership with Modern Art Oxford, was particularly evident in the partnerships Jacqui Ager, Education Manager, Quay Arts which enables students and teachers to work between galleries and schools where a school regularly on projects with international and had had no significant contact with a gallery local artists. This has enabled the department before. to deliver an inspiring and stimulating curriculum that reflects the need for art in King’s Lynn Arts Centre used enquire to society today. Many of our students have develop a relationship with the Rosebery since continued their art education at colleges Centre, a local Pupil Referral Unit. The and universities, across the country, based on relationship started around ten years ago, portfolios they have produced at Key Stage 5. when engage awarded the PRU £500 to Orla Crean, Head of Art, Oxford School run a project for five girls who were school refusers. Funding from enquire enabled the arts centre to design and test a model for artists’ professional development appropriate Left: A student from the Rosebery Centre to working with young people at risk. Artists working at King’s Lynn Arts Centre who worked on the programme are now Right: Secondary school students developing working with eight school refusers and the their portfolios by working outside school at PRU is using the arts centre on a regular basis. Studio Quay 14 15 Inspiring Education in Galleries

The legacy for the galleries Aspex, Portsmouth, worked with Mary Rose Watch this Space has also made an impact It’s clear that these young people, at least School for the first time through phase 3. on the development of some of its gallery have a set of expectations and standards The galleries that took part in enquire cited the partners, as illustrated by a gallery director. of art and its spaces set by other institutions following benefits: The School then came onto our Prince of – and had provocative questions about Wales Foundation for Children and the Arts The Watch this Space projects have been the ‘publicness’ of Northern Gallery of • the value of being part of a government programme and will soon be migrating to illuminating, timely and I think will have longer- Contemporary Art and the relationship funded, national programme and the our Interreg IV funded programme. They term ramifications for how we position the between offer, status, visibility and reach. associated credibility also represented the first time we worked gallery, address younger audiences and Being able to work with the students over • changes in organisational policies with an SEN school - subsequently this is pursue our institutional development more a sustained period has certainly altered • changes in the way that space in the building the first time the Prince of Wales Foundation broadly... Timely as the projects have their first impressions, and given insights was used for education have funded work with an SEN School. coincided with an institutional review... on both sides as to what can be achieved • a higher profile To take the story to its full conclusion our Part of the students’ work was giving us and expected. • new relationships experience of working with them has directly their first impressions and asking tough Alistair Robinson, Director, Northern Gallery • changes in the way they evaluate learning informed the specialist provision we are now questions about what we do, how, and why. of Contemporary Art • changes in approaches to staff training. running for families with children with autism As a result we’ve been able to feed their ideas and SEN (funded by Aiming High for Disabled and perceptions into a strategy document to Below: Year 10 and 11 Performing Arts students The Manchester Museum, which has extensive Children). take us through the next five years... at Quad (photo Kim Burgoyne, student) science collections and is a member of the Amy Lloyd, Education Coordinator, Aspex Renaissance in the Regions North West, has developed an art and design secondary Watch this Space has helped galleries to schools offer and artists are now ‘embedded’ develop relationships with schools by: as a part of education and community delivery. Staff in the curatorial departments are confident • enabling schools to make informed choices about in using collections and curatorial spaces about the way that they teach and resources in different ways, for example building on artist- they use led sessions in the herbarium. • removing actual and perceived barriers to school visits, including, for example, the enquire opened up a new way of working... provision of travel information, sample risk a reflective way of working, we had not assessments and tours, and briefing sessions worked with artists in this way, focusing on for teachers beforehand planning/process/impact... this was important • updating gallery resources, in consultation for a science led team.’ with teachers Louise Sutherland, Curator of Learning, • making new contacts with other teachers Manchester Museum from partner schools and making links with new subject areas, such as citizenship and enquire has also led to an opportunity to work ICT with Children’s Services on a secondary school • supporting schools and individual teachers in speaking and listening project based on the publicising their partnership with the gallery enquire approach, working with artists and • organising events for teachers and students English teachers. • providing out of school sessions for students, publicised through the school. 16 17 Inspiring Education in Galleries

The Gallery

Thelma Hulbert Gallery The legacy for gallery educators Through Watch this Space, gallery educators and artists learned more about The Thelma Hulbert Gallery in Honiton, Devon Both enquire and Watch this Space have is a small local authority run gallery with one been a significant professional development • how schools plan and operate (for example, full time member of staff (not an education opportunity for gallery educators. They how financial and practical considerations specialist), two part time staff and volunteers. increased national recognition of the can limit school visits to galleries) Honiton is a rural market town with few activities educational value of gallery education and the • the creativity of teachers for young people. Prior to being involved in status of gallery educators within their • how teachers teach and the resources they enquire (2008-2009) the gallery did not have organisations. have in the classroom a schools-based programme and had just • communicating and negotiating developed a youth group. The gallery used enquire has enabled and supported working • how to use different teaching styles in the enquire Phase 3 to work with all its local relationships between professionals in galleries gallery. primary schools. and other arts organisations who had had few, if any opportunities, of this kind before. The Watch this Space has developed my The Gallery has used its new education The Masterpieces group of young people evaluations suggest that the biggest impact of understanding of the school’s perspective provision to make the business case for working at the Thelma Hulbert Gallery with enquire was on gallery educators and artists in and informed my communication and development from a first floor space to artist George Barron the early stages of their careers and on vocabulary, so I feel more confident and occupying the whole of the listed building educators without a specialist knowledge of the articulate. It was valuable to see the it is housed in. This included addressing A key issue has been the ability of the gallery visual arts. They have learned more about: curriculum in action and the pressures loss of income to the Council from rent. to connect to the Council’s corporate priorities schools are under, for example the amount and demonstrate performance against these. • working with teachers, schools and young of paperwork teachers get. The Watch this A feasibility study unlocked £136,000 funding The gallery contributes to East Devon corporate people Space work has influenced the exhibition from East Devon District Council and Arts priorities for Children and Young People, • working with a changing education system programme and broadened perspectives Council South West, and the gallery has a Thriving Economy, and Excellent Services and its current priorities on the role of exhibitions. recently re-opened with increased exhibition for our Customers. This is through work with • good practice in project delivery Johanna Korndorfer, Learning Programmes and education space. Previously only groups of ‘Masterpieces’ (the young people’s group) the • working in partnership Manager, Centre for Contemporary Art and up to 10 young people could be accommodated; increased gallery and education space and new • how to make the case for gallery education, the Natural World the gallery is now able to take classes of up to curatorial and education programmes for young whether to colleagues or a new audience. 30. The gallery has developed relationships with people, families and schools. local schools, a number of which are within enquire created opportunities for these walking distance of the gallery. At the last Communities Overview and professionals to exchange skills, experience Scrutiny Committee Masterpieces was and ideas at seminars and conferences around This is a direct result of work with engage recognised as one of the many ways in which the country, and relationships established as with both the youth group and building we engage young people and use their views, a result of the programme have often been relationships with schools. Without their and it was suggested that we could use them maintained when an individual has moved to funding none of this would have been for wider consultation on Council issues, a post elsewhere in the country. possible, a little goes a very long way here if they were interested. and really makes a difference to the lives of Peter Jeffs, Corporate Director, East Devon Watch this Space was specifically designed young people and the local community as District Council to enable gallery educators, artists and teachers a whole. It also has a real impact on me in to learn with and from each other. By terms of what I’m able deliver in terms of experimenting with different types of training exhibitions and the learning programme. and professional development (courses, Angela Blackwell, Gallery Curator, Thelma partnering and mentoring) the programme Hulbert Gallery, enquire South West Devon increased the confidence of all three cluster professional groups in working with together. 18 19 Inspiring Education in Galleries

The gallery educator

The legacy for artists For recent graduates with no experience of gallery education, enquire offered an Both enquire and Watch this Space created extraordinary opportunity to become immersed opportunities for the professional development in the subject and the practice. For some of the and employment of artists. Many contemporary more experienced practitioners, the debates art galleries, whatever their size, style or about evaluation methods were of particular location, contract freelance artists and artist interest and value and were the introduction educators to help deliver their education to the wider context of gallery education. programmes. Watch this Space gave structure to my In some parts of the country there is a shortage development. I worked with a boy’s school of trained and experienced artist educators - where I had recently finished a residency. enquire galleries identified the need to address As I have not had any formal assessment this to meet the demands of their own and or training, the programme gave me the other programmes. enquire and Watch this confidence to know that my approach is Space provided artists with formal and informal valid and how to work in the best possible training, new contacts, extended networks, ways with teachers. Since then I have worked different kinds of experience and a more with the Whitechapel Gallery on continuing comprehensive understanding of the priorities professional development for teachers on and working practices of schools and youth a mentoring programme, and Watch this organisations. They also increased artists’ Space helped my understanding of how capacity to bid for contracts and meet to structure the programme and identify difference policies, and educational objectives. the benefits. Marysa Dowling, artist educator Artists were involved in the delivery of enquire Emily Ward I joined Sainsbury as maternity cover and and participated in professional development As an artist working in the learning worked with the Head of Education and activities alongside teachers and gallery department of an art organisation, Emily Ward has developed her career through Research on enquire Phase 3, coordinating educators. They enhanced their knowledge I recognised my own experiences and voice enquire: artists and young people’s groups. This of the education system, and learned more in the way the research has been worded developed my skills in project management, about the needs of children and young people and formatted. The terminology, methods In enquire Phase 2, I was Administration managing complexity, understanding artists’ of different ages and abilities, and about the and structure have been a great source of Assistant then Arts Development Assistant CPD needs, understanding schools’ needs potential importance of gallery-based work for tools for my own research and practice. at Babylon Gallery in Ely. As a jeweller I was and how young people use the gallery space. young people who find conventional school Having seen artists’ strategies described involved in working with young people and difficult. They discovered and developed in this context with such rigour and delivering workshops. This built my I now see my career as a Head of Arts models of good practice in delivering understanding, I feel more confident about confidence to start working with young Education, enabling me to be creative and contemporary arts education, increased their my own approach and methodologies. I also people and an understanding of what was work in education. project management and networking skills and think that the publication serves as a great involved and needed. I also achieved the Gold Emily Ward, Education Officer Adults and extended their networks. Many artists grew in reference tool for qualitative research, open Arts Award including working with a jeweller Young People at Sainsbury Centre for confidence as a result of the activities in which projects and assessment of informal learning and creating work for the ‘Entitled’ exhibition Visual Arts they were involved through these programme. environments at large. at the Sainsbury Centre for Visual Arts (SCVA) Cinzia Cremona, artist educator that was part of the enquire project.

The Gold Arts Award enabled me to become Emily Ward (centre) working with young people an Arts Award Adviser and 8 young people in the permanent collection at Sainsbury Centre from enquire phase 3 achieved Arts Awards. for Visual Arts 20 21 Inspiring Education in Galleries

The artist

Neil Kelly The legacy for teachers Teachers at all stages in their careers saw the opportunity to develop new teaching My first freelance position was as a project Watch this Space had a particular remit approaches in unfamiliar contexts as manager/lead artist for Canterbury City to support the development of teachers and a significant turning point in their work. Council Museums and Galleries Service for the evaluations identified two areas in which An initiative which has contributed very the Cultural Pathfinder project. This included it succeeded in doing this: the development successfully to this is the professional working on ‘Inspiring Spaces’, a collaborative of their knowledge, skills and understanding, development programme, Watch this Space, project with Stour Valley Arts and Turner and the teachers’ personal development. delivered by engage. Impressive work was Contemporary as part of enquire Phase 2. seen where, as a result of this programme, The programme: close partnerships had been established Through this I built up a wealth of experience between teachers and gallery educators. of working with young people in diverse • increased teachers’ knowledge of Ian Middleton, Her Majesty’s Inspector, gallery settings. This experience alone helped contemporary art and artists Specialist National Advisor for Art and Design, me to create a wider professional network • increased their knowledge of how to access Ofsted. Drawing Together: art, craft and design Artist Neil Kelly (front) working with young through the cluster groups and attending the artists and gallery educators with whom they in schools 2005-8 people at Stour Valley Arts, King’s Wood, enquire seminars. I gained experience and might work Challock knowledge of evaluation, and writing the • showed them how well children respond to This experience has opened up a whole new enquire report for the collaborative project contemporary art and how they can become resource for my teaching. It has led me to really helped me to contextualise what I do confident and creative young artists wanting to ensure the children at my school as an artist/practitioner. It subsequently • demonstrated the flexibility of galleries in continue to experience contemporary art and enabled me to gain employment with Quad meetings schools’ needs that it becomes much more accessible to in Derbyshire based on my experience on • showed how galleries can help teachers to junior children, losing its exclusiveness. the enquire programme extend their arts and education networks and Tracey Wood, Primary Teacher, Cubert design and operate effective partnerships Community Primary School, Cornwall Recently I received a text from one of the • increased understanding of opportunities group of young people who I worked with for cross-curricular working, through I had preconceived ideas about what a in Canterbury, asking if I would like to meet engagement with contemporary art gallery/museum can offer - for example loans up with them all. It was fantastic see them and artists of objects and exhibition visits. Watch this and hear how they were all successful in • increased teachers’ awareness of the Space gave a fresh impetus to ways of applying for university and were off to study - opportunities for their pupils to take part approaching and planning lessons and Song writing, Photography, Theatre Design in arts programmes out of school hours, of using exhibitions. Teaching the Diploma and Fine Art. It was rewarding to know that such as Arts Award. was a massive learning curve as I had been these individuals had remained in contact teaching straight art and design. Working Students from John Wallis Academy examining after the project, and that the experience of In relation to their personal development, with a filmmaker was a new experience and an ants nest in King’s Wood, project with artist gallery learning and working with artists is teachers reported: I learnt new skills in film making. The students Sarah Spencer having longer-term influence on their studies, also saw me in a new light and not just and potentially their careers. • increased confidence in working with teaching in the classroom. Neil Kelly, artist, enquire South East Kent contemporary art and artists Jason Porteus, Secondary Teacher, Sandhill cluster phases 2 and 3, and Quad, Derby • having redefined the role of teacher and how View School, Sunderland to learn from other people • a greater excitement about their own practice • renewed recognition of the importance of . professional development. 22 23 Inspiring Education in Galleries

The teacher The trainee teacher

Sue Byrne Erin Bushell

Sue Byrne the Head of Art and Design at Erin Bushell participated in Watch This Space Hillside High School, Liverpool – who had not as a PGCE student at Liverpool John Moores used contemporary galleries during her seven University. While on teaching practice years of training – is the mentor to trainee placement at Hillside High School, Liverpool, teachers from Liverpool John Moores she was one of the first trainees to manage a University. She and the trainees undertook gallery visit. She is now qualified and teaching, a Watch this Space 5 placement at the and says: Bluecoat Centre and since that time she has visited regularly with her pupils and enables the I took part in Watch this Space in my first teacher trainees placed at her school each year term of PGCE, and along with another student to manage a gallery visit. was one of the first students from our course to be involved. At that time Hillside School Two years after her initial involvement she said: Year 9 students from Hillside School at The didn’t really take students out. There was an Erin Bushell presenting at a Watch this Space Bluecoat (photo Annie McLean) immediate impact on my teaching practice seminar (photo Annie McLean) Lack of confidence in working with and confidence; for example in learning how contemporary art and in using galleries The visit to Bluecoat this year is being used to engage young people and work with a Watch this Space also developed my project is a barrier for even experienced teachers. as the starting point for a year 7 global art challenging exhibition. management skills, and through putting on Participation in Watch this Space has had project. In 2009 the follow-up work in school the exhibition at Bluecoat I learnt about a significant impact on our art and design involved a class who had not visited the Participation in Watch this Space supported planning time scales and working with other teaching and gallery use. The trip to London gallery. The group questioned why they could my being offered my current job at Heath professionals and understanding their needs (for training) was amazing and the subsequent not visit the gallery. It was also noted that the Park Business and Enterprise College, and objectives. activities - meeting with artists, learning about project work from the group who had visited Wolverhampton. The school works with the Bluecoat, seeing first-hand the current the gallery had more inspiration. Back in Creative Partnerships, local galleries and has As a Newly Qualified Teacher I have a set exhibitions with a very knowledgeable student school with the follow-up project they were artists in school. I am using the techniques of targets and one of the tasks is to set up and gallery staff, the workshops for teachers bouncing ideas off each other. They were that I learnt through Watch this Space, for gallery resources for use by the other 12 and pupils and follow up in school – were key. more creative, more risk-taking and more example planning visits and work with artists, teachers in the department. This includes questioning of why they do things. observation techniques and follow up. gallery and artist information, resources and We are embedding contemporary art into contacts. The resources are on the school our schemes of work; in fact it has become The impact on students’ learning and intranet and will soon also be available to a departmental Performance Management their evaluation of the Watch this Space students. target for this year and next. And largely, experience is also used to make the case this is due to the Watch this Space project. with school senior management for visiting I teach year 9 one day a week on the Diploma galleries and for taking a student teacher in Creative and Media and so far we have placement. made visits to theatres and museums and Sue Byrne, Head of Art and Design, Hillside are working with BBC Blast as well as having High School people come into school. If I wasn’t in a school that was pro out of school visits I would be committed to making them happen. Erin Bushell, Teacher, Heath Park Business and Enterprise College, Wolverhampton 24 25 Inspiring Education in Galleries

The Young People

The legacy for young people Richard Cullen and David Moffat

The activities delivered through enquire and I found that such organisations as enquire Watch this Space excited young people were integral to the development of me as an about contemporary art, often for the first time. artist, but more so in keeping a creative Over six years, these programmes created interest in studying art through high school. opportunities for thousands of young people Opportunities presented to me which caused to take part in gallery-based activities, with a re-thinking in attitude like the one with ISIS and without the involvement of their teachers Arts and artist Kelly Richardson have been so and youth workers. Many of those who took crucial to continuing art, at a point where I felt part are now using their local galleries more very disillusioned about being taught art frequently. Some have been inspired to apply because of having to jump through so many for work placements in a gallery, and some hoops. It’s of absolute importance that these have gone on to study art at a higher level, in creative enquiry projects not just continue, some cases with a view to working as an artist and continue to be funded but also should or in some other role in the creative industries. be more available and widespread.

Whether or not these programmes have It’s also so important to artists and led to further study or a career in the arts, practitioners to recognise potential at an artists outside the classroom can give young early age – so much talent is lost. Not only people the confidence to learn independently. did I see students including myself benefiting Dealing with situations where there is no right from residencies by enquire but also teaching or wrong answer – handling ambiguity – staff. A lease of life, a revitalisation and a fresh I would not be still studying art now if it wasn’t I chose to go to Northumberland College can be disorientating at first but can lead to approach was seen in students and staff, for enquire, Kelly Richardson, Caroline Kane, in Ashington after leaving King Edward VI real growth. Many of the activities promoted partly because there were no formal targets ISIS Arts and all of the master classes I was School in Morpeth. I studied for a National self-esteem, confidence, and life skills such to be distracted by, only research and lucky enough to be sent on hosted by Baltic Diploma in Fine Art and left with a Merit, as listening and debating, team working and enjoyment. Not distracting or frivolous, Centre for Contemporary Art, Sage and now I’m in to my second year at respecting others’ points of views. enjoyment, but poignant enjoyment that Gateshead and Northumbria University. Northumbria University studying for a BA in caused me to continue art without hesitation. All of this was extracurricular and was not Fine Art (Painting). I’m certain that the impact enquire worked for some individuals when part of my high school course. of the projects I was lucky enough to have more orthodox, established pedagogies I am now a second year B.A. Fine Art Richard Cullen, participant in enquire Phase 2, participated in with Kelly helped me to decide had not. Given space and time to form their (Contemporary Practices) student who and now a B.A. Fine Art student to pursue art through college and, now, questions, young people responded in a mature enrolled at Dartington College of Arts. It was University. I used our showcase in The Big M and reflective way – often significantly different the only college that was appropriate for my I’ve learnt many things through working with on my CV (a fond memory, the world famous to their usual response. Peer review, where practice, centred round video installation and Kelly… I’d never had the chance to work with inflatable art gallery came to our school to young people analyse and criticise their own contemporary theory, which initially caught another artist before. At first I found the new show our work) and also on my CV is the work and that of others, using different formats my attention from working with Kelly. environment a bit daunting (moving out of the National Television Society Award that was such as panel discussions, video interviews and classroom into a new room with a new group given to me for a work titled ‘Self’ (one of Big Brother-style diary rooms, proved of people) but the atmosphere was positive, the video projects I produced with Kelly). particularly effective. friendly and informal. Kelly was very upbeat David Moffat, participant in enquire phase 2, and disarming - she’d show a genuine interest and now a B.A. Fine Art student’ in each of us before helping us to plot out our ideas as a group. Students from King Edward VI School in the Big M, ISIS Arts’ mobile new media gallery, with artist Kelly Richardson (right) (photo Stan Gamester) 26 27 Inspiring Education in Galleries

Conclusion Projects like enquire raise the importance The value attributed to enquire and Watch of contemporary practice and the value of this Space by the formal education sector The Ofsted survey of art, craft and design in-depth work. There was a clear sense of makes clear the importance of continued education between 2005 and 2008 (2009) what engage were trying to achieve... support for: highlights in its key findings: Ian Middleton, Her Majesty’s Inspector, Specialist National Advisor for Art and • children, young people and teachers to Visits to art galleries and work with visiting Design, Ofsted access cultural heritage through galleries and artists played an important role and often had artists, and thereby contribute to excellence an immediate impact on pupil’s aspirations Watch this Space has been acknowledged within teaching and progression routes to and achievement, but such experiences were as a ‘very successful’ contributor to the further education and careers rarely available to all pupils. Sustained links, professional development of teachers. • training for teachers, artists and gallery including those with the creative industries, educators to develop increasingly effective were underdeveloped. Impressive work was seen where, as a result teaching in the visual arts and across the of this programme, close partnerships had curriculum And goes on to recommend that the been established between teachers and • a network of galleries and visual arts government should: gallery educators. These encouraged organisations across England that can students who would not normally visit co-ordinate resources and contribute to Promote opportunities for every child and galleries to do so regularly. commissioned services. teacher of the subject to have the opportunity Ofsted report, Drawing together: art, craft and to work in an art gallery, or with an artist, craft design in schools worker or designer as part of their cultural entitlement. enquire and Watch this Space have played a key role in developing opportunities for children The evaluation of enquire and Watch this and young people, and in building the capacity Space and case studies evidence how for galleries to work and learn in partnership collaboration, research and training have with schools to deliver education and learning. developed the gallery education sector, professional skills and the partnerships that A school and a gallery working together in Primary school pupils working at Baltic Centre provide children and young people with this partnership can bring additional opportunities for Contemporary Art (photo Dan Brady) valuable learning. – not only to young people, but also to the professional development of teachers, gallery The contribution that enquire and Watch this educators and curators. Space have made to organisational change, Lesley Butterworth, Assistant General effective practice, education and training, and Secretary, NSEAD The enquire and Watch this Space career development has been recognised by evaluations were carried out by Stuart Davies Ofsted and by the National Society for Associates and edited by Phyllida Shaw. Education in Arts and Design (NSEAD), the leading national authority concerned with art, Copies of the full evaluations of enquire craft and design across all phases of education and Watch this Space are available from in the United Kingdom: [email protected]

To find out more aboutengage and its activities, please call 020 7729 5858 or go to www.engage.org enquire and Watch this Space are part of engage is an international membership the Strategic Commissioning Programme for organisation, including artists, curators, Museum and Gallery Education funded by the educators in the UK and abroad, which Department for Education and the Department exists to promote greater understanding for Culture Media and Sport. Watch this and enjoyment of the visual arts. engage’s Space is delivered by engage with the programme includes projects, conferences Museums Libraries and Archives Council. and seminars, training and networking enquire has been managed by engage in programmes, and advocacy to governments association with Arts Council England and is and funding bodies. supported in 2010/11 by Arts Council England. Three projects in phase 2 of enquire, 2006-8, For details about membership please visit were funded by the Foyle Foundation. www.engage.org/join

engage is supported by Arts Council England, Creative Scotland and the Arts Council of Wales, and by charitable foundations.

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