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Creative Activity Is More Than a Mere Cultural Frill, It Is A

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Creative Activity Is More Than a Mere Cultural Frill, It Is A EARLY CAREER While Tom Hudson enjoyed some success as an Acting as spokesperson for Basic Design, Harry artist, his natural medium was teaching. At the Thubron argued that adolescents had ‘outgrown core of his work was a desire to challenge the the emotive and expressionist forms’ that the 19th century notions which still prevailed in art Child Art Movement focused on, and insisted that education in the post–war period. He believed it education must be follow a more intellectual path. was a fundamental right for all members of society Thubron argued that it was only through a more to gain an understanding of modern visual rational and experimental framework that the role language and systems in order to take control of intuition could be freed. of their aesthetic world. Challenging traditional notions of art making, Hudson believed art should Of the Basic Design ‘pioneers’, including most go deeper than representation. A former student notably Harry Thubron, Victor Pasmore and commented on Hudson’s ethos as he perceived it: Richard Hamilton, it was only Tom Hudson TOM HUDSON: TRANSITIONS TOM to change society, not reflect it. who developed his pedagogy into the digital age, producing a number of television series such as Hudson is best known for his involvement with Mark and Image (1988) and Material and Form the Basic Design Movement, which set out to (1991), as well as introducing courses in computer challenge the traditional, academic methods art. practised in schools of art such as The Slade in the TOM HUDSON (1922–97): ARTIST, EDUCATOR ARTIST, HUDSON (1922–97): TOM early and middle 20th century. Basic Design ideas Hudson was very much a Modernist. His work in gained prominence during the 1950s and 1960s Basic Design was influenced by Herbert Read’s as a model for the newly introduced pre-diploma book Education through Art (1943), by the courses, later known as foundation courses, which assemblage-based strategies of the Constructivist still exist in a similar format today. movement, by the Bauhaus methodology as well as North–American abstract expressionism. Over Basic Design ideas first became a topic of debate his 50–year career, however, Hudson recognized among art educationalists at the Society of the necessity to continually develop his ideas and Education through Art Conference held here methods. at Bretton Hall in 1956. Supporters of Marion Richardson’s influential Child Art philosophy, which promoted art as free expression, were angered by the group’s rationalist approach. 1960s Collection), Hudson (Basic Design Tom Tom Hudson (Basic Design Collection), 1960s Collection), Hudson (Basic Design Tom BEYOND BASIC DESIGN He continued developing his educational CREATIVE ACTIVITY IS MORE THAN After active service in World War Two, and ideas at Leicester (1960-64), Cardiff a period studying history of art at the (1964-77) and Emily Carr College of Art and A MERE CULTURAL FRILL, IT IS A Courtauld Institute, where he was one of Design in Vancouver, Canada (1977-87). the first students to focus on the 20th CRUCIAL FACTOR OF HUMAN century, Hudson became Painting Master at Hudson was involved with many international Lowestoft School of Art in 1951. organizations: he was consultant to the city of Brasilia (Cultural Space) and the United EXPERIENCE, THE MEANS OF SELF- The Basic Design philosophy was developed Nations Educational, Scientific and Cultural at summer schools organised by the North Organisation (UNESCO) as well as visiting REVELATION, THE BASIS OF EMPATHY Riding Education Authority, held at lecturer at numerous institutions across the Scarborough in 1954 and 1956, where world. WITH OTHERS; IT INSPIRES BOTH Hudson taught alongside Victor and Wendy Pasmore and Harry Thubron, with whom The National Arts Education Archive at INDIVIDUALISM AND RESPONSIBILITY, he developed a strong personal and creative Yorkshire Sculpture Park houses a bond. significant and extensive collection of THE GIVING AND THE SHARING OF Hudson’s materials, including course notes, In 1956 he joined Thubron at Leeds College of taped lectures, films, slides, student work, EXPERIENCE Art, where he was put in charge of the Basic diaries and poetry. Transitions provides a Course, the preliminary ‘foundation’ course, small glimpse into this collection, and his Tom Hudson (1979), British Columbia Exhibition of Children’s Art catalogue. 1960s Collection), Hudson (Basic Design Tom which was a corner stone of Basic Design. work as artist, educator and pedagogue. LEICESTER CARDIFF Hudson spent nearly four years at Leeds where desks were arranged in lines facing a In 1964, Hudson was appointed Director of Development of shapes Yorkshire Sculpture Park with Harry Thubron before their working stage, from which Hudson or another tutor Studies at Cardiff College of Art. With him Proportion and measurement TOM HUDSON relationship became strained. In 1960, Hudson gave directions. For the first term, and most went both staff members and students Geometrics left to establish the Foundation Programme of the second, students worked on common from Leicester. Here Hudson synthesised Drawing Transitions at Leicester College of Art. The Pre-Diploma exercises, generally all working on the same his previous experiences in education, course was in the process of being problem. Personal development was allowed developing a radical course which drew OUTREACH AND TELEVISION established and was not known as the in the third term. Activities on the course the attention of educationalists from During his time in Vancouver as Dean of Foundation Course until 1965. While included drawing, metalwork, lithography, still around the world. Over his 13 years at Emily Carr College of Art and Design, Hudson his course was not then an accredited route life, life painting, colour from nature, colour Cardiff, Hudson made significant advances, became pre-occupied with extending access within the education system, Hudson was and shape, as well as ‘free development of developing his ideas and methods with the to modern art and aesthetics to those putting forward and testing ideas that he shape’ and more general ‘free development’. changing times and in close collaboration outside the professional art education believed were fundamental, and which were During his time at Leicester, Hudson curated with fellow artists and teachers, notably system. Working with the Knowledge to have considerable influence in Britain and a high-profile exhibition of student work, The Terry Setch and John Gingell. Network, Hudson and his colleagues overseas. Edward Pullee, the college’s Visual Adventure, which was shown both in produced four courses, broadcast as four principal, gave him free rein, creating friction London (1962) and New York (1964). The At Cardiff, Hudson’s ideas became less series on public television, that could be with the more traditional departments of catalogue for this exhibition outlines the obviously influenced by the Bauhausian watched by anyone. In order to complete the college. broad curriculum Hudson had implemented Point, Line, and Plane developments. He assessed assigments students were required at Leicester, evidenced within this portfolio extended the curriculum to explore the to follow the programmes supported by a Hudson employed a new faculty of young as follows: ‘fourth dimension’, performance, and course manual. The programmes were artists prepared to devote themselves to encouraged his students to experiment broadcast at teatime on Saturday evenings exploratory developments in art education. Colour analysis and development (abstract) and research with the newest materials and and became very popular in British The average age was 26. Including Terry Colour analysis (nature) ideas. The Foundation Course was developed Columbia. The series’ were dedicated to the Setch, Laurence Burt, Victor Newsome, Point and position and refined, and key themes within the four areas of Hudson’s now evolved and Michael Sandle, Robin Page and Michael Linear development earlier curriculum were laid out as follows: succinct Foundation Course: Colour (1987), Chilton, these artists helped Hudson develop Plane development VANCOUVER AND CARDIFF LEICESTER, HUDSON AT TOM Two-Dimensions (Mark and Image, 1988), VANCOUVER AND CARDIFF LEICESTER, HUDSON AT TOM his educational ideas beyond the essentially Developments in materials and processes Development of the point Three-Dimensions (Material and Form, 1991) Constructivist ethos of Basic Design. Proportion and measure Development of line and Creative Processes (Understanding Division of area and space Development of planes Modern Art, 1994). For its first two years, before moving to Geometry and construction Area division purpose-built accommodation on campus, Shape development the course was housed in a large hall on the Space developments ground floor of the College. 96 students and Images and objects various members of staff shared this space, Sign and symbols Images and drawings have been selected Text by Suzi Tibbetts (University of from the Hudson collection at the NAEA. Huddersfield). Books and other publications on display Curated by Tony Chisholm and Suzi Tibbetts. have been selected from the extensive With thanks to Mark Hudson. collections at the NAEA. To view the full catalogue collection of OPENING TIMES drawings and publications contact the YSP open daily 10.00–18.00 National Arts Education Archive at Yorkshire Garden Gallery open daily 10.00–17.00 Sculpture Park, West Bretton, Wakefield, NAEA open Saturday–Tuesday 11.00–15.00 MORE INFORMATION West Yorkshire WF4 4LG. and Wednesday–Friday by appointment. Tel: +44 (0)1924 830690 (Monday and Tuesday). Email: [email protected] [email protected] Front cover image: Tom Hudson (Basic Design Collection), 1960s Tom Hudson (Basic Design Collection), 1960s Collection), Hudson (Basic Design Tom.
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