TOM HUDSON (1922–97): ARTIST, EDUCATOR Tom Hudson (1979), British Columbia Exhibition of Children’s Artcatalogue. EXPERIENCE ANDTHE GIVING THESHARINGOF INDIVIDUALISM AND RESPONSIBILITY, WITH OTHERS; IT INSPIRES BOTH REVELATION,BASIS THE OFEMPATHY EXPERIENCE,MEANS THE OF SELF- CRUCIAL FACTOR OF HUMAN A MERE CULTURAL FRILL, IT IS A CREATIVE ACTIVITY IS MORE THAN

Tom Hudson (Basic Design Collection), 1960s the group’s rationalist approach. promoted artasfree expression, were angered by Richardson’s influential ChildArtphilosophy, which at Bretton Hallin 1956. Supporters of Marion Education through Art among arteducationalists at the Basic Designideasfirst becamea topic of debate still exist inasimilarformat today. courses, later known asfoundation courses, which as amodelfor thenewly introduced pre-diploma gained prominence duringthe 1950s and 1960s early andmiddle20th century. BasicDesignideas practised inschoolsof artsuchas The Slade inthe challenge thetraditional, academicmethods the BasicDesignMovement, whichset outto Hudson isbestknown for hisinvolvement with to changesociety, not reflect it. commented onHudson’s ethos asheperceived it: go deeperthanrepresentation. Aformer student notions of artmaking, Hudsonbelieved artshould of theiraesthetic world. Challenging traditional language andsystems inorder to take control to gainanunderstanding of modernvisual was afundamental right for allmembers of society education inthepost–war period. Hebelieved it 19th century notions whichstillprevailed inart core of hiswork was adesire to challengethe artist, hisnatural mediumwas teaching. At the While Tom Hudsonenjoyed somesuccessasan EARLY CAREER

Conference heldhere Society of

Mark andImage producing anumberof television seriessuchas who developed hispedagogyinto thedigital age, Richard Hamilton, itwas only Tom Hudson notably Harry Thubron, and Of theBasicDesign ‘pioneers’, includingmost of intuition couldbefreed. rational andexperimental framework that therole Thubron argued that itwas onlythrough amore education mustbefollow amore intellectual path. Child ArtMovement focused on, andinsisted that the emotive andexpressionist forms’ that the Thubron argued that adolescents had ‘outgrown Acting asspokesperson for BasicDesign, Harry methods. the necessityto continually develop hisideasand his 50–year career, however, Hudsonrecognized as North–American abstract expressionism. Over movement, by theBauhaus methodology aswell assemblage-based strategies of the Constructivist book Basic Designwas influenced by ’s Hudson was very muchaModernist. Hiswork in art. (1991), aswell as introducing courses incomputer

Education through Art (1988) and

(1943), by the Material andForm

Tom Hudson (Basic Design Collection), 1960s

Tom Hudson (Basic Design Collection), 1960s which was a cornerstone of BasicDesign. Course, thepreliminary ‘foundation’ course, Art, where hewas putincharge of theBasic In 1956 he joined Thubron at College of bond. he developed astrong personal andcreative Pasmore andHarry Thubron, withwhom Hudson taught alongside Victor andWendy Scarborough in 1954 and 1956, where Riding Education Authority, heldat at summerschoolsorganised by theNorth The BasicDesignphilosophy was developed Lowestoft School of Artin 1951. century, HudsonbecamePainting Master at the first students to focus onthe 20th Courtauld Institute, where hewas oneof a periodstudyinghistory of artat the After active serviceinWorld War Two, and BEYOND BASIC DESIGN

work asartist, educator andpedagogue. small glimpseinto thiscollection, andhis diaries andpoetry. taped lectures, films, slides, student work, Hudson’s materials, includingcourse notes, significant and extensive collection of Yorkshire Sculpture Park housesa The National Arts Education Archive at world. lecturer at numerous institutionsacross the Organisation (UNESCO) aswell asvisiting NationsEducational, ScientificandCultural of Brasilia (Cultural Space) andtheUnited organizations: hewas consultant to thecity Hudson was involved withmany international in Vancouver,Design (1977-87). Canada (1964-77) andEmily Carr College of Artand ideas at Leicester (1960-64), Cardiff He continued developing hiseducational

Transitions provides a

TOM HUDSON: TRANSITIONS 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