Academic Uses of Archives, Museum and Special Collections, 2009-2013

Academic uses of archives, museum and special collections 2009-2013 * Hover the mouse Contents over the screen

Introduction 3 The University’s Collections 3 Displays and Exhibitions 4

Case studies: The Thrill of the Real 6 Postgraduate Projects 10 Research Projects 11 For additional information please contact: Funded Projects 12 Public Lectures and Conferences 13 The University Archives Widening Participation and Outreach 13 and Special Collections Centre Elephant and Castle London SE1 6SB Looking Ahead: Priorities 15 Email: [email protected] Managers of Archives, Museum and Tel: 020 7514 9333 Special Collections 16

ISBN: 978-1-906908-30-0 Conference Papers 17 © University of the Arts London, 2014. Publications 18 References 19 http://www.arts.ac.uk http://archives.arts.ac.uk

Archives are documents in any medium that have been noun, plural: archives created by an individual, family, business or organisation during its existence and have been chosen to be kept permanently because they are considered to be of continuing value. These documents are unique and irreplaceable.

Archives are not just written documents on paper or parchment, such as wills, diaries and letters. They may be photographs; audio-visual material like sound recordings and films; maps, plans and drawings; printed matter such as an organisation’s minutes or accounts and information held in electronic form such as word processed documents, databases and web pages. http://www.nationalarchives.gov.uk/archives/what_archives.htm 6 7 Introduction The unique and diverse archives and special collections demonstration of partnerships between librarians, of University of the Arts London provide a rich resource archivists, museum and gallery curators and for teaching, learning and research, not only at the conservators and academic course tutors. University but across the globe. This publication offers an insight into the value placed on them by staff and When the skills of these professions are brought students, researchers and academics locally, nationally together, the delivery to students directly relates to and internationally. the vision for the University, quoted in the Medium Term Strategy for 2012-2015: The aim of this publication is to showcase academic uses of archives and special collections at University To provide a distinctive high quality practice-led learning of the Arts London and to celebrate the range of good experience in arts, design and communication, distinguished by practice that currently exists in this area. teaching and research which results not only from our unique range of specialist courses but also from the diverse global mix of The publication covers the use of our collections by our students and staff. members of the University and by external visitors undertaking academic pursuits from 2009-2013. This publication provides evidence of how these Evidence has been gathered in quantitative and definitions and principles are lived out through qualitative forms. Feedback has been received from engagement with archives and special collections in students who have benefited from interaction with teaching, learning and research, and as such reflect our the collections as part of their taught programmes or culture of creativity as well as academic scholarship. research. A series of case studies has been developed, providing rich, qualitative, primary source evidence of archives and special collections in use. Through analysis University of the Arts London has an extraordinary The University’s of the case studies and student feedback it is clear range of archives, special collections and museum that students who engage with collections are directly Collections collections, including an accredited museum, that helped to achieve their learning outcomes. reflect the rich traditions and specialisms of the six constituent colleges1. Much of this work is hidden from formal course documentation or review, and occurs as a material 3 The scope of these collections is immense. They Visitors to the University’s sites are exposed to the Displays and provide a profound insight into past and contemporary collections through their public presence in a variety Exhibitions practices within arts, design and communication with of settings. These displays are seminal in defining the items dating from 1400s until the present day. They culture of University of the Arts London in terms of its represent a significant cornerstone of the University’s legacy, contemporary practice and future direction. research infrastructure and a crucial teaching Arguably they are a physical manifestation of the resource. They are also of great value to external values of the academy and scholarship and a living visitors: ranging from international scholars and arts representation of the University’s contribution to the practitioners to local schools and community groups. creative arts. They are a resource for arts, design and communication that both inform and inspire research and creativity. For example, the Lethaby Gallery at CSM held Analogue/Digital: 100 Years of Printmaking at CSM The University’s archives and special collections are (16 January to 16 March 2012) and SET: 40 Years known and respected, internationally and hence of Jewellery Design at CSM (12 November to 14 continually enhance its reputation and academic December 2012). Both were high profile and well standing. They attract interest from researchers, received, and the jewellery show attracted substantial curators and students from University of the Arts corporate sponsorship. London and across the world. The primary users of the collections are: As CSM prepared to leave two existing sites for Kings Cross in 2011, material came to light, relating • University students on taught courses (FE, undergraduate and to the fine art department at Central Saint Martins postgraduate) between 1950 and 1980. To explore and understand • University academic staff, postgraduate research students and this, the Head of Museum worked with a tutor and the professoriate students from BA Fine Art on a 6 week project called • Staff and students of other universities (from within the UK In Exchange. Students worked with the archive in the and international) Lethaby Gallery, ordering it, scanning documents, • External readers, including private researchers, journalists and meeting key people from the period, recording their interested members of the public with a serious research testimonies and blogging about their experiences. In interest Exchange inspired an annual archive practice project • Curators, practicing artists and designers • Local schools and community groups 10 4 with the MA in Culture, Criticism and Curation at CSM, Public engagement is a vital and well established leading to an exhibition for the Museum’s display practice in bringing collections to a wider audience. window. Curators from external universities or venues have included materials borrowed from collections across A range of exhibitions by staff and students have been the University in major and international exhibitions. documented in the publication by Grandal Montero, Chelsea College of Arts has often lent material to G. ed. (2011) The Show Must Go On: Exhibitions in major venues. For example: Camberwell, Chelsea and Wimbledon Libraries. These exhibitions demonstrate the range of special Royal Academy of Arts borrowed items for Eyewitness: collections material that courses use, and how this Hungarian Photography in the 20th Century. access inspires the creation and display of new work, such as books created by BA Graphic Design Barbican Art Gallery borrowed surrealist magazines Communication at Chelsea College of Arts. and books for The Surreal House.

The Jocelyn Herbert Archive supports students’ The British Library included works from the Artists’ curatorial research and theatre performance projects. Books Collection in their exhibition Breaking the Rules: In Peter Farley’s exhibition Engagements with Jocelyn The Printed Face of the European Avant Garde 1900- celebrated the installation of the Archive in its new, 1937. purpose-built centre, at Wimbledon College of Arts, embedding the collection within the learning, teaching The University Archives and Special Collections Centre and research environment. In addition to a study day has lent items from the Stanley Kubrick Archive to exploring the archive, two students curated exhibitions the Australian Centre for the Moving image, for Star Life is serious but Art is fun and Jocelyn and George, Voyager: Exploring Space on Screen. drawing on objects from the Archive. Stanley Kubrick: The Exhibition, curated by Deutsches In April 2013, a selection of items from artists’ books Film Museum, displays several hundred original archival collections were showcased to complement Print at the items. This has travelled to venues in Frankfurt, high profile Street-facing University gallery at 272 High Melbourne, Ghent, Zurich, Rome, Paris, Amsterdam, Holborn. Los Angeles and Sao Paulo and will continue to tour internationally. 5 Case Studies: The excitement and inspirational value of interacting printed word and gave me a route to develop my own language; it (Les Bicknell, alumnus The thrill firsthand with primary resource materials cannot be is a truly wonderful resource – long may it grow’. of LCC, book artist) of the real underestimated. Whilst fashion designer Stella McCartney, alumnus of Object based learning is a method of teaching that Central Saint Martins and Honorary Professor, stated: is both preferred by students and of great value to academic staff wishing to innovate, engage and ‘The Libraries have fantastic research collections which I loved enhance the student experience2. It also contributes using. I always felt privileged to have these amazing resources at to the development of key skills in observation, my disposal’. communication and teamwork. The case studies of students engaging with collections When used by skilful and knowledgeable collections at University of the Arts London, follows a typical staff within a pedagogic context, collections can be model of object based learning, outlined by Prown2. inspirational as well as informative. There is also great The items are usually introduced by the collection value in the opportunity to touch and learn from the manager, with input from the tutor and students. object directly. Object based learning elicits powerful This leads to the deduction and understanding of responses from all who engage with the physical the objects by the students, based in the framework artefacts. of the learning required by their course unit. The outcome is speculative and takes the form of their Two of our internationally renowned alumni echo these creative response; the production of new works and sentiments: the students’ attainment of learning outcomes, in their own discipline. ‘The collections are a rich opportunity to see and hold first-hand the real thing; the experience cannot be underestimated in the development of our understanding of the objects we create. The rich and varied Printing Historical Collection opened a world of possibilities to me when I was a student at the London College of Printing. I felt immediately I had found a place I could inhabit. The collection formed the foundation of my understanding of the 6 Hidden treasures: Inspired by Kubrick: The Museum and Study Collection at CSM The Stanley Kubrick Archive elective at LCC

Hidden Treasures engages with the following assessment criteria: The key assessment criteria met through engagement with the research | experimentation | analysis | communication & presentation Stanley Kubrick Archive in this elective are: | personal & professional development | collaborative &/or research | experimentation | analysis | communication & presentation | independent professional working collaborative &/or independent professional working

Hidden Treasures is a project These are skills that the students ‘Most University Archives find themselves surface design, creative advertising. where the Head of Museum, Judy will be able to use in their catering for more users from outside of Throughout the elective students Willcocks and Phil Baines, Professor professional practice when they are their institution than internal users. From work collaboratively in small inter- of Typography developed a brief required to respond to client briefs. the moment the University Archives and disciplinary groups, researching that asks students to create three Judy says of their collaboration: Special Collections Centre began we and developing a response to the different technical posters to wanted to buck this trend. So Sarah and I Stanley Kubrick Archive. promote items within the Museum ‘Obviously Phil knows a lot more about talked about ways of getting the archive and Study Collection. Phil locates typography than I do so I was keen to let involved in teaching and making it more The outcomes of the group work key collections at the Museum him loose in the collection to see what he accessible and usable within the University.’ were presented to the class and and every year incorporates them would identify as being of interest to his Richard Daniels, Stanley Kubrick Archivist invited guests in the final week. into his teaching modules to bring students.’ The presentations were hosted hidden teaching collections back The initial project was to develop by an external venue including to the forefront of learning. The For Phil, the collaboration is very Inspired By Kubrick; a research- the bfi and Warner Bros. London objects chosen were rare, early much about exchanging specialist led elective in which students are offices. These final presentations printed books. Students were knowledge to choose objects for given the opportunity to explore, were assessed by the tutor and asked to research and photograph a graphic and typography module be inspired by and respond to the collection managers. Their a book or object of their choice, and, in his words: the Stanley Kubrick Archive. This work covered a whole spectrum and create posters using images research took place from 2007-8. of creative practice: sound art, taken by their peers. The module ‘To show students things that they installation, bookmaking, as well as stretched the students by wouldn’t ordinarily see and appreciate The first and second years of cataloguing and ordering objects. challenging their research processes physical objects firsthand rather than the module saw 20 students The elective challenged not only and the way they created work. second hand as images reproduced in participating. By the third and new ways of seeing, thinking and books or on the internet.’ fourth years, the number increased researching but also new ways These encounters with museum to a cohort of 40 students. The for the students to create and objects within collections, elective was successful in recruiting communicate their responses. developed skills in the students students from a variety of courses: Some of the new work produced which enabled them to see and communications, marketing, by students, for example: Question create things in different ways. graphic media and design, sound and Answers booklet, became new arts and design, media practice, knowledge objects alongside the photography, book arts and design, Kubrick Archive. 16 17 7 Professional collaboration: Guided research: the Artists’ Books The Fanzine Collection at LCC Collection at Chelsea College of Arts

Leila Kassir, Academic Support to place their creative practice in Gustavo Grandal Montero, messages. The seminar was a huge Librarian, has successfully worked the outside world. Academic Support Librarian and success. International students, with course directors on workshops Dr Ana Araujo, Senior Lecturer who were often quiet in classroom using the FanZine collection to Leila highlights the value of the developed a formal learning outline sessions, were empowered to support teaching and learning. Leila experience of touching, feeling for first and second year students talk and engage, through their regularly collaborates with Sarah and interacting with objects from of BA Interior and Spatial Design interaction with artists’ books that Temple, Course Leader, BA Graphic the collections. FanZines play using the Special Collection of embodied familiarity for them. They Media and Design, LCC, on student an important role in a student’s Artists’ Books in the library of grew in confidence and contributed course outlines. She has developed learning experience: Chelsea College of Arts. to the learning of their fellow a workshop from an open brief students. around ‘Design and Society,’ for ‘I take the Fanzines to a group of students This combines Gustavo’s specialist Paul Bailey, course director of or they come to the library and I give them knowledge of the artists’ books Second year students on this course FdA Graphic Communication, also an introduction or overview of what the with Ana’s personal research were asked to fulfil the criteria utilizing the FanZine collections. FanZines are and what objects I’ve brought interests to see things differently of the brief: Guided research along. The main thing I find, is the students and push the boundaries of and presentation | The Archive: In this session, students considered want to handle them, want to read them, creativity. Organising a Collection. the place of Zines within the and want to get to know what they are history of the book, through about.’ First year students were asked to This brief involved researching an introduction to the Printing Leila Kassir, Academic Support Librarian use a selection of artists’ books an artist’s book in a group of 8 Historical Collection at LCC. Leila to explore their sense of home. students to create a contextual uses the Zines to discuss key The course cohort comprises and visual document of it, without strands of contemporary critical international students from Asia so photography, and to critically thinking that is relevant to specific books were specifically chosen that reflect on how this interaction curriculum briefs. The research would create a platform to discuss relates to the practice of Interior process allows the students to think non-western ideologies. Discourse and Spatial Design, their own work critically around an idea or question around the home was accessed and their course. Ana and Gustavo and investigate this using the through the fonts, images, paper assess the module and the new objects as a line of enquiry, linking and print as the artists had chosen artists’ books which students create theory and practice, in turn helping these elements to convey political are added to the collection.

8 Professional lives: Collections for learning: The Materials and Products Collection at CSM Tailoring the Archive at LCF This experiential learning aids students’ professional practice and meets This experiential learning aids students professional practice and meets the following learning criteria: the following learning criteria: research | experimentation | analysis | technical competence | research | experimentation | analysis | technical competence | communication and presentation | personal & professional development communication and presentation | personal & professional development

The Materials and Products students on MA Industrial Design Jane Holt, Senior Research Fellow, A student from BA Bespoke Collection is a live, contemporary, and MA Textile Futures at CSM, Archives, worked with Chris Tailoring commented: responsive collection of samples, and BA Graphic Product Innovation Stevens, Course Leader BA Bespoke materials, trade literature and at LCC. The talks looked at how Tailoring and Eldrid Harrington, ‘I have been really inspired being able to online resources arranged like a paper is made, how it is used in Head of International Student see the clothes and look at them closely commercial design practice studio. packaging and how to specify paper Experience, to introduce the LCF is great, I can see how the fly on these and printing methods. This gave archives to first year students to trousers was altered.’ Jess Lertvali, Materials Co- the students an insight into how the support two projects: the Trouser ordinator, uses the collection to company manufactures materials Project (part of Research, Design The ISHE project was delivered in introduce students to materials and and how these materials might and Tailoring unit) and the Object a different way. An introductory processes that will help them to be used in the fashion industry. Based Analysis Project (part of the lecture was delivered using the fulfil project briefs and will provide They were invited to ask research Introduction to Studies in Higher model of object based learning. inspiration for their work. The questions related to their own Education (ISHE)). Students were encouraged to visit collection, and Jess’s knowledge of academic and professional practice. the archives individually to select an the industry, are used to generate The key success of the event was For the Trouser Project Jane object for analysis. A BA Bespoke ideas, academic research and that it met students’ needs and displayed examples of tailored suits Tailoring student chose to analyse employability skills. Jess explains: gave them an insight into the way from the Menswear collection so a suit from the Tommy Nutter materials function in industry. students could handle the garments Collection and contextualised ‘It’s important to see the graduation The Sales Manager at G.F. Smith to examine the design, cut and her investigation with issues of shows and see what the students have commented: construction. The archive session Menswear magazine from the 1970s produced because I can feed this back was practice-based, focussing on and various books on Savile Row to other students. I can tell the story of ‘The day at CSM was a fantastic how the knowledge gained from tailoring held in the archives. She how a student progresses from an idea to experience... G. F. Smith take a long term close examination and analysis commented: the finished product and how they used vision of working with students and the of an existing garment could be Materials & Products as a resource and how chance to have the workshop at CSM was transferred and translated into their ‘I attended the talk introducing the archives they can use the services I offer.’ a real pleasure. G. F. Smith very much want own work. Detailed investigation of and it was so inspiring that I could not to support the students because they are the cutting and sewing techniques wait to come up and see them. Thank Jess arranged for G.F. Smith to run their clients of the future.’ used, for example, in pockets, you for showing us the great things in the an event entitled The Art of Paper. trouser widths and seams informed collections and letting us actually touch The talks were directed toward how the students could construct them, it really makes a difference.’ their own tailored garments. 9 Postgraduate The Graduate School at Camberwell, Chelsea and All MA courses at Chelsea College of Arts engage in Projects Wimbledon has found the Special Collections to be of the annual Triangle Space Project. This is supported by specific use in the development of the courses. the use of Special Collections and the purpose of the project is to produce a Manifesto, which establishes ‘The Special Collections at CCW have been critical for the the rules for new models of cultural production and development and implementation of the learning strategy applied distribution, producing new work in the context of a in the CCW Graduate School MA courses. In working through library exhibition and other collaborative events. a ‘production-led’ ethos, the three courses engage students in MA Documentary Photography students at LCC use practices that enable them to demonstrate their application of archival resources to research NAM: Conflict and the the ideas that they are developing. By providing a resource that Media a JISC funded project looking at the variety of demonstrates the broad range of visual arts strategies in artists ways in which the media reports conflict. This project multiples, the Special Collections have been central to this. brings together aspects of the photographic archives In 2010/11, the CCW Graduate School MA courses (MA Art Theory; of Phillip Jones Griffiths, the film archive of Stanley MA Curating; MRes Arts Practice) were invited to produce a Kubrick, and the journalistic archive of Phillip Knightley publication for the Bright Series - a range of publications showing to look at the resonances of the conflict in Vietnam. the variety of approaches to research practice within CCW. The The project has been developed by a team from the Special Collections at Chelsea College was both a starting-point Photography and the Archive Research Centre (PARC) and, unexpectedly, a destination for the publication the MA based at the London College of Communication (LCC). courses produced, titled ‘Relay’. The students on MA are drawn It was the subject of a conference at the National from a range of disciplines in respect of their first degrees. Special Media Museum in Bradford and the Imperial War Collections enabled them not only to discuss different ideas, it Museum in London during 2011/2012. The Stanley also enabled them to see different examples with their own eyes. Kubrick Archivist delivered papers at both venues. Dr David Dibosa, Course A sense of different formats, materials and approaches to working Director MA Art Theory, would not have been available to the students without their A MA Conservation student completed his study of the Chelsea College of Arts engagement with the Special Collections.’ degradation of Polaroid photographs, using two bound volumes of unique continuity photographs, which record the making of The Shining in the Stanley Kubrick Archive.

10 ‘I [was] searching for my final project which I would like to be on PhD students and University staff, who are engaged Research conservation-preservation of photographs and specifically on with research, make direct use of the archives and Projects contemporary photographic prints. I spoke to [my tutor] about my special collections to inform their work. Archives MA Conservation interests and she told me that you might be able to help or give and special collections staff also undertake a range Student me some ideas or advice.’ of research activities to inform conference papers, exhibition loans and publications. Collection managers A former Chelsea MA student has used the Artists’ and archivists play an important role in developing Books Collection and magazines to develop her ideas research skills in PhD students and early career on art writing and publishing in close contact with the researchers who engage with our collections, through Artists’ Books Collection at Chelsea. She is the founder one-to-one advice and workshops. and editor of the Happy Hypocrite and attributes its evolution to her sustained interaction with these The EMap Archive (Drapers Record and Shoe materials. and Leather News) was used to find evidence for terminology of handbags which will be included in a ‘The Happy Hypocrite, my very own experimental art writing published book and in the labels and cataloguing in journal, would not exist without the Special Collections at Chelsea. the Simone Handbag Museum in Korea. It has also Many happy hours of systematic searching through the arts and Maria Fusco, Director of been used to look at articles and advertising on men’s Art Writing, Goldsmiths, literature magazines collection evolved its transformation from a underwear for book chapters and conference papers. University of London single book to serial publications.’ The Victor Stiebel Archive (now digitised and available A film has been made about the LCF Archives by a on VADS - http://www.vads.ac.uk) informed research student on MA Fashion Media Production. It is a short on the designer for the LCF Exhibition on the Korner documentary film based around the idea of Guardians Archive and a chapter in Englishness of English Dress of Fashion. The student used the motif of unwrapping edited by Christopher Breward, Becky Conekin and items from the collection to highlight the treasures in Caroline Cox (Berg, 2002). the archives. Victor Stiebel (1907-1976) was a British fashion designer and his clients included members of the

24 11 the royal family, including Princess Margaret. He also A number of funded research projects are underway Funded had an international reputation and dressed stars such or have been completed, which relate to museums, Projects as Katherine Hepburn and Vivien Leigh. archives and special collections.

The Thorold Dickinson archive was used by a PhD Transforming Artists’ Books (AHRC Digital student at LCC as primary research material. His Transformation Programme) arose out of the Book Arts research takes as its lead an archival document which Network that was set up by the CCW Graduate School. is a script for the film Blue Vanguard (1957), produced The overarching question was one of access to artists’ by the United Nations about the Suez Crisis of 1956. books in the three major UK collections at Tate, the This work was supported by access to the Thorold V&A and Chelsea. Collection manager Gustavo Grandal Dickinson Collection at the University Archives and Montero was a member of the project, which was led Special Collections Centre, and through a screening of by Professor Eileen Hogan. this rarely seen film, which has been purchased from the Canadian Board of Film. The Stanley Kubrick Archive: The Inner Circle Oral History Project (funded by a private donation). Thirteen interviews have been recorded in audio and video, with those closest to Stanley Kubrick in the UK and the USA, in order to enrich the Stanley Kubrick Archive. Video outputs from the interviews are available through the University’s website.

The Museum at CSM received funding from The Pilgrim Trust to catalogue material in the early 20th Century Central School printmakers collection. Items relating to Noel Rooke, who was a seminal figure in 20th Century printmaking and a teacher at the Central School, and 1,600 items of newly acquired material, were made available for research and exhibition.

12 Public Collections often inspire public lectures and symposia CSM Museum, LCF Archives and the University Archives Widening Lectures and in the national and international arena, which raise and Special Collections Centre have taken part in participation Conferences the profile of the University as well as the specific outreach programmes with primary and secondary and outreach collection under discussion. For example: schools, FE Colleges and Community Art projects. activities The Jocelyn Herbert Archive resides at Wimbledon ‘Many of our workshops include talks and presentations from our College of Arts. The Annual Jocelyn Herbert Lecture, archives and a variety of workshops in the museum space. These set up by the University and supported by the are a great support when working with young people who need Rootstein Hopkins Foundation, takes place at the a broader insight into not just the courses we offer at CSM, but National Theatre. The lecture stimulates debate a variety of career choices which can be learnt from the history about the often under-celebrated profession of stage of our alumni. Not only do the many participants learn about Berni Yates, Widening design and honours Jocelyn Herbert for her part in the history of design, they also learn the craft of archiving and Participation, Central revolutionizing the look of post-war British theatre. preserving works of art.’ Saint Martins

The University held a successful symposium Into the Pupils from secondary schools in Newham interacted Archive: Re-viewing Kubrick at LACMA on 9th February with the Stanley Kubrick Archive to inform a video 2013, to celebrate the Stanley Kubrick travelling installation The Caretaker. They were particularly exhibition at this venue. Academic and curatorial interested in location research for Full Metal Jacket as staff from the University and the V&A Museum it was set in Becton Gas Works, Newham. presented papers based on their engagement with the archive in relation to their own practice, in stage design, documentary film making and oral history. The symposium attracted 250 attendees and generated much interest in the Stanley Kubrick Archive at the University.

13 Special Collections /speSHəl kəˈlekSHən/

Special collections are collections of documents connected with some subject, or with the original collector of the material, or gathered for some reason in a library which is otherwise general in character.

(International encyclopedia of information and library science, edited by John Feather and Paul Sturges, London: Routledge, 1996)

‘Museums enable people to explore collections for inspiration, learning and enjoyment. They are institutions that collect, safeguard and make accessible artefacts and specimens, which they hold in trust for society.’

(http://www.museumsassociation.org/ethics/code-of-ethics) 30 31 Priorities In summary, all collection managers want to ensure Underpinning this range of activities will be the that their collections support the learning, teaching ongoing requirements to conserve and preserve collections and research at the University, and contribute to the of high quality and relevance in suitable conditions, so advancement of scholarship and innovation in the that appropriate access can be provided to support the creative arts nationally and internationally. teaching, learning and research of the University.

Collection managers will build on and increase the Collections can only be fully appreciated with adequate academic liaison with programmes that have engaged descriptions, made available through public catalogues with them, and will build new relationships with those and websites. This is the backbone to effective collection who have not yet benefited from these associations. engagement and interpretation and enables specific items to be found with efficiency. Once available, it is Object based analysis will be embeded into the possible to share catalogues with archive and collection undergraduate curriculum and material culture research databases to increase awareness in subject specialist using archives as part of the Introduction to Study networks. in Higher Education unit and within research methodologies. This will build on the teaching and Selected digitisation of items from collections, where learning sessions in which the archives participate. Intellectual Property Rights and licences allow, will improve awareness and access to materials in our Archive staff will continue to work with course teams collections. to develop students’ understanding of archives and how to engage with them using research skills. All collection staff are passionate aboutcontinuous professional development of their expertise and the value There is an aspiration to curate and exhibit collections, in of the collections in their care, to benefit learning, liaison with colleagues at the University who have teaching and research of the University. an international profile in this area of expertise. This initiative will provide a forum for an engagement with the collections at a deep level, to encourage new research outputs.

15 University Richard Daniels Acknowledgements are also made to all the staff who Archives Stanley Kubrick Archivist, University Archives & Special work with the collections, the tutors, interns, students and Special Collections Centre and volunteers who generously support the use of the Collections are archive, museum and special collections. managed and David Garnett maintained by: Technician, Camberwell College of Arts The Archives and Special Collections managers hold memberships to professional associations including: Gustavo Grandal Montero Academic Support Librarian, CCW ARLIS/UK & Ireland: the Art Libraries Society, Arts Council England, The Bibliographical Society, CILIP Eileen Hogan Rare Books and Special Collections Group, The Institute Professor, CCW Graduate School, Jocelyn Herbert of Conservation, International Council of Museums, Archive London Museums Group, Museums Association, Printing Historical Society, Worshipful Company of Jane Holt Stationers and Newspaper Makers. Senior Research Fellow Archives, LCF Leila Kassir Academic Support Librarian, LCC Jess Lertvali Materials Collections Co-ordinator, CSM & LCF Sarah Mahurter Manager, University Archives & Special Collections Centre Judy Willcocks Head of Museum, CSM 16 Conference Collection managers and curators contribute papers Gilmour, S. and Mahurter, S. Knowledge Transfer papers to conferences and symposia. These range from those Partnerships; Materials & Products Collection at CSM organised by professional associations, where good and Artists’ Books Collection at Chelsea. ARLIS/ practice is disseminated amongst peers, to academic UK & Ireland Annual Conference, From Beijing to symposia and conferences, where collections are Bloomsbury: Art Librarianship in an Olympic Year, UCL, discussed in the context of learning opportunities and London, 25th June 2012. access. Grandal Montero, G. Artists’ books: a Chelsea history. Daniels, R.A. Visioning Vietnam in East London. NAM Goldsmiths, MFA Art Writing, London, 9th July 2010. project conference, The Architecture of Conflict, National Media Museum, Bradford, 27 October 2011 Grandal Montero, G. A Wikipedia reader. Transforming and Imperial War Museum, London, 18th February artist books, UAL/Tate, London, 18th May 2012. 2012. Grandal Montero, G. Working with Special Collections. Daniels, R.A. A Clockwork Orange: from page to ARLIS workshop Taking the plunge: art librarianship screen to controversy. Anthony Burgess Foundation as a career option, National Gallery, London, 27th May Conference, 50 years of A Clockwork Orange, 2013. Manchester, 30th June 2012. Mahurter, S. The Inner Circle Oral History Project at Daniels, R.A. 2001 – A Space Odyssey: Kubrick’s Second The Stanley Kubrick Archive. Paper given in Into the Brush with the Apocalypse. Melancholia: Imaging the Archive: Re-viewing Kubrick, LACMA, Los Angeles, 9th End of the World, Philipps University Marburg, 7th February 2013. June 2013. Stuckey, K. Lolita: a journey with Nabokov and Kubrick Garnett, D. On the Body. Australian Institute for the from the page to the screen. Archives and auteurs, Conservation of Cultural Material Textile Special University of Stirling, Stirling, 2nd-4th September 2009. Interest Group Diaghilev and the Camberwell Ballets Russes costume collection: multi-disciplinary projects Willcocks, J. Working with the Nationals Museums on exploring the potential for an art college collection, loans. Museums Association conference, Manchester, 18th March 2011. 11th October, 2010. 17

Willcocks, J. Skills sharing. Museums Association Grandal Montero, G. Artists’ books in HE teaching and Conference, Brighton, 3rd October 2011. learning, The Blue Notebook, Vol. 7, 2012, No. 1, pp. 36-43. Willcocks, J. Early history of the Central School of Arts and Crafts. History of the Art School symposium, Royal Grandal Montero, G. Biennalization? What Academy, 9th November 2012. biennalization?: the documentation of biennials and other recurrent exhibitions, Art Libraries Journal, Vol. Willcocks, J. In Exchange archiving project. Curating the 37, 2012, No. 1, pp. 13-23. Archive, UAL symposium, 5th February 2013. Grandal Montero, G. and Foden-Lenahan, E. Defending the aesthetic: the conservation of an artists’ book, Art Publications Collection Managers have an ongoing role in Libraries Journal, Vol. 38, 2013, No. 1 pp. 32-32. advocating for their collections and disseminating their expertise and research, through publication and Grandal Montero, G. Deputy Editor, Art Libraries editorial roles. Selected examples of this work is listed Journal, ARLIS/UK & Ireland: the Art Libraries Society, here. April 2012-

Daniels, R. Ed. Stanley Kubrick: New Perspectives. Mahurter, S. Editor, Rare Books Newsletter for CILIP London: Black Dog; May 2014 (forthcoming title). Rare Books and Special Collections Group, 1997-

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