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.