Hartshorne, I., 2018.
|Venue:||Fully Awake 3.6; Dyson Gallery, Royal College of Art, 3/9/18 --14/9/18|
|Number of Works:||36|
I am the curator of a cycle of six exhibitions which reveals the intergenerational and interinstitutional affect of the teaching of painting from the perspective of painters who currently teach at 72 UK art providers.
This is the first ever cycle of exhibitions directly challenging and offering an alternative to current curatorial orthodoxies. The cycle of exhibitions explore how painting is taught. It articulates, through exhibitions and accompanying literature such questions as; what affect has painting had on the studies and subsequent careers of artists? How are pedagogies and methodologies delivered, understood, adopted or rejected?
Over a 3 year period 72 artists, currently teaching on undergraduate and postgraduate courses are invited to further invite 2 'guests' to exhibit alongside them. In all, six venues will each host 36 exhibitors. The exhibitions include contributions by 216 artists. These exhibitions reveal methodologies from a stylistic, practical and theoretical perspective, of benefit to students and lecturers currently and potentially, undertaking study and teaching onto painting courses.
It benefits prospective and current educators and students by outlining the various stylistic and theoretical approaches adopted by those teaching painting, when considering how painting might be delivered. It also contributes to a wider societal and cultural understanding of what painting currently is, and offers insight into what painting might achieve within the context of higher education by presenting this across six public facing galleries nationally.
This unique and unorthodox invitational approach creates unexpected fluid conversations and creates networks through collaborations, and the exhibitions are intended to reveal these. It eschews conventional curatorial imperatives by drawing attention to the affect of teaching painting and is deliberately devoid of any ideological motivation. Each of the exhibitions is accompanied by a publication, and contains essays which articulate paintings current theoretical condition, and offers visual and textual insight with regards to the motivation of those invited, who subsequently invited their students and lecturers to exhibit alongside them.