John Wilson | Curatorial reflection: The art of collecting

 

Dylan Thomas once remarked that his local Swansea museum was "a museum of a museum" - and likewise all art collections are themselves a testimony to the art of collecting. 

  

THE ART OF COLLECTING provides a public airing of works by some of the better known artists in the Newport Museum and Art Gallery's permanent collections. 

Over a hundred years in the making, Newport has quietly built up a public art collection of which it can be proud. The exhibition highlights the way in which the Newport Museum and Art Gallery's permanent collections have been formed through a fortuitous mix of private benefactions, public educational principles and curatorial nurturing over the decades. | Read more:  John Wilson, Roger Cucksey, A curator's scrapbook

 

 

(1) Newport: The making of a public art collection

(2) Newport's public art collections: Formations and transformations

(3) Links: The collections agenda

 

 

(1) Newport | The making of a public art collection

  

 

The exhibition THE ART OF COLLECTING affords us an opportunity for enjoyment, reflection and further conversation. we may:

  • indulge in a public airing of works by some the the better known artists in the Newport Museum and Art Gallery's collection.
  • reflect upon over one hundred years of collecting, highlighting the unique historical value of a public art collection.
  • and consider current concerns for the future of collecting in a changing world of art.

   

 

 

  

(2) Newport's public art collections | Formations and transformations



  • "A museum is like a living organism: it requires continual and tender care; it must grow, or it will perish" | Sir William Flower, Essays on Museums, 1898.
 
 
 
  • "The Art Fund’s research exposes a real crisis (...)  diverting museums from the central task of building their collections. | Lack of advocacy and support for collecting in both central and local government means there is a danger that the collecting habit is being lost, along with the skills and expertise necessary for it". | The Art Fund, The Collecting Challenge, 2006



Over a hundred years in the making, Newport has quietly built up a public art collection of which it can be proud. The exhibition THE ART OF COLLECTING highlights the way in which the Newport Museum and Art Gallery's permanent collections have been formed through a fortuitous mix of private benefactions, public educational principles and curatorial nurturing over the decades. 

 

THE ART OF COLLECTING provides a public airing of works by some of the better known artists in the Newport Museum and Art Gallery's permanent collections. The exhibition features a diverse range of mostly twentieth century works by notable British and Welsh artists including Sir Frank Brangwyn R.A., Christopher Wood, Alexander Stanhope Forbes R.A., Terrick Williams R.A., Sir William Russell Flint R.A., Dorothea Sharp, Merlyn Evans, Sir Alfred Munnings R.A., Patricia Preece, Edward Wadsworth A.R.A., Ceri Richards, Sir Kyffin Williams R.A., Sir Stanley Spencer R.A., John Elwyn , L.S.Lowry, Jeffrey Steele, and William Scott R.A..

 

This legacy of public collecting now faces an uncertain future with new pressures upon public finances eroding traditional loyalties to local museum and art galleries and undermining the collecting habit, as highlighted in recent years in the 2006 Bury Lowry controversy and the Art Fund's report The Collecting Challenge (2006) that  "lack of advocacy and support for collecting in both central and local government means there is a danger that the collecting habit is being lost, along with the skills and expertise necessary for it." 

 

 

Formations

 

  

Public art collections in the UK are the product of the Victorian impulse for public education. Through the Victorian era of commercial boom and municipal enterprise, civic art collections formed in a spirit of one-upmanship across the UK.  A modern approach to art collections and art curation was formulated by Sir William Flower for the emerging museums profession in the 1890s. 

Newport  appointed a full time curator in 1913 for its prominent Public Library, Museum and Art Gallery building in Dock Street; which had been erected in 1888 and extended in 1895 to create a gallery specifically for the exhibition of paintings. Also in 1912 the new Newport Technical Institute building at Clarence Place was opened to house the Schools of Science and Art; which had been formerly housed in the Library, Museum and Art Gallery building.  With the Library, Museum and Art Gallery and the Technical Institute buildings as prominent landmarks, Newport was visibly a go-ahead municipal authority. 

Over a hundred years in the making, Newport has quietly built up a public art collection of which it can be proud. The Newport Museum and Art Gallery's permanent collections have been formed through a fortuitous mix of private benefactions, public educatinal principles and curatorial nurturing over the decades.  

  

 

Transformations 

 

 

New challenges and opportunities arise as we encounter current concerns for the future of collecting in a changing world of art. The global art investment market is in overdrive, a place that public art collections cannot hope to compete. Unprecedented pressures upon public finances have eaten into traditional art collecting budgets. One public authority has even gone to the auction house, in the cause celebre of the Bury Lowry.  The Art Fund's report The Collecting Challenge (2006) goes so far as to state, "lack of advocacy and support for collecting in both central and local government means there is a danger that the collecting habit is being lost, along with the skills and expertise necessary for it."  

 

 

On the other hand art enjoys a new currency in public policy as a catalyst for regeneration. As witness urban regeneration schemes such as the Lowry in Salford, the Baltic in Newcastle, and more recently Middlesbrough's MIMA (Middlesbrough Institute of Modern Art). And there has even been talk of a Contemporary Centre for Art in Wales with Newport touted as a frontrunner, seeking to  realize the Bilbao-Guggenheim factor for art and regeneration in the brave new postindustrial world. 

 

 

Newport's very success in building its art collections brings its own challenges, for It has long been recognised that the apparently spacious galleries belie the real situation that there is insufficient room to display Newport’s permanent collections adequately. Moreover with new pressures for public museum's and art galleries to demonstrate their value as public educational assets, it is vital that they continue to develop new means of presenting their collections and engaging in wider publics and conversations. For example, moving into the Internet age,  we recently set up the  online gallery and archive Documenting the City and have been encouraged by the public response to continue to build this online resource ( - see South Wales Argus, Internet opens up art hoard and Gilt behind the scenes). 

   


In the final reflection, with a valuable tradition of collecting to build upon, a lively context of city regeneration plus new policy directions for art in post-devolution Wales -  we may look ahead to a new chapter in Newport's art of collecting?  

 

Read more:  John Wilson, Roger Cucksey, A curator's scrapbook

  

John Wilson | July 2007 | June 2008

 

 
 

Links | The collections agenda

 

Some recent links on collections and public policy



Newport - Wales - UK - In the news - History


 

 Collections: Newport (2007 - 2008)

 

  • Buzz Magazine, June 2007 | DOCUMENTING THE CITY | "The exhibition also celebrates the city's desire to carry itself steadily forward into the future. This unique collection will not only be museum-bound as people can access and admire the anthology from their very own homes - an online gallery and archive has been set up to further enhance Newport's reputation as an extremely forward moving and thought provoking metropolis". 
  •  Metro Magazine, August 2007 |  THE ART OF COLLECTING | "Since opening a gallery space in 1895, Newport Museum has collected an important and vastly diverse body of work. | The Art of Collecting means that many historically important pieces are at last on show to the public. The calibre is top-notch and among the artists represented are LS Lowry and Sir Stanley Spencer. | There's a sense of balance to this exhibition, encompassing both new and old, classical and satirical".  
  •  South Wales Argus, 3 Oct 2007 | Art review to consider digital plan [ print version ] | Call to put city's art wealth on show [ online version ] | "Newport has a wealth of art treasures (...) But with space at a premium, just five per cent of the gems are on public display. | Now public watchdogs are to look at how to increase public access to the collection, which could include virtual viewing. | Cllr Davies suggested the authority's culture and recreation scrutiny forum should examine the issue. |  Earlier this year, we reported how Newport's Keeper of Art Roger Cucksey and guest curator John Wilson launched the gallery's first ever on-line exhibition, Documenting the City [ see here ]. | A varied programme of temporary exhibitions is presented by the Art Gallery (...). Officers point out in the report that the art "is an important visitor attraction which can make a significant contribution to tourism, thus aiding the economic regeneration of the city".
  • Western Mail | Move to create a ‘Left Bank’ for Newport | by Sion Barry | June 25 2008 | A CONFERENCE exploring the creative industry and cultural potential of Newport, underpinned by stronger links between business and academia, will be staged today. | The event is being organised by the University of Wales, Newport and the Institute of Welsh Affairs (IWA) – bringing together a wide section of public and private sector stakeholders in the city. | “We want to put Newport on the map and make it a ‘must-see city’,” said Chris O’Malley, Pro Vice-Chancellor of the Newport’s campus. | He added: “Our vision is to turn Newport’s riverfront, once devoted to moving coal and steel out of South-East Wales, into a space that brings visitors in. | “This whole area has been designated as a cultural zone, and among projects being pursued are a contemporary arts gallery and a national documentary photography archive. | “We want the university’s new riverside city-centre campus – work on which starts next week – to be a hub for the creation of a new ‘Left Bank’ for Newport, by turning an area which has been derelict until recently into a place where local people, students and visitors will mix and visit cafes, studios, shops, exhibitions and shows. | (...) Jonathan Adams, designer of the landmark Wales Millennium Centre in Cardiff, stressed the importance of culture as an essential tool for transforming and regenerating cities. | He added: “Newport already has a rich heritage in the visual arts through its university. This conference is part of a process of making the case for the proposed new museum of contemporary art to be based in Newport. | “The city should have such a national institution and the idea of making it a part of a wide-ranging cultural quarter would give real substance to the case for putting the museum here. | “The new city centre campus is an excellent lever to make this a real possibility as the museum would create a synergy with the university.”
  • BBC news website | City aims to be cultural capital | Kevin Leonard | Page last updated at 16:46 GMT, Thursday, 26 June 2008 17:46 UK | Plans to turn Newport into the cultural capital of Wales are being considered. | The idea is for Newport to become a place that people visit rather than pass by on the M4. | The banks of the River Usk would become a Parisian-style "Left Bank", turning a once-derelict area into a vibrant quarter of cafes, studios and exhibitions. | Developments like the new £35m city centre university campus and a proposed museum of contemporary art will be key. | |While this vision of Newport may not be one residents currently recognise, many people in the city are determined to make it happen. | A conference organised by the University of Wales, Newport and the Institute of Welsh Affairs has been looking at how Newport can reinvent itself through culture. | It also ties in with regeneration work already taking place and the eyes of the world falling on Newport in 2010 when it hosts the Ryder Cup. | Newport already has an arts centre with the Riverfront opening its doors in 2004. |  Chris O'Malley from the University of Wales, Newport, said the vision was to create a "must-see city". | He said the riverfront area had been designated as a cultural zone, with projects under consideration including "a contemporary arts gallery and a national documentary photography archive". | But perceptions of a city are difficult to change as I discovered when I spoke to people on the streets. (...)
  • [last entry: June 2008]



 Collections: Wales

 
  • CyMAL: Museums Archives and Libraries Wales. | CyMAL: Museums Archives and Libraries Wales was established as a new division of the Welsh Assembly Government on 1 April 2004. | CyMAL represents a significant investment by the Assembly Government in the development of local museums, archives and libraries services which meet 21st century needs. It builds on the strategic agenda outlined in the Assembly Government’s strategic agenda, Wales: A Better Country.|| "Our museums, archives and libraries are more than places where cultural artefacts are kept. They are educational centres where families, schools, and all members of the public can access information and collections": Welsh Assembly Government: Museums, Archives and Libraries here 
  • National Museum Wales and Arts Council of Wales | The Display of Art In Wales | Prepared by DCA Consultants and Peter Jenkinson OBE | January 2006 
  • Welsh Assembly Government | Press release | Future of Display of Art in Wales | Minister for Culture, Welsh Language and Sport Alun Pugh has today published an independent report in conjunction with Amgueddfa Cymru-National Museum Wales and the Arts Council of Wales on the future display of art in Wales. | 23 June 2006. 
  • Contemporary Art Society for Wales.| "The objects of the Society shall be to foster and promote the maintenance, improvement and development of artistic taste and the knowledge, understanding and appreciation of the arts among the people of Wales." | The Society endeavours to fulfil it's aims by: purchasing artworks for gifting to appropriate institutions (...) (here)

 

 

Collections: UK

 
  • The Museums Association | Get stored collections into use, says MA report | 09-07-2007 | In its report Making Collections Effective, published today as part of the launch of the MA's Effective Collections programme, museums are being urged to get stored collections into use through long loans… | Mark Taylor, the MA's director, said: 'Sharing collections is part of a museum's duty. Yet, some museums are much more active lenders and borrowers than others and too many museum collections are underused - not displayed, published, or used for research. | It's now time to make more effective use of assets hidden in museum stores. We need to develop the culture of museums in order to get more of their stored collections into use through long loans (...).' 
  • The Art Fund | The Collecting Challenge (2006)
  • - "The Art Fund’s research exposes a real crisis in funding and a failure by central and local government to recognise the importance of collecting to the life of our museums. The Art Fund’s UK-wide research, the first authoritative study into museum and gallery collecting activity (...) points to a worrying trend – the focus on improving education, access and social inclusion is diverting museums from the central task of building their collections.  Lack of advocacy and support for collecting in both central and local government means there is a danger that the collecting habit is being lost, along with the skills and expertise necessary for it."   | The Art Fund is an independent charity committed to saving art for everyone to  enjoy. | Since we began in 1903, we have helped to save over 850,000 works of art. | The ability of UK museums to collect is now under serious threat. | Public money spent by our five major museums on acquiring new works has fallen by 90% in the last 10 years - but art market prices have soared.| (...) With the help of our 80,000 members we have offered more than 600 museums and galleries around the UK, over 850,000 works of art, from priceless masterpieces which were under threat of being sold abroad, to fascinating works costing a few hundred pounds. | (...) We use our independence to campaign for the proper funding of museums and the continued enrichment of public collections throughout the UK.| (...) We promote wide access to art: The Art Fund led the campaign to extend free admission to all national museums and galleries, which achieved success in 2001.| At a time when public funding for museum collecting is in steep decline, The Art Fund has an increasingly vital role to play. ( here )
  •  The Museums Association | What is a museum? The Museums Association agreed a definition in 1998. It says: '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.' This definition includes art galleries with collections of works of art, as well as museums with historical collections of objects.
  • Resource: The Museums, Libraries and Archives Council.
  • - The Museums, Libraries and Archives Council (MLA) is the lead strategic agency for museums, libraries and archives. We are part of the wider MLA Partnership, working with the nine regional agencies to improve people’s lives by building knowledge, supporting learning, inspiring creativity and celebrating identity. The Partnership acts collectively for the benefit of the sector and the public, leading the transformation of museums, libraries and archives for the future. | MLA was launched in April 2000 as the strategic body working with and for museums, archives and libraries, tapping into the potential for collaboration between them. The new organisation replaced the Museums and Galleries Commission (MGC) and the Library and Information Commission (LIC), and includes archives within its portfolio.

  • Contemporary Art Society | The Contemporary Art Society ensures that the most challenging art being made today enters public, private and corporate collections. | Public collections: Since 1909 the Contemporary Art Society has used its expertise to acquire the work of living artists, often early in their careers. In the last ten years we have bought and commissioned more than a thousand works of art for museum collections throughout the world.  Over the last ten years the Contemporary Art Society has also worked closely with museums on the professional development of curators of contemporary collections. 


 Collections: In the news 

 

 

 

 History

 

The History of Ideas Vol 4: Museums | Public education, civic, tourism, postindustrial:
  • It is often assumed that museums have been a permanent feature of society, simply because they contain some of the oldest things in the world. In fact, in their current form, museums are surprisingly recent in origin, almost entirely Western in conception, internally confused about their identity, and unsure of their future role. | The main impetus behind the extraordinary growth in museums during the last two centuries—few cities around the world are now without several—has been the growing awareness of the importance of public education. The roots of this egalitarian ideal also can be traced back to the Enlightenment, when people such as Diderot believed that knowledge would enable humankind to make the world a better place. | During the nineteenth and early twentieth centuries, the establishment of a museum became not just a response to educational need, but a matter of civic pride. This heady mix of political objectives accounts for the worldwide proliferation of museums at that time, from the Australian Museum in Sydney (opened 1828) to the Egyptian Museum in Cairo (1858) to the Museum of the History of China in Beijing (1915), and hundreds of thousands of smaller museums in towns and villages in between. | Museums had another advantage: they attracted tourists. Just as the churches of medieval Europe had competed with each other for relics, so museums sought out the best collections—for tourists, like pilgrims, bring income. Many museums in the late twentieth century were established as part of an economic strategy. Glasgow in Scotland was the first postindustrial city to rebuild itself on the back of an art gallery, the Burrell Collection, which opened in 1983. Gradually museum buildings, such as cathedrals, became beacons of attraction in themselves, which led to the extraordinary flowering of museum architecture in the late twentieth century. The Guggenheim Museum in Bilbao, Spain, designed by Frank O. Gehry and opened in 1997, is world-famous for its titanium-clad curves (...) 
  • A central issue facing museums in the early twenty-first century is to find ways to use their collections as a means of entertaining and educating a wide public, while developing their role as a resource for research. The felicitous atmosphere of the Enlightenment, when research and public interest coincided, has passed. Museum collections no longer represent, as they did then, the horizon of human understanding. The frontiers of science extend beyond the visible world collectable by museums, and it adds little to the sum of knowledge for museums to go on building up their collections, as most continue to do, according to categories laid down two centuries ago. But objects will still need to be preserved for future study and to make past experiences vividly meaningful to subsequent generations. Museums tend to go on doing what they have always done—adding another Carracci, crustacean, or car—and yet there is no museum about the history of communism (apart from a few remaining Soviet propaganda museums, which only tell one side of the story), or of marketing. Both are manifestations of ideas and practices that have vastly shaped the lives of people living in the early 2000s, and both have vivid material pasts, ideal for museum display. The challenge for museums is to decide what is important for them to collect in the present—because it is on these collections that their future will be built.

 

 

 

John Wilson | June 2007 | June 2008