Alumni Spotlights 

This monthly series showcases some of the Courtauld’s most interesting and successful alumni in the arts and related fields. Check back each month to learn more about what Courtauld alumni are up to in London and elsewhere. 

January:

Jacky Klein

Art historian, broadcaster, writer, publisher, lecturer, curator, and University Challenge winner – these are some of the many hats Jacky Klein (MA ‘01) has worn over her career. You may have seen her presenting on the BBC, heard her reviewing art on the radio, or watched her on Channel 5, where she is the consultant art historian for the new series, Secrets of the Royal Palaces. Read on to learn more about Jacky’s career, from navigating the Courtauld without an art history background to finally finding her place in the London art world. 

Rachel Kubrick: What made you decide to do your MA at the Courtauld? 

Jacky Klein: I chose the Courtauld and art history because I had had a gap year before university and I spent most of it on and off In Italy doing art history or archaeology. I was quite old - I was 19 - when I seriously started looking at art and getting interested in art history. Then when I went to Oxford (BA ‘99) to do a history degree I chose all the cultural history courses I possibly could; at the time you couldn’t do art history as an undergrad there.  

When I was thinking of going back to college a couple of years later, art history seemed the obvious and immediate subject for me to choose. The Courtauld was the only place I’d heard of, so it was the only place I applied to! Luckily, I got a place on the Modernism MA with Chris Green and Shulamith Behr. I started that exactly 20 years ago, October 2000.  

RK: How was that experience?  

JK: Not coming from an art history degree, I have to say my first term was very tough. I probably was the weakest person in my group of ten of us. I remember having to scribble down terms in a slightly embarrassed way and then going off and looking them up, because I had no idea what chiaroscuro or pointillism was. I got into my stride really in the spring and summer terms. But it is a different discipline, looking at works of art and writing about them, even if you’re interested – as I already had been – in the cultural and historical context. So that was quite a challenge, but I totally loved it.  

RK: What made you decide to do the European modernism course? 

JK: Actually I first applied to do the course I’m about to start teaching on: the MA in Curating the Art Museum, though at the time it was more about museum history from the 18th century onwards. I originally chose that because I’d focused on 18th- and 19th-century history at Oxford, and I thought, ‘Okay, if I’m shifting into a new discipline, maybe I should choose an area I already know a lot about and love.’ I got offered a place but then I went away and realised that actually the art I most loved and wanted to know more about was modernism - artists like Picasso, Matisse, Cezanne, and the British modernists.  

I was very lucky that they let me switch courses. I think it was actually on the day term started so it was all very last minute. But it was definitely the right decision. It was all very new, but my interest was kept alive because I loved the art, and I knew a bit about the history of the first and second world wars and the interwar period. 

 

RK: Do you think the Courtauld helped you get to where you are now? 

JK: Absolutely – especially for someone like me who had not done an art history undergrad degree. I’m pretty sure I wouldn’t have been able to break into any bit of the art world without some art history qualification. It was my ticket for leading me into the career I’ve had.  

Photo as MA student (2000-01) 

RK: How did you start your post grad life?  

JK:  There weren’t many jobs advertised  – but I saw on the Courtauld student notice board the trainee programs at Christie’s and Sotheby’s. I applied for both of them and somehow got offered both of them. I accepted at Sotheby’s, but on the Friday before I was due to start, I suddenly thought, ‘Oh god, what am I doing?’ I was really interested in the research aspect of becoming a specialist in an auction house but I was really – and still am – not terribly interested in the mechanics of buying and selling artworks.  

I felt awful, but I phoned them and said ‘I’m sorry but I don’t think I can take up the offer.’ That following Monday morning was a scary time because I thought, ‘What have I done?! I’ve just turned down a job and a good salary in an amazing auction house!’ But it also let me focus on thinking about where I really did want to work – which was in the public sector and in museums, which is mostly where I’ve been ever since.  

I remember going to the Courtauld library and pulling out the Artists’ Yearbook, which was an annual directory of everything to do with the art world: the commercial galleries, museums, the manufacturers of art materials – everything. I went to the museums section in London and looked up every public museum that I had an interest in working for, and simply phoned each of them up in turn, before someone eventually caved and gave me some work experience.  

That was the wonderful Emma Dexter in the exhibitions team at Tate Modern soon after it had first opened; she’s now Director of Visuals Arts at the British Council. And that’s where it all started really. One day turned into a few days, which turned into a week or two. I never had a proper contract but eventually I got paid a little bit. I managed to persuade them to pay me after I got a short term, paid curatorial assistant job at the Barbican. Then I could go back to Tate Modern and say, ‘the Barbican has managed to find a few pounds for me. Could you cough up a bit too?’ That turned into about a year of working at the Tate, split between exhibitions at Tate Modern and collections, then based at Tate Britain.  

I wrote, for example, lots of the entries that you still see on the Tate website on the modern British works in the collection, which I loved doing because it was kind of like being a student again: it was research and writing. Then I got my first proper contract job as assistant curator at the Courtauld Gallery. That was where my curatorial career really started – and that then led to a job as exhibitions curator at the Hayward Gallery. 

RK: Since then you have worked more in publishing and broadcasting. What made you switch sectors? 

JK: I worked as a curator for about six or seven years, and I loved it. But for me, the bit that really excited me was the ideas, the research and working with artists. I was never particularly good at nor was I particularly interested in the logistical side of exhibition-making, like loan letters, structural engineering, or deciding on font size for the signage. All the practical stuff excited me a little less.  

My relationship had started with the publisher Thames & Hudson when I was commissioned to write a book for them in 2007 on the artist Grayson Perry. That turned out to be a major moment in my career, and incredibly the third edition of the book just came out last summer. After I was commissioned to write it, I heard that the commissioning editor for art books was leaving and so I called up the managing director, a brilliant man called Jamie Camplin, and said, ‘Can I come and see you?’ I went into the meeting really just keen to know who would be steering my book, but he was ten steps ahead of me, and told me to apply for the commissioning editor role. 

He took a massive punt on me because I had no experience in publishing. But I did have lots of good ideas, was a good writer, and as one of their authors, I was at least a little familiar with publishing contracts. Beyond that I knew absolutely nothing and was coming in at the most senior editorial level, which was incredibly daunting! But he was right, in that it felt very quickly like a much more natural fit for me and I loved it from the very first moment.  

Publishing is a great mix of ideas and business: it’s very much about the content of the books you produce but it’s also very commercial because you’ve got to understand the gaps in the market, what readers and audiences want, and how you can make something new and special. You’ve got to have great relationships with authors, art historians, artists, and agents. And then you’ve really got to be able to look at a manuscript and say, ‘This is working,’ or ‘This isn’t working, let’s tweak it like this.’ I enjoyed that whole process from beginning to end.  

RK: Can you tell more about the broadcasting and television part of your career? 

JK: Everything that I’ve done – curating, publishing, writing, and broadcasting, has all been about wanting to communicate my knowledge and passion for art history to as wide an audience as possible. Broadcasting is a great way to do that because you tend to get much bigger public audiences than you would for a book or even a blockbuster exhibition. A few years ago, I started to make short online films for the Art Fund, helping them tell stories  of major new exhibitions or creating short art history films. Then I got picked up to co-present the first series of BBC4’s Britain’s Lost Masterpieces. I have done a lot of radio reviewing for BBC Radio 4 on their arts show Front Row. And I’ve presented livestreams on major auctions for Christie’s, coming back full circle in a funny way to where my career might have started.  

I’m in the process this spring of setting up a new digital broadcast platform with my sister Suzy Klein, who is a music broadcaster, trying to help fill the sadly widening gap in public service broadcasting around the arts and culture. Broadcasting is something I feel really passionately about. It’s a natural extension of a lot of the public-facing talks I did in galleries and museums.  

Because I came to art history quite late, I felt growing up that this was a world which was totally closed to me. We never really went to museums or galleries when I was a kid, either with family or school. I think in a way, I was scared of museums: feeling like many people that they weren’t for me, that I didn’t ‘get‘ them, that I was intimidated. When that door was suddenly opened for me, it not only gave me an amazing feeling but it’s made me want to do that for other people.

 

RK: Who opened that door for you? 

JK: I did this amazing course during my gap year, the John Hall Venice course. It’s still running and funnily enough I now teach on it in a rather lovely turn of events. There are probably some students right now at the Courtauld who went on it in their gap years. The course runs in Italy for about two months in the spring. Now they teach you about environmentalism, engineering, history, and all sorts of things, but when I did it, it was very focused on art, music and culture, specifically in Venice.  

There was an initiation week in London and most of it was at the National Gallery. It was there, sitting in front of Titian’s painting of Bacchus and Ariadne, that I had my revelatory moment. Nicholas Penny, curator of Renaissance painting at the time, was talking about the work, its history, the mythology, the painted surface, the incredible life of the artist behind it – and that was the lightbulb moment for me. I could suddenly see that a painting wasn’t some strange secret but a world of knowledge, ideas and sensations – and that art history was the means to understanding and experiencing it. Even now, every time I go to the National Gallery, I spend time sitting in front of that picture: it’s become one of the key works in my personal, imaginary museum.  

RK: Like a pilgrimage. It’s nice that you have a moment you can pinpoint. 

JK: I think it’s because I was such a desert of knowledge beforehand that it was very memorable when that suddenly did happen! 

Photo as MA student (2000-01) 

Titian, Bacchus and Ariadne, 1520-23, oil on canvas. Image courtesy of the National Gallery of Art

RK: How have you stayed involved in the Courtauld? 

JK: I have felt incredibly connected to the Courtauld since 2000. I came back from 2002 until 2004 as the assistant curator of the gallery collection, which was lovely. Since then I suppose it’s because there seems to be no part of the art world in which you don’t come across Courtauld graduates! I have been employed by people who went to the Courtauld, I have employed people who went there, I have made lifelong friends from my time there.  

I even ended up editing a book by Chris Green, my tutor! It was great fun taking out the red pen and being able to gently get my own back on all his – albeit entirely justifiable – critiques of my writing.  

I feel much more connected to the Courtauld than I do to Oxford, even though I was at Oxford for three years and at the Courtauld for only 9 months. It’s lovely to be coming back this spring, covering for Martin Caiger-Smith who’s on sabbatical and helping to oversee his students in their summer exhibition project. I can’t wait to meet them and get going. 

RK: You just captained the Courtauld alumni team for the Christmas 2020 University Challenge. How was that experience? 

JK: University Challenge  runs all year round with proper students and it’s really difficult. At Christmas they do a more lighthearted version with alumni from various universities and 14 teams competing. It was a daunting experience, and stressful to try to have speedy memory recall while under the scrutiny of TV cameras, but I had a fantastic and fun team: Tim Marlow, director of the Design Museum, the artist Jeremy Deller who won the Turner Prize a few years ago, and the poet Lavinia Greenlaw.  

It was lots of fun, though I must say mostly in retrospect! It feels like a nice little boost for the Courtauld in what’s obviously been a terrible year for all of us and for students. And a good opportunity to show a wider public that an art history education is a great thing! 

RK: What advice would you give to current Courtauld students? 

JK: The advice I'd probably give is to keep your mind open as to what direction you might take if you want to work in the art world. There is a wealth of different possibilities, from curating, research and conservation to marketing and PR, education, digital and many more. Some may seem more glamorous than others, but they're all essential to the workings of the art world and any one of them could be right for you, so explore all the options until you find one that feels the right fit for you. 

Courtauld Alumni University Challenge Team 2020-21 

To learn more about Jacky Klein, please go to her website

This interview has been edited and condensed for clarity. 

December:

Zachary Small

This December, the Courtauldian Alumni Spotlights series traveled across the pond (via WhatsApp) to speak with Zachary Small. Based in New York City, Zachary has held staff positions for Hyperallergic and The Art Newspaper, and is currently a regular contributor to the New York Times. They graduated from the Courtauld MA History of Art program in 2018, after studying the avant-garde with Professor Sarah Wilson. We chatted to hear more about their career as a journalist. 

Rachel Kubrick: Can you tell me about your Courtauld experience? 

Zachary Small: When I applied for my Masters I had already been writing art criticism and reporting in the art world for several years. I had known based on my previous research that I wanted to focus on public art and the bureaucracy and the politics around that. Under Sarah’s guidance, I learned more about how monuments work in the public realm, focusing on several large projects like Thomas Hirschorn’s Gramsci Monument (2013) in the Bronx and Rachel Whiteread’s Holocaust memorial in Vienna (2000). What interested me about these projects is how they always required a  buy-in from everyday people, which I think is at the crux of the projects and organizations I cover as a journalist.  

RK: Did you write for The Courtauldian or other London based publications? 

ZS: I didn’t write for The Courtauldian but I did write for a number of publications during my time in London. I was still writing for Hyperallergic when I was there. I also wrote for the Financial Times and the Times Literary Supplement. 

RK: How has your experience at the Courtauld impacted your journalism career? 

ZS: My first article for the New York Times, which ended up being something like 3,000 words, was on public art. That couldn’t have happened without the lessons I learned in the classroom and the research I did for my Masters thesis. 

 

RK: You were already writing for several publications, so what prompted you to pack up and move to London for the Masters degree? 

ZS: The art world is a place that constantly gatekeeps people, especially on the basis of education. I wanted to make sure that those barriers didn’t stop me from pursuing whatever path I wanted in the industry. But at the same time, I was also genuinely interested in continuing the research I was doing as a journalist in a space where I could breathe a bit easier. 

RK: What advice would you give to current Courtauld students looking to get into arts journalism? 

ZS: When I first started writing, I created all these barriers for myself. After my first article was published in Hyperallergic, I told myself,  “I’m not allowed to do anything more.” Those self-imposed rules hindered my progress. “I can’t pitch to the New York Times yet because I’ve just written one article.” Or, “I should wait another month so they don’t get sick of me.”  

In my experience, it’s less about having a stack of clips than having good intuition and the confidence to tell editors that you have found a story that is in the public interest. Pulling that off also requires taking a step back and considering how something immediate relates to the larger history around whatever industry you are covering. In the art world, that often means looking at gatekeepers and the people who have been excluded from the broad strokes of culture. 

RK: What made you originally get into journalism? 

ZS: When I was at Columbia University for my undergraduate degree, I interned at the Metropolitan Museum of Art and the Museum of Modern Art. I was initially focused on becoming a curator, but the fact that my family has no background in the arts meant that I was starting at a disadvantage in an industry that primarily hires based on who you know. When I graduated from Columbia, I started to think about how to stay involved in the art world. Analyzing culture from a political perspective had always interested me and I found that writing was the most democratic way of getting into the fray.  

RK: What made you decide to follow a journalistic path rather than art criticism? 

ZS: I started primarily writing art criticism, but over time it became clear that the field was changing. Being a critic is oftentimes about expressing your own opinion, but as a reporter you’re often providing a platform to others—giving a voice to the voiceless. In a moment when museums and galleries are just beginning to reckon with their long histories of racial discrimination and classism, I think that my efforts are better spent helping other people tell their stories. 

 

RK: You were saying that you write for a lot of different publications. Today I saw that you published for NPR. How do you navigate what you pitch to different people? 

ZS: There is a slight difference between writing for national outlets versus trade publications. The benefit of writing for trade publications is that you can dive a bit deeper into the weeds because your audience has a broader understanding of the industry’s players and how they operate. But what I really love about writing for somewhere like NPR is that your mandate is to explain the art world to the general public. It’s about the impact of culture on daily life. The best advice I’ve ever gotten from an editor is a reminder to ask subjects how art makes them feel. Working in the industry, we often forget that critical aspect of art. 

But my pitches for both types of publications look the same. Right now, it’s typically about presenting research on communities that find themselves in difficult political situations or artist groups not typically covered by the press. I’m proud that in the last few months with the Times we have been able to cover the intersection of Black Lives Matter and culture; we have spotlighted artists in cities like Tulsa, Oklahoma and Portland, Oregon, handing over the microphone to artists in those communities to tell us what’s happening. 

 

RK: I originally came across your career on the @cancelartgalleries Instagram, which shared your Pace Gallery series from Artnet News. I would love to hear more about that story. How have you seen your role in breaking this story and how have people responded?  

ZS: There was a frenzied period of the summer when I was reporting about the mass layoffs and furloughs happenings across the industry. My coverage included what was happening at Pace Gallery, which was important because of its top position in the commercial sector. After one of those articles, a source told me that we had underreported the number of furloughed staff. Then it became clear that a spokesperson at the gallery had initially misled me about the numbers. Misleading reporters is extremely common in the art world, but it’s a short-sighted strategy because someone always knows the truth. That mistake led to more than 20 interviews with current and former employees and the discovery of evidence that abuse and discrimination has proliferated at the gallery for decades. 

Investigative reporting has always been a core component of my work. I approach stories like Pace Gallery or the one we published at the New York Times in January about allegations of sexual misconduct at the Philadelphia Museum of Art in the same way. We are extremely careful and meticulous in our reporting. If it gets to my desk it’s pretty serious and it usually means that multiple people have made multiple attempts to alert their managers about an issue; usually, they have been silenced. In the aftermath of the Pace Gallery story, I had dozens of people private message me about their own experiences there—more feedback than I have ever had for a single article. And it was kind of stressful, to be honest, because it indicates that there is a wide swath of the art world that recognizes discrimination and abuse as part of the industry’s identity. As a journalist, I see my role as helping sources find the courage to bring their stories to the public and hold leaders accountable. The problem is larger than just one museum or one gallery. The commercial art world has expanded in such a way that family-run businesses are suddenly operating like multinational corporations with millions of dollars being transferred between some of the world’s most powerful people. That’s very high stakes in terms of reporting.  

There are multiple avenues for people to vent their frustrations on social media, but journalism can be a stronger advocate of accountability. After our reporting, Pace Gallery has now launched a legal investigation on the company’s two top presidents. One of them is on an indefinite leave of absence from his job. The results of the investigation remain to be seen, but the article has certainly forced a reckoning for Pace executives that has impacted their relationship with artists and collectors. 

 

RK: I’m just wondering, how old are you? 

ZS: I am 27. 

 

RK: So obviously you’re early in your career and it’s been pretty successful! But what do you see as the next step for you?  

ZS: For now, I’m going to continue reporting and advocating for arts publications to broaden their coverage and the voices they represent in their pages. 

 

To learn more about Zachary Small, you can follow them on Twitter at @zacharyhsmall or go to their website

 

This interview has been edited for clarity. 

November:

Alixe Bovey

For our first Alumni Spotlight, The Courtauldian looks close to home with Alixe Bovey, Head of Research and our new Dean and Deputy Director of the Courtauld Institute. Bitten by what she calls the “Courtauld bug,” Alixe returned to the Courtauld 15 years after completing her PhD in illuminated manuscripts in 2000. Before that she also earned her MA at the Courtauld, with both degrees supervised by Professor Emeritus John Lowden. Originally from Canada, Alixe has been around the UK medievalist block, curating at the British Library and teaching and researching at the University of Kent. We caught up with Alixe over Zoom to hear more.  

Rachel Kubrick: Can you tell me a bit about your career since finishing your PhD?  

Alixe Bovey: My first job was as a curator in the manuscripts department of the British Library where I spent four years. From there I went to the University of Kent where I was in the history department for the best part of a decade, and then I came back to the Courtauld. It’s a fairly simple career path in a lot of ways.  

I specialized in art history but I’ve actually had quite an interdisciplinary career. The long spell in a history department probably suggests that, and I think a certain amount of that is attributable to the kind of research that I did as a graduate student but also to my undergraduate degree in Canada which was in history and medieval studies.  In some ways the benefit to me of my Courtauld years was incalculable and hard to tease apart given that I’m back here now and have been since 2015. So I had 15 years of freedom (laughs) in pursuing other things before coming back.  

 

 

RK: How do you think being a Courtauld student has impacted your career? 

AB: The thing that helped me get the British Library position was that I focused in my PhD on medieval illuminated manuscripts and I had spent a huge part of my time as a researcher in the reading rooms of the British Library. The Courtauld was hugely enabling and so was John [Lowden] himself. In any career you have to play the hand you’re dealt and one of those hands that I dealt was a strong sense of network and an understanding of the kind of critical institutions in my field which certainly the British Library is the mainstay. It was really valuable. When I was a curator at the BL I remained involved with the Courtauld through a research group that John set up called the Research Centre for Illuminated Manuscripts. As a curator my capacity to undertake creative research was a little bit hampered. You’re a servant of a collection rather than independently formulated research questions. By maintaining a strong link to the Courtauld I was able to simultaneously exercise some of that. We put on some good and interesting conferences and some publications came out of that. That again was very enabling.  

 

In a funny way I think the BL enabled me to get the job at the University of Kent – my experience at the BL helped me to move there. But I’m certainly not alone in moving from the Courtauld to a history setting. Some of my peers also have had really impressive careers outside of art history but within the academy. Art history: the anchor for me has been “history”, and there can be a pretty permeable boundary between these fields depending on how you position yourself as a scholar. Being able to work in a history department was partially a function of my time at the British Library and partly because I think the nature of my work at the Courtauld meant that I could hop between disciplines. I would say that the Courtauld enabled me to open a lot of doors and I think the thing for everyone is whether you want to walk through them.  

With PhD students learning how to make enamel from grinded glass

RK: How has the Courtauld changed from when you were a student? 

AB: In some significant ways it hasn’t changed in that as an organization its primary commitment is to research-driven teaching and curatorial practice. That is a primary foundation of the Courtauld. The fuel in the tank is research. When I was a student, the Courtauld was not an independent college of the University of London; it had a much tighter relationship with the University of London and certainly after I graduated it became an independent college. That was a major structural change but I think for most of us on the research/teaching/curatorial end one of the biggest developments was the innovation of the Research Forum which didn’t exist when I was a student. It came into being around the time of our independence 18 or so years ago. That allowed us to have a much sharper focus and a hub for the research activity that we undertook originating research projects and supporting them, and having a platform for people to share their research and progress it. From my vantage point that is one of the most significant changes and an incredibly positive development.  

 

When I came in 1995 from a western Canadian university context what I was astonished by was its pretty unqualified focus on European and European diasporic art. As a student I found this really arresting. I came from an art history department which was much smaller than the Courtauld but had specialists in Japanese art, Indonesian art, First Nations Canadian art, so it was a bit of a culture shock. One of the most important changes over the past 10 or 12 years has been a return to the Courtauld’s roots in having a much more global engagement with art history. There are some interesting historical reasons for why the Courtauld retreated to Europe. Immediately and in the years after WW2 when SOAS came into being there was almost a sort of “do not compete” and our library collections in Asian and African art were given to SOAS. I think the way that the two organizations grew up that became harder and harder to justify from an educational perspective. Since I was a student there have been lots of appointments of specialists who couldn’t meet the description of European and European diasporic art history. That’s something that during my tenure I’ve really tried to progress and grow. It’s an ongoing and very motivating project.  

 

RK: What made you decide to return to the Courtauld? 

AB: It was a big decision to come back from University of Kent but also the most amazing professional opportunity. I came back as Head of Research which was a fantastic opportunity to refocus on art history and visual culture which attracted me to the Courtauld in the first place. As Head of Research I saw a real opportunity to extend the activity of the Research Forum so that it nourished not just advanced research and advanced researchers, but also shared art historical research with a much broader audience which is essential to the survival of our subject. That has been a main preoccupation of mine over the past five years and continues to be.  

In one of her favourite places, the print studio

RK: Your most recent position is that of the Dean and you came into this position at a tricky time. How has that transition been and what are some of your aspirations for your tenure as Dean? 

AB: I’m quite new in the role as well – I started at the beginning of September and a huge amount of bandwidth has been occupied by the really significant challenges of the present. What I want is for art history and conservation at the Courtauld to continue to be world leading in every respect. I think that we need the subject of art history to grow and change. We need to understand our subject as an interdisciplinary venture. We have an opportunity to foster a universal recognition that art history is everybody’s history and that every human endeavor that you can think of has a relation to art history and visual, material culture. Generally speaking, art history has accepted a narrative of itself as a discipline on the edge with a problematic and elitist history that is by nature Eurocentric. But I don’t see why the history of art should any less central than literature or history. In my role I suppose my biggest ambition is to nurture our research and teaching practice so that it can be interdisciplinary and international in its reach.  

Sometimes it sounds like I’m playing Risk- we want this territory or bring me this other hemisphere, but there’s whole massive areas of inquiry that we haven’t really participated in. As a Canadian I think the most telling for me is contemporary Indigenous art, or indigenous art at all, which I would like us to have in the curriculum and on our radar. One way to do that is to bring it in through the Research Forum program to develop an appetite for it and to develop our own understanding.  

RK: You’ve said before that you wanted the Courtauld to become more like an “art school” and I’m really interested in that idea. Can you share some of your thoughts on this? 

AB:Okay so a few observations – art history as it’s generally practiced in academic departments is fundamentally a historicist and literary enterprise. It’s a literary practice- we conduct our arguments principally through words. We investigate the past, usually the human past.  

 

One of the things that we do in the Courtauld in the conservation area is understand through making. I think that there is a very strong argument for a practice-based approach to art history. We’ve all been in a situation where someone has uttered a critical word on how an artist has failed to foreshorten the limb or made good or not good aesthetic judgements. I have a steeply rooted impulse to hand the art historian a pencil and say, “show me how they should have done it!” At the same time there are a lot of art historians who started out in art school.  

Art history is taught in art schools as well, it’s just not taught with the same ends or by the same means that we teach it in our classrooms. Almost every studio practice that I’ve encountered covertly or overtly has a critical engagement with the art of the past often trying to understand - maybe not through asking social, historical questions or the sorts of questions that art historians ask - but questions that are serious historical questions none the less. There’s a curious gulf between the kinds of art histories that artists are interested in and the kinds of art histories that art historians are engaged in and maybe a kind of mutual misunderstanding.  

 

I feel on some level that there is rich territory. There’s something to be gained by thinking creatively and dynamically. The other thing is that all artists are historians one way or another. The more that we can understand that the better. You can learn about art through the practice of making and the discipline of making. Sometimes ultimately what you learn is a greater sense of respect for what has been achieved by the art makers that we study. I have often developed my own interests by trying to understand how things are made. So when I think about what we can do at the Courtauld in terms of bringing a little bit more of creative practice into the curriculum, I suppose I have all of those agendas running through my mind.  

 

One of the challenges we have a subject and certainly at the Courtauld is that it is a subject that doesn’t attract as many students from the whole of society. Why is that? I think there’s a lot of reasons for it. It doesn’t have a major presence in most high school curricula. That’s true in Canada, in the United States. That’s true here.  Where people do learn art history is when they study art and design and maybe incidentally through history and literature. Most state schools in the UK don’t teach art history but they do have an art room. How do we create pathways for people into our subject who can’t find a way in? If we forge a tighter link with creative practice that might be one way.  

Teaching stained glass in Canterbury Cathedral in Kent

This interview has been edited and condensed for clarity. 

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