Between 1949 and 1955 Eduardo Paolozzi taught textile design at the Central School of Arts and Crafts. Working alongside designers, architects, photographers, artists and technicians, Paolozzi explored methods of experimental and interdisciplinary exchange. In the print workshops at the Central School, he learnt screen printing techniques from technician and theorist Anton Ehrenzweig, co-producing innovative designs for wallpaper, fabric and collages.
This symposium examines the work of Paolozzi and his colleagues at the Central School, reflecting on the role of creative collaboration within their wider practices. Thinking of the art school as a site of co-production and communality, the discussions will consider the technologies and proximities that foster collaborative exchange. Looking to the present moment, the symposium will reflect on how co-production and co-authorship operate in the contemporary art school and broader fields of visual culture today.
4.10-4.30 Daniel Herrmann
4.30-4.50 Beth Williamson
4.50-5.10 Short break
5.10-5.30 Rosie Ram
5.30-5.50 Giles Round
Daniel Herrmann: Daniel Herrmann is curator of the 2017 Eduardo Paolozzi retrospective at the Whitechapel Gallery, which features over 250 works. As Eisler Curator and Head of Curatorial Studies at the Whitechapel Gallery, Daniel's exhibitions have included The London Open (2015), Hannah Höch (2014), Gillian Wearing (2012) and John Stezaker (2011). Before joining the Whitechapel Gallery in 2010, Daniel worked as Curator at the Scottish National Gallery of Modern Art, Edinburgh.
Beth Williamson: Beth Williamson is a historian specialising in 20th century British art with a focus on art pedagogy. In 2015, Beth published Between Art Practice and Psychoanalysis Mid-Twentieth Century: Anton Ehrenzweig in Context, and co-edited The London Art Schools: Reforming the Art World, 1960 to Now. From 2009 until 2014, Beth was a Research Fellow at Tate working on Art School Educated: Curriculum Development and Institutional Change. Beth co-curated Basic Design at Tate Britain in 2013.
Giles Round: Giles Round is a contemporary artist whose practice spans art, architecture, design and curating. His recent exhibitions include We Live in the Office at RIBA (2016-17) and Design Work Leisure for Art on the Underground (2015-16). Together with fellow artist Phil Root, Giles runs The Grantchester Pottery, a decorative arts company that draws inspiration from the Omega Workshops and Hammer Prints Ltd. Their exhibitions include The Grantchester Pottery paints the stage at Jerwood Visual Arts (2015) and ARTIST DECORATORS, The Grantchester Pottery at the ICA (2013).
Rosie Ram: Rosie Ram is a research student at the Royal College of Art, researching collaborative and interdisciplinary practices in post-war Britain. She recently curated In Collaboration: Eduardo Paolozzi at the Central School, 1949-55, presented at Central Saint Martins. Rosie is an independent curator, writer and archivist, having worked as archivist for the Nigel Henderson Estate since 2014. In 2013, Rosie graduated from MA Culture, Criticism and Curation at Central Saint Martins.
The symposium is supported by the Royal College of Art and Central Saint Martins. The symposium is convened by Rosie Ram in collaboration with BA Textile Design and MA Culture Criticism and Curation at Central Saint Martins. With additional thanks to the Paolozzi Foundation, the Estate of Nigel Henderson, Tate Images and the Central Saint Martins Museum and Study Collection.
The symposium is organised in conjunction with an exhibition in the Museum and Study Collection Window Gallery at Central Saint Martins, In Collaboration: Eduardo Paolozzi at the Central School, 1949-55, showing reproductions of the screen prints Paolozzi and Ehrenzweig produced together at the school. The exhibition continues until 16 March 2017.
Image credit: Eduardo Paolozzi’s ceiling paper in Ronald Jenkins’ office at Ove Arup and Partners, London, 1952. © Nigel Henderson Estate/ Tate Archive. Courtesy of Tate Images www.tate-images.com.