Freelands Foundation

Reflecting on the role of the Freelands Awards in championing the importance of art education within the UK’s cultural life. 

When Freelands Foundation was founded in 2015, we set out to support visual art, art education and research, encouraging innovative approaches and responding to the cultural landscape of the United Kingdom. Over the past decade that landscape has continued to evolve, with new challenges appearing. The Foundation has evolved in response too, increasing its focus on art education and concentrating its energies and resources on supporting this increasingly fragile area. 

A reflection on five years of thinking, teaching and practicing painting in UK higher education by Freelands Foundation.

In 2020, as part of the Foundation’s ongoing research into approaches to art education, we established the Painting Prize. The award was about developing an understanding of what is happening in the tertiary sector, specifically around the teaching and learning of painting.  The higher education sector has gone through incredible changes over the past half-century. In 1971 the painter Patrick Heron wrote an article for The Guardian newspaper entitled, “The Murder of the Art Schools”. Responding to then recent government legislation and the introduction of polytechnics, Heron argued that the policy change would result in art schools disappearing, replaced with faculties in multi-subject institutions, and led by non-artists. Successive changes, including the 1992 act enabling polytechnics to become universities, have meant that many of Heron’s rather pessimistic predictions have come true. Now, a quarter of the way through the 21st century, art schools have all but disappeared as discrete institutions and the landscape is utterly changed. Nonetheless we knew that, in the faculties of Fine Art that have largely replaced them, outstanding teaching and work was going on, and the Painting Prize was a way for us to investigate where and how to showcase the results. Alongside these legislative and organisational changes, the 1970s saw art schools moving away from medium-specific degrees – including painting – and beginning to experiment with general Fine Art courses, in which students were encouraged to explore a range of media and use whatever medium was most appropriate for realising their concept. The idea was king. The art world seems to exist in a cycle where we go from ‘painting is dead’ through to a resurgent interest and back again, over and over, and recently a new interest in painting has emerged, and courses with ‘painting’ in the title have begun to return. The importance of painting has been an area of debate for some decades. There is an argument to suggest that a focus on a single medium encourages students to push against the perceived boundaries of that medium and explore its imagined limits in provocative and exciting ways, with the result that not everyone studying on a painting course ends up making paintings. In focusing the Prize on painting, we have emphasised the continued importance of engagement with materials, as a means of championing material process and experimentation in the face of the neoliberalisation of the university model and the pressures on having the space to make – both psychologically and physically – within higher education institutions. We contacted every single art school, university and college in the UK that runs undergraduate courses in either Painting or Fine Art and invited them to select a single final-year student, and work by that student, for consideration for the prize. We left the definition of painting up to each institution, in recognition of the importance of the expanded field and the shift in thinking about what constitutes a painting. We also left open the format for the process of nomination, which has led to some very inventive approaches for selection. Some institutions have asked the staff to select nominations. Others have set up internal competitions and open exhibitions, from which the nomination is chosen. In one case, the final year students submitted works for a 'group crit' session and then anonymously voted for the work they felt should represent their course.  Each year, the nominations have been considered by an independent jury, who select the winning paintings and artists to feature in an exhibition and accompanying publication. Involving such a diverse range of voices in this process has been tremendously rewarding for us as an organisation, and for the jurors. Because the nominations are looked at anonymously the jurors are selecting the works that speak to them most, without potential prejudices about what comes from where. It has led to a very exciting diversity. In 2022, juror Habda Rashid spoke about the breadth of work making the judging process most difficult, but nonetheless immensely rewarding.1 When writing for the publication that accompanied the 2024 exhibition, juror Michael Archer wrote that “the old categories – portrait, genre, landscape, history, abstraction – are not exhausted or exhaustible because they encompass all that exists or could be imagined.”2

Reflections from Ikon Gallery's Youth Programme (IYP) and project 'Slow Boat' – part of Freelands' spotlighting the breadth and impact of our funded projects that champion art education.

The Ikon Youth Programme (IYP) extends agency and space to young people through a peer-led alternative art school hosted on the Slow Boat, a canal boat converted to an art education space. Created in 2010 responding to young people’s desire for “a room of their own” for making and presenting artwork, the Slow Boat has connected young people to emerging and established artists, facilitated knowledge and skills sharing, and explored philosophies of democratised artistic spaces. These programmes target young people aged 16 to 18 in Further Education, Sixth Form, Alternative Provision and SEN schools who have limited access to visual art education. Ikon seeks to enable these young people to produce and present their version of contemporary art as it intersects with popular culture and political activism.

Reflections from Chisenhale Gallery's projects on 'Art Making in Unstable Contexts' – part of Freelands' spotlighting the breadth and impact of our funded projects that champion art education.

Chisenhale Gallery partnered with London East Alternative Provision (LEAP) and artists Edwin Minguard, Femi Tiwo and Ashley Lloyd to explore art teaching provision in a Pupil Referral Unit (PRU). Working across an academic year, the artists and LEAP Arts Lead Lennox Barton tested how the classroom can be a place for experimentation and practice-based learning within the structures of the PRU as an institution. With increasing referrals to PRUs from mainstream education, and the complex backgrounds and needs of students, Chisenhale Gallery sought to understand the potential impact of practising artists in these classrooms, working with both teachers and students. PRUs have remained an under-explored area for socially engaged artistic practice, with few artistic projects from which to draw learnings. Through connecting artists, teachers and students to new experiences and opportunities in this context, Chisenhale Gallery explored and documented a process of multidirectional learning in the PRU art classroom.

Reflections from Focal Point x TOMA x Metal's project 'Creative Break Time' – part of Freelands' spotlighting the breadth and impact of our funded projects that champion art education.

Rooted in the art ecosystem of Southend-on-Sea, Focal Point Gallery, Metal Culture and TOMA will bring Southend artists and teachers together to radically shift the access of teachers to “creative time”, fostering inspiration, collaboration and peer learning through Creative Break Time. Twelve teachers will work with twelve local artists to co-design tools and build networks that encourage personal artistic development and generate cross-school collaboration.