curiosity: art and the pleasures of knowing at turner contemporary
TRANSCRIPT
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Walrus, Horniman Museum and Gardens, London
© Heini Schneebeli
Curiosity: Art and the Pleasures of Knowing
at Turner Contemporary
24 May 2013 - 15 September 2013 Free admission
Background resource for teachers, community &
youth leader and educators
“Like the cabinet of curiosities of the 17th century, which mixed
science and art, ancient and modern, reality and fiction, this
exhibition refuses to choose between knowledge and pleasure. It
juxtaposes historical periods and categories of objects to produce an
eccentric map of curiosity in its many senses’ Curator Brian Dillon.
Curiosity is a Hayward Touring exhibition, in collaboration with Turner
Contemporary and curated by Brian Dillon. Also in association with (New York) art
and culture magazine Cabinet.
Turner Contemporary architect David Chipperfield conceived the design for the
exhibition in Margate. The exhibition will also tour to Norwich and Amsterdam
This ambitious exhibition combines historical masterpieces, natural objects from
and work by International contemporary artists.
On Wednesday 5th June we will showcase the exhibition and our learning
programme. Educators and community leaders are invited to explore how to use
the exhibition to inspire their groups with a whole day of events. For more
information please visit the whats on section of turner contemporary’s website
or click on this link http://www.turnercontemporary.org/whats-
on/00000000751/exhibition-taster-day-for-teachers-community-leaders
Contents:
Collection and Displays
The Natural World
Morbid curiosities
Myth
Suggested Reading
Future Events at Turner Contemporary
Collection and Displays
Discussion Point: What makes a collection valuable?
Collecting can be seen as a window into a collector’s interests, curiosities and
identity. Collecting dates back to the earliest civilizations, but remained a
pleasure predominantly for the wealthiest, political or religious leaders through
the Middle Ages to the Renaissance. These collections were not just repositories
for their wealth but also contained objects representing their magical and
symbolic power. Relics would be selected due to their supposed powers or
holiness.
Between 1550 and 1650 we begin to see a shift in the roles and ownership of
these collections from simply being statements of wealth and symbolic power,
although this was still very important, to being used as a source of study and
enjoyment. Collecting had changed from not only being an activity for royalty and
the church but also for the aristocracy and the rising merchant and bourgeois
classes. This led to an increase in collections across Europe, fuelled by the
upsurge of scientific enquiry, stimulated by the great voyages of discovery and
world trade. By the seventeenth century, they were in their hundreds. And in the
second half of the century we see a marked shift in scholars and connoisseurs
taking on the role of collector. It is these early collections that today form the
basis of almost all museums in Europe.
These early collections came in many forms; Grottos, Cabinets of Curiosities or
Wonder. One of the earliest names given to these collections was
Wunderkammer or ‘chamber of wonders’. The term cabinet was originally used to
describe a room rather than a piece of furniture.
These chambers were often displayed in a lavishly decorative and contrived style
and designed to show the specimens they contained to their maximum effect.
Collectors would display objects in cabinets like that of John Evelyn.
Curiosity comes from the Latin cura which means care or concern.
Cabinet-on-stand with ebony veneer and internal fruitwood and ivory marquetry, made in
Paris and bought by Mary Evelyn in 1652 for her husband John Evelyn.
© Geffrye Museum, London
John Evelyn’s Cabinet
The seventeenth-century diarist and collector John Evelyn was interested in
many scientific and scholarly matters of his day. His chief contribution to science
was horticultural, but he also contributed to writings on medicine, mathematics,
physics, mechanics, natural history, chemistry, the history of religion and the art
of engraving.
Evelyn was an avid collector and owned a number of cabinets in which to store
his prints and specimens.
His lifelong project was the creation of Elysium Britannicum, an encyclopedic
history of gardens and gardening. The encyclopedia was never published but the
unfinished book was referenced in many of his greatest writings including A
Philosophical Discourse of Earth and Fumifugium,1664, the first English book on
pollution.
In 1652, Evelyn’s wife Mary bought him the cabinet above from Paris. It has
veneered ebony doors, fruitwood and ivory marquetry on its internal doors, and it
may have been produced by the famous Dutch cabinet maker Pierre Golle, (1620-
84.) Evelyn used it to house prints and other objects.
Natural history museum of Ferrante Imperato of Naples
©Wellcome Library, London
Ferrante Imperato
In 1645 John Evelyn visited Ferrante Imperato’s cabinet and wrote an account
of all the extraordinary specimens he encountered.
“Feb. 4th. We were invited to the collection of exotic rarities in the
museum of Ferdinando Imperati, a Neapolitan nobleman, and one of the
most observable palaces in the city, the repository of incomparable
rarities. Amongst the natural herbals most remarkable was the Byssus
marina and Pinna marina; the male and female cameleon; an
Onacratulus; an extraordinary great crocodile; some of the Orcades
Anates, held here for a great rarity; likewise a salamander; the male and
female Manucodiata, the male having an hollow in the back, in wch ’t is
reported the female both layes and hatches her egg; the mandragoras of
both sexes; Papyrus made of severall reedes, and some of silke; tables of
the rinds of trees written wth Japoniq characters; another of the
branches of palme; many Indian fruites; a chrystal that had a quantity of
uncongealed water within its cavity; a petrified fisher’s net; divers sorts
of tarantulas, being a monstrous spider with lark-like clawes, and
somewhat bigger.” Extract from John Evelyn’s diary
By looking at the engraving of Imperato’s cabinet and analysing Evelyn’s account we can
get a picture of the contents of his cabinet. It included:
Two headed snake.
Lizard with two bodies joined to a single head.
Onacratulus: Pelican. A Christian symbol of sacrifice.
Orcades Anates: Ducks from the Orkneys, probably puffins.
Manucodiaia: Birds of Paradise.
Mandragora: A bifurcated root supposed to resemble a man. It was
supposed to be alive and to cry out when pulled from the
ground.
Tables on the
rinds of trees: Probably pictures on Chinese paper.
Chameleon: According to the philosopher Pliny, the Chameleon:
‘..always holds the head upright and the mouth open, and is
the only animal which receives nourishment neither by meat
nor drink, nor anything else, but from the air alone’
Pliny Chap. 51.
Extraordinary
great crocodile: Considered to be both animal and mineral.
Salamander: ‘an animal like a lizard in shape, and with a body
starred all over, never comes out except during heavy
showers, and disappears the moment it becomes fine. This
animal is so intensely cold as to extinguish fire by its
contact, in the same way as ice does.’ (Pliny the Elder,
Bostock, John, and Riley, Henry T, The Natural History of
Pliny. Volume: 2. London, H. G. Bohn.1855. p 545-6)
Byssus Marina &
Pinna Marina: Mussels Byssus is the tuft of fine silk filaments by which
molluscs of the genus Pinna attach themselves to the
surface of the rocks. The byssus can be processed to
produce sea silk and used as a textile material.
This is just a small sample of over 35,000 specimens that would have been in Imperato’s
cabinet. Ferrante Imperato (1525-1615) was a Neapolitan apothecary and herbalist and
his collection reflects this. Filled with animal, mineral and vegetable specimens
including stuffed terrestrial and marine animals, stuffed birds, shells, stones, gems and
fossils. The books on the shelves around his cabinet would have contained other portions
of his collection, with 80 volumes alone holding his botanical collection of pressed
plants.
The woodcut showing his museum is possibly the earliest illustration of a curiosity
cabinet. In 1599 he documented his curiosity cabinet in Dell'Historia Naturale (Natural
History), which numbered nearly 800 pages, and contained 119 woodcuts.
Activity suggestion:
Ask the class to read out Evelyn’s account of Imperato’s cabinet. What sort of images
does this account conjure up?
Write a detailed description of a specimen that you might find in Imperato’s
cabinet
As a group activity create your own Cabinet of Curiosities in 2D or 3D. Try creating
unusual specimens digitally through photoshop, or with paper using collage.
The Natural World
Discussion Point: Can man improve upon nature?
Albrecht Dürer, A rhinoceros, 1515 Royal Collection
© Her Majesty Queen Elizabeth II
A Rhinoceros, 1515 Albrecht Dürer (1471 – 1528)
“On the first of May in the year 1513 AD [sic], the powerful King of Portugal,
Manuel of Lisbon, brought such a living animal from India, called the
rhinoceros. This is an accurate representation. It is the colour of a speckled
tortoise, and is almost entirely covered with thick scales. It is the size of an
elephant but has shorter legs and is almost invulnerable. It has a strong
pointed horn on the tip of its nose, which it sharpens on stones. It is the
mortal enemy of the elephant. The elephant is afraid of the rhinoceros, for,
when they meet, the rhinoceros charges with its head between its front legs
and rips open the elephant's stomach, against which the elephant is unable to
defend itself. The rhinoceros is so well-armed that the elephant cannot harm
it. It is said that the rhinoceros is fast, impetuous and cunning.”
Albrecht Dürer’s magnificent woodcut was based on a verbal description and an
anonymous rough sketch of the first rhinoceros to have been seen in Europe for
more than a thousand years. It is one of the great icons of Western art, copied
many times, and was taken to be a true depiction of the animal for the next three
centuries.
Dürer was a German painter, printmaker and engraver. He is regarded as one of
the greatest artists of the Northern Renaissance and revolutionized woodcuts
through his ambitious and highly detailed designs.
Katie Paterson
Katie Paterson’s work often explores the themes of time, natural wonders and
scale that by their magnitude are ungraspable, exploring our desire for
understanding and wonder.
Katie Paterson Campo del Cielo, Field of the Sky, 2013
© Katie Paterson
On the border between the provinces of Chaco and Santiago del Estero, natives
had been using the iron rich rocks lying on and close to the surface to make metal
tools and weapons. The governor of a province in Northern Argentina
commissioned the military to search for the source of the iron. As to the source of
these rocks the natives claimed that the mass had fallen from the sky in a place
they called Piguem Nonralta. The Spanish translated this as Campo del Cielo
("Field of the Sky").
Paterson’s meteorite comes from this location. It was discovered 13 years ago,
buried twelve feet underground. It had been lying there for between 4,000 to
5,000 years.
Paterson made a cast of the meteorite, then melted it and recast it as a model of
itself.
“I reconstituted the entire shape, all the detail, everything it was when it arrived
to earth. I like to think that it’s still ancient, it’s still got all the same atoms inside
it – the meteorite hasn’t changed it’s just been reformed, transformed.”
Katie Paterson
“Working with meteorite material is completely new to me. Their cosmic history is
something that interests me a lot, the deep layers of time ingrained within them,
and the mystery of where they come from. When we see this ancient object – how
does that make us feel and how do we experience and relate to it in terms of
ancient history?” Katie Paterson
This reforming is fulfilled by the use of special silicone, ceramic and wax casting
process. A cast is made of the meteorite before it is melted down and recast in its
own image.
The journey of this meteorite hasn’t ended yet, Paterson has worked with
specialists in meteorites from UCL, National Museum of Scotland and the world
expert Monica Grady to send the Meteorite back into space onboard ATV-5
spacecraft. An astronaut will conduct a live webcast question-and-answer
session with people on earth, while holding the meteorite. After six months, the
object will return to earth’s atmosphere on ATV-5, burning up with the spacecraft
on re-entry.
Agate " Petit poisson" - Minéralogie - Collection Caillois
© MNHN - Patrick Lafaite
Roger Caillois (1913-1978)
Roger Caillois was a writer, historian of science, philosopher and sociologist. In
the 1930s he studied with philosopher Alexandre Kojève (1902-1968) and
Sociologist Marcel Mauss (1872-1950) and became a part of the Surrealist
movement in Paris. He fell out with the group’s leader, writer André Breton (1896
1966), in 1934 and went on to play a role in the emerging Collège de Sociologie,
with writers Georges Bataille (1897-1962) and Michel Leiris ( 1901-1990). The
Collège de Sociologie was devoted to the study of the nature and role of the
sacred in modern and primitive societies.
Over several decades Caillois built up a substantial collection of rock specimens
which were donated to the Museum of Natural History in Paris. Caillois wasn’t a
collector of gems and precious jewels; he was interested in stones for their
aesthetic qualities and potential for imagination. He collected agates, dendrites,
alabaster, quartz, onyx, jasper and scholar's stones that became the focus for his
two books on rocks, ‘Stones’ published in 1966 and ‘The Writing of Stones’, 1970.
For Caillios, within his collection a stone was a “l’orée du songe”, the shore of
dreaming. The shape, patterns, texture and colours opened up a world of dreams
and associations. A stone formed by chance millions of years ago could be
interpreted as containing an image of a Tuscan ruin, a landscape, eye or skull.
Activity suggestions:
Accidental prints
Create ink prints using natural plants, vegetables or by blowing coloured
water onto paper.
Look at your prints and discuss in groups what the prints look like. Do they
remind you of anything?
See if you can transform the image by drawing over the print or swap the
prints with a classmate and see what they can see.
Morbid Curiosities
Discussion Point:
Is it better to be an individual or to be part of a group?
For many collectors of morbid curiosities the value of an object was often judged
by its rarity. Objects that would sit outside the human norm or that revealed the
secrets of the opposite sex were of particular interest.
Ferdinand II of Tyrol at Ambras’s collection contained portraits of a giant and a
hairy man from Tenerife, together with his whole family in elaborate court dress.
From the sixteenth century attitudes were very different to today and public
displays of people considered as unusual became common place.
Corinne May Botz, Kitchen (Room from afar)
© Corinne May Botz
Corinne May Botz. The Nutshell Studies of Unexplained Death
“…convict the guilty, clear the innocent, and find the truth in a nutshell.”
The above quote is a saying in forensic pathology describing an investigation’s purpose.
This seven-year project by 36 year old American artist Corinne May Botz culminated in an
exhibition and book, ‘The Nutshell Studies of Unexplained Death.’ Botz spent six years
taking over 500 photographs of the Nutshell Crime Scenes, a display of 18 exquisitely
crafted models of actual crime scenes presenting grisly vignettes of violent deaths.
20 of the models were believed to have been originally made, one was destroyed in
transit and another went missing when the models were loaned permanently to the
Maryland Medical Examiner’s Office, in Baltimore, four years after the death of their
creator Frances Glessner Lee in 1962.
Much of Botz’s practice is centred around the power of place and the human fascination
with it.
“What’s really interesting to me is people have an extreme perception of space, or
an extreme attachment to a space”. Botz
Botz’s previous projects include Parameters, a project exploring agoraphobics (people
who have a fear of public spaces) and the objects that make them feel safe, and the
environments in which they live.
Her research on the Nutshell studies wasn’t limited to photography as she also
interviewed a number of people who knew Lee or trained using her models. These
included Alton Mosher, Lee's commissioned carpenter, her daughter-in-law, Percy Lee,
and a number of the police officers that had gone through the Harvard training seminars.
Botz also made a rubbing from Lee's tombstone.
For Botz, photography, “Is a way to connect with the world and people…and bring
about small changes in participation”. Botz Interview 2011
The models are designed on a scale of one foot to one inch. They are based on actual
crime scenes, reconstructed from photographs, sketches and statements by witnesses
and police. However Lee altered names and revealing details, the character and
decoration of the interiors were also her own invention.
Murder, suicide and accidental death are subjects within these miniature worlds and
this process of reduction also has the effect, as Botz puts it, of making:
“… these senseless crimes feel more manageable and comprehendible. The
large-scale nature of my photographs helps to disrupt the control and create a
more disorienting experience for viewers” Botz
Of the eighteen surviving dioramas, eleven of the models depict female victims, all of
whom met a violent end.
Rather than being distanced from the violent acts by the miniature scale of the models,
by selecting and enlarging the scene Botz manages to draw the viewer in to the
environment and undermine the notion of the home as a safe haven.
Botz’s exploration extends beyond our fascination with death and violence and also
places a spotlight upon the role of women within society.
"….. Nutshells depict the everyday isolation of women in the home and expose the
violence there." Botz
“Lee lavished loving care onto these scenes of perfectly ordered chaos. There are
more female than male victims, and the majority of crimes were committed by
family members or by individuals intimate with the victims. The models are a
reminder that domestic space can be safe as well as terrifying,” Botz
Frances Glessner Lee
“I considered Lee my collaborator, and as a woman artist” Botz
“Luckily, I was born with a silver spoon in my mouth. It gives me the time and
money to follow my hobby of scientific crime detection.” Lee
Frances Glessner Lee was born on March 25, 1878. France’s early adult life was
dictated by the expectations that society had for women growing up in Chicago,
America. She never attended college and was educated at home. She learned the
domestic arts of interior design, metalwork, sewing, knitting, crocheting,
embroidery, and painting from her female relatives.
For a time, she sold antiques and it wasn’t until Frances was over 50 years old
after the death of her father in 1936 that her long-delayed career in crime
detection could begin.
Since the 1880’s, Frances had been interested in murder and medicine through
her association with George Burgess Magrath, a friend of her brother George.
Magrath later became a professor in pathology at Harvard Medical School and
chief medical examiner of Suffolk County.
Frances would listen to George’s stories of unsolved crimes; of unexpected clues
that would be found during an autopsy and of untrained coroners and police. At
this time in America in most parts of the country, a coroner did not have to be
medically trained or required to have a medical degree. Police were untrained in
how to gather and preserve medical evidence.
In recognition of her work towards crime detection in 1943, New Hampshire
named her State Police Captain, making her, at the time, the only female police
captain in the country.
" [Lee] took a special interest in training police officers because, as the first to
arrive on the scene of a crime, they had to recognize and preserve evidence
critical to solving the case. At the time, most police officers inadvertently
botched cases by touching, moving or failing to identify evidence. Lee was
also extremely interested in better integrating the work of and communication
among medical experts, police officers, forensic investigators and
prosecutors."
Botz, Nutshell Studies, p29.
Lee worked with carpenter Ralph Moser and later his son Alton Mosher to create
her models. They constructed two to three models every year, each costing the
same as an average American home at the time.
She did most of the work on the models by hand using a magnifying glass, precise
jewelry and dental tools. She would also commission craftsmen to fabricate
furniture.
Scenes were flawlessly recreated. There are doors that close and drawers that
open. Keys come out of keyholes and lamps have working light bulbs. Lee also
painted unique clues on the dolls, such as tiny bite marks left by an assailant.
The models even contained details which can only be seen through mirrors or by
taking the displays apart.
The dioramas inspired CSI writers (A American crime drama television series ) in
their creation of the “Miniature Killer”, a serial murderer who leaves miniature
dollshouses behind at crime scenes.
Myth
Discussion Point: What makes a story true?
Gerard Byrne (1969 - )
Gerard Byrne works with film, photography, installation, audio and text. He often
explores belief and iconic moments in recent history. For the last ten-years he
has been examining the identity of the Loch Ness monster. With numerous trips
to the Loch, Byrne has amassed photographs that form the core of his work.
For Byrne, the myth of the monster begins in 1932 with the newspaper, Inverness
Courier, running a story on 2nd May about a local couple who claimed to have seen
"an enormous animal rolling and plunging on the surface." The story of the
‘MONSTER’ was quickly taken up by the Scottish and then London papers. The
Daily Mail hired big-game hunter Marmaduke Wetherell to capture the beast.
What made this period in the myth’s history particularly important was the global
coverage it received due to the growth in international communications and print
media.
Byrne’s re-staging of the oral and written accounts, and media coverage through
his use of photography and film builds up a picture of the monster, whilst at the
same time casting doubt over its accuracy and authenticity.
The photography in Byrne’s work is produced in a traditional dark room. The
process of how they are made is particularly important to him as he sees his
photographs, “…as a type of material, as objects”.
The myth is a story of hoaxes and fabrication and becomes a metaphor for the
slippery nature of reality and the process by which myths and reality are
constructed. As Byrne sums up, “…in the end what they really chronicle is, I think,
an idea of forms which could be mistaken for other forms.”
Misfits Thomas Grünfeld (1956 - )
Grünfeld recounts the moment the idea for Misfits came about when he saw a
taxidermied Muskrat paired with a taxidermied chicken in a shop window.
“From that point, my imagination was triggered by the thought of what the
product of such union may have look like”. Grünfeld
It was this thought that led Thomas Grünfeld to create a series of taxidermy
specimens using multiple reconfigured species. Designing the creatures himself,
Grünfeld then hands over to a professional taxidermist to ensure the high
standard of finish he requires. Filled with wire and wool the specimens are
skilfully constructed to conceal all joins, leaving a doubt in the viewer about
whether they were genetically or surgically combined.
For Grünfeld, these hybrids come from German folklore and fantasy tradition.
“The Wolpertinger, a fictional animal said to inhabit the alpine forest of Bavaria in
Germany, also strongly inspired me” Grünfeld
These creatures come in many forms, but, generally they are small mammals with
the body of a rabbit or squirrel, with antlers, fangs, and feathered wings. It is
common for Bavarian pubs to display stuffed Wolpertingers hunting trophies.
Activity Suggestion:
Creating a myth
Ask the class to research the history of their home, school or family.
Starting with the facts, can they use their imagination to create a myth
surrounding it.
Write it as a newspaper article.
Illustrate or use photoshop to manipulate images as ‘evidence’.
Suggested reading
Cabinet Magazine http://cabinetmagazine.org/
The Nutshell Studies of Unexplained Death. Corinne May Botz.
Published by The Monacelli Press (2004).
Corinne May Botz
http://www.corinnebotz.com/Corinne_May_Botz/Nutshell_Studies.html
Cabinets of Curiosities. Patrick Mauriès (2011)
Published by Thames and Hudson
Cabinets of Wonder, Christine Davenne (2012)
Published by Barnes and Noble
Phantasmagoria: Spirit Visions, Metaphors, and Media into the Twenty-first
Century Marina Warner. Published by OUP Oxford (12 Oct 2006)
Future Events at Turner Contemporary
Your visit:
Our Learning Programme, We Are Curious has been inspired by the curiosity of
artists and offers schools a unique approach to learning in a gallery.
Bringing together hands-on exploration with philosophical enquiry, teachers and
pupils learn together to develop creative questioning and thinking, building
confidence and communication skills.
We Are Curious aims to transform the way teachers, young people and children
learn about, and through, the visual arts. It has been developed and tested with
teachers, and is fun and accessible for all.
You are also welcome to lead your own visit, using our free resources for support.
We ask all groups to make a booking with us if they are intending to visit. To do
so, please email [email protected] and we’ll aim to get back to you
within three days. Turner Contemporary is open Tuesday – Sunday 10.00 – 18.00
and is closed on Mondays except Bank Holidays.
Primary School Curious Day of Fun
Wed 26 Jun, 10am – 3pm
£6 per head / free for teachers
Children will take part in hands on
Sixth Form Master Class
12 Jul, 10am – 4pm
£11 per head / free for teachers
You and your students can investigate
sessions with practising artists and
museum educators led by Turner
Contemporary, Canterbury Museums,
Stour Valley Arts and the Powell-Cotton
Museum.
Book now:
Call 01843 233000
Email [email protected]
Turner’s watercolour painting of birds
and create your own detailed
watercolours from life with artist and
ornithologist Andy Malone , Nigel
Breadman brings a mobile yurt to the
gallery for you to make your own
photographic cyanotypes. Curate an
installation using historic objects and
found curiosities with Keith Dunmall
from the Powell-Cotton Museum
Book now:
Call 01843 233000
Email [email protected]
Young People's Summer School
Mon 29 Jul - Fri 2 Aug
Young people can make the summer
holidays count by creating their own
personal portfolio for the Bronze Arts
Award. Participants will research and
present their arts hero(ine), attend and
review the Curiosity exhibition, take
part in hands-on, skills-based
workshops with professional artist-
educators and share new skills with
fellow students.
Price: £95 (book by 2 July)
For 11 – 16 year olds of all abilities. All
materials and refreshments supplied
(excluding lunch.)
Book now:
Call 01843 233000
Email [email protected]
Exhibition Taster Day for teachers
and community leaders
Wed 5 Jun
To celebrate the opening
of Curiosity, we're inviting you to
explore the exhibition and discover
exciting learning opportunities for
schools and groups. We've got a
whole day of events including
Apple iPad training (10am - 4pm, free)
Taster sessions in philosophical
inquiry and the Object Dialogue Box
Sixth Form Master Class & Primary
Curious Day of Fun tasters (4.30-
5.30pm, free)
Page Turner exhibition
launch (5.30pm)
Cabinets of Curiosity curator's talk
with Brian Dillon (6pm, the first 15
places are free for teachers and
community leaders, tickets are the
special price of £5 for educators
thereafter).
Come to all the events or just one, the
choice is yours.
Book now:
Call 01843 233000
Email [email protected]
Apple drop-in session
12 June, 4.30 – 6pm, free
A session for all teachers and
educators with an interest in using
digital technologies in the classroom.
In partnership with Hartsdown
Academy, use iPads to explore how to
enhance the teaching and learning of
literacy, in the gallery setting and in
your classroom. Bring your own
Page Turner Exhibition
5 Jun – 21 Jul, 10am - 6pm, free
Clore Learning Studio
This exhibition is a celebration of the
work entered into this year’s Page
Turner competition. Students and
teachers submitted their artwork,
inspired by the theme ‘Curiosity’. The
works on show are winners, runners
up, highly commended and
shortlisted works. All remaining
entries can be seen at
pageturner.org.uk. The exhibition is
on display in the Clore Learning
Studio every weekend except 15, 21
and 22 June.
See the pageturner entries >
