Tate Liverpool courses with the WEA

Tate Liverpool in collaboration with the Workers’ Educational Association will be hosting the following courses at the gallery starting in January 2017.

Course: Introduction to Printmaking, led by Colette Whittington
Dates: Friday 13 January – 24 February 2017, (10:00-13:00)
Venue: Clore Learning Centre, Tate Liverpool
Admission: £65.10 (free to eligible students in receipt of certain benefits, see WEA website for more information), advanced booking essential.

Against the backdrop of Tate Liverpool’s Collection Displays this 7 week course will introduce the basic techniques of printmaking: focusing on how the process of print media can inform the strategy of art making.
Through a series of practical workshops and group discussions led by printmaker and artist educator Colette Whittington, the course will respond to the Tate collection with hands on printmaking techniques that can be reproduced at the kitchen table at home.
Participants will be introduced to basic intaglio and relief printmaking processes; monoprint, collatype, and lino cutting. They will be guided to produce their own individual design ideas using experimental methods and demonstrating good print practice.
(No previous experience necessary).

Programmed in association with the Workers’ Educational Association.

For further information and to book a place follow the link to:

Course: Improvers Printmaking, led by Colette Whittington
Dates: Friday 13 January – 24 February 2017, (14:00- 16:00)
Venue: Clore Learning Centre, Tate Liverpool
Admission: £43.40, (Free to eligible students in receipt of certain benefits, see WEA website for more information). Advanced booking essential.

This 7-week course aims to use the exhibition as a starting point to stimulate critical engagement and creative processes involved in printmaking production.
Responding to Tate’s collection displays, the course will enable participants to fully develop and realise their design ideas, applying the relief printmaking knowledge they have previously gained on the beginners course or elsewhere. The aim of the course is to enable the participants to fully develop their own design ideas, to produce a personal body of work. Perhaps mixing relief printmaking processes or by becoming more proficient in one technique.
Sessions will comprise of practical workshops, group discussions and feedback facilitated by local printmaker and artist educator Colette Whittington.
(Some prior experience of printmaking necessary. Progression from WEA Beginners Course advisable, but not compulsory if some prior printing experience).

Programmed in association with the Workers’ Educational Association.

For further information and to book a place follow the link to:

Course: Painting Inspired by Women Artists, led by Maria Tavares
Date: Tuesday 17 January – 28 March 2017, (10:00-12:00)
Venue: Tate Liverpool
Admission: £65.10 (or free to eligible students in receipt of certain benefits, see the WEA website for more information). Advanced booking essential.

Discover and explore women artists and create your own masterpiece inspired by their work. Explore painting techniques, including texture, light and shade, colour, composition, and perspective. Women artists have been marginalised and misrepresented throughout history. This has often been due to socio-political mores of the given era. Through practical workshops and group discussion, students will examine the issues that lie behind this marginalization.

Led by Maria Tavares, artist and art tutor, this 10 week course will explore the history of women in art. Through a series of practical hands-on exercises, students will learn painting techniques using acrylics, as well as having the opportunity to study Tate’s collection of work by women artists.

Programmed in association with the Workers’ Educational Association

For further information and to book a place follow the link to:

Course: Exploring Modern Sculpture, led by Ed Bruce
Date: Tuesday 17 January – 28 March 2017, (14:30-16:30)
Venue: Tate Liverpool
Admission: £65.10, (Free to eligible students in receipt of certain benefits, see WEA website for more information). Advanced booking essential.

Duchamp’s conceptual ideas about the ‘Readymade’ profoundly influenced the sculpture of the 1960s and 1970s. This course, taught by Ed Bruce, will explore the ‘expanding field’ of sculptural practice in the period when ‘body art’ performance, and site specific work transformed the idea of the ‘sculptural object’.

Programmed in association with the Workers’ Educational Association

For further information and to book a place follow the link to:

Elena Palumbo-Mosca In-conversation

Organised by Tate Liverpool. 

Talk: Elena Palumbo-Mosca In-conversation

Date: Saturday 26 November, (14:00-15:00)

Venue: Auditorium, Tate Liverpool

Admission: £5,

(Advanced booking essential)

Join Elena Palumbo-Mosca in-conversation at Tate Liverpool, as she reflects on her time as Klein’s model, in particular, her involvement in Klein’s experiments with the expressive potential of the body as manifested in his Anthropometries. These paintings, created by the artist choreographed nude models as living paint brushes to transfer blue pigment onto canvas, whilst accompanied by a live orchestra playing his ‘monotone symphony’.

To book and for more information, please follow the link: www.tate.org.uk/whats-on/tate-liverpool/talk-and-lecture/yves-klein/conversation-elena-palumbo-mosca or call the box office on 0151 702 7400

Tate Liverpool Event

Organised by Tate Liverpool. Join Francis Bacon’s biographer and friend Michael Peppiatt at Tate Liverpool for a book reading and talk.

Date: Saturday 21 May, (15:00 – 16:00), 2016

Venue: Auditorium, Tate Liverpool

Cost: £5

Booking essential – Visit Tate Liverpool’s webpage

Michael Peppiatt’s legendary friendship with Francis Bacon began in Soho in 1963 and lasted until Bacon’s death almost thirty years later.

Fascinated by the artist’s brilliance and charisma, Peppiatt followed him on his nightly rounds of prodigious drinking from grand hotel to louche club, sharing Bacon’s ‘gilded gutter life’ in London, Paris and Tangier, and meeting everybody around him from Sonia Orwell and Lucian Freud to Andy Warhol and the Kray twins.

In this intimate, deliberately indiscreet account, Bacon is shown close-up, grand and petty, tender and treacherous by turn, and often quite unlike the myth that has since enveloped him.

This is a living, speaking likeness of the greatest artist of our times.

Following his talk, Michael Peppiatt will also be signing his books just outside the Auditorium in the Concourse.


Reframing Realism

By Dr Judith Walsh

Don McCullin  Checkpoint Charlie, Berlin 1961

Don McCullin Checkpoint Charlie, Berlin 1961

I decided to title my course ‘Reframing Realism’ in an effort to position realist art as interesting and radical as abstract art.

My PhD focused on British realist painting of the post-war period but I also looked at how painters in Europe and America used figuration and realism to explore the new social and political conditions in which they were working. I am very interested in how contemporary artists respond to the particular societies in which they live and how they communicate those responses to us as viewers.

Some of my research looked at the fascinating history of realism in the visual arts and I will share some of that research in our discussions at Tate. But we need to start by working out what we mean when we talk about realist art. Are we actually talking about figurative art? Does it have to represent something we know in the ‘real’ world?

I also want us to think about the different categories of realism such as Social Realism and Socialist Realism and think about the ways in which these art movements have an impact on the art produced today. Basing this courHere – enrol onlinese at Tate Liverpool presents us with some exciting learning experiences as we will be utilising the Constellation displays, looking at the art and discussing our responses to it on the gallery. Tate describes the Constellation displays on its website: ‘At the heart of each constellation is a ‘trigger’ artwork, chosen for its profound and revolutionary effect on modern and contemporary art. Surrounding the trigger works are artworks that relate to it and to each other, across time and location.  Visitors to constellations can enjoy an imaginative display of art works by Henri Matisse, Barbara Hepworth, Marcel Duchamp, Joseph Beuys, Rachel Whiteread, Glenn Ligon and many, many more.

Reframing Realism will take place at Tate Liverpool on Saturday 7 November. Tate are providing a dedicated learning space, coffee and as much time as we want on the galleries to explore these wonderful artworks. This is a day course for anyone interested in thinking about art-no experience needed.

If you would like to reserve your place on this course you can do by clicking here – enrol online

Life After Life: Reading Kate Atkinson

By Dr Shirley Jones


Twenty years ago, Kate Atkinson’s first novel, Behind the Scenes at the Museum, was published. Its heroine, Ruby Lennox, tells the story of her life from before conception to adulthood with ‘footnotes’ relating to her ancestors, such as her great grandmother who in a moment of despair leaves 6 children to run off with a ‘magician’ or angelic Uncle Albert, who ‘collected good days the way other people collected coins or postcards.’. Cataclysmic historical events such as the two world wars affect Ruby’s family dramatically whilst lesser landmarks, such as the 1953 Coronation and the 1966 World Cup final provide wonderful comic set pieces. At the heart of the novel is a mystery, for the seemingly omniscient Ruby, does not in fact know all.

Family, identity and heritage are consistent themes in Atkinson’s work as is history and the passing of time. Atkinson’s 2004 novel, Case Histories, opens with 3 unexplained crimes from the past which the novel’s hero, Jackson Brodie, is called upon to unravel. As we follow his progress we come to understand that his own personal history is shaped by devastating loss. In the Jackson Brodie series (four novels to date), Atkinson’s plotting is complex and compelling. At the same time these novels are rich tales of contemporary life with all of its comic absurdity, violence, and love.


Atkinson’s recent 2013 Costa Novel Award winner, Life after Life represents the pinnacle of her achievement so far, narrating the multiple possibilities of one woman’s life. Over and over again we are told the tale of Ursula Todd, and her many deaths and extraordinary lives. Astonishingly, this narrative experimentation does not lessen the reader’s emotional involvement with the character but enchants and ensnares.

The most wonderful thing about Atkinson’s writing is that whatever form it takes, family saga, short story, crime novel, experimental fiction, her work is always absolutely readable.

Reading list: 

Kate Atkinson, Behind the Scenes at the Museum, 1995

Kate Atkinson, Not the End of the World, 2002

Kate Atkinson, Case Histories, 2004

Kate Atkinson, Life after Life, 2013

Kate Atkinson, A God in Ruins, 2015

Shirley will be teaching Life After Life: Reading Kate Atkinson at the Central Library from Thursday 15 October, 2-4.30pm for 8 meetings. If you would like to book on that course you can enrol online here Life After Life: Reading Kate Atkinson



BBC News: What’s the best way to fight memory loss?

Now science is proving what we have suspected all along, that drawing is not only enjoyable but good for you as well. A study sponsored by the BBC series Trust Me, I’m a Doctor concluded that in terms of improving memory, the adult participants who engaged in a life-drawing class had better outcomes than groups who only indulged in physical exercise or brain-exercising puzzles. The act of scrutinising an object and then putting pen to paper to re-create the object develops the psychomotor skills that kick start the brain no matter what age you are. In addition, the study group reported that the social aspect of drawing amongst a group was beneficial to their state of mind as well. At Continuing Education, we know how much our students have enjoyed recent drawing courses. This year we have two 8-week drawing courses, Adventures in Drawing, an afternoon course in the Autumn term and The Human Body in Art, an evening course in Spring. Our popular and very qualified drawing tutor will help you explore your creative drive and develop those crucial psychomotor skills, whether you are drawing an outdoor view of Liverpool or a life model in the classroom.

BBC – best way to fight memory loss

Anti-Art by Ed Bruce


It’s interesting, but is it art?’ A familiar question, often heard being asked loudly in art galleries. But who is in charge of deciding what is art and what is not? Is there a council, an academy? Do we ‘know’ the rules of art, and if something doesn’t fit the art category can we definitely say it isn’t art? Throughout the history of art there certainly were attempts to formalise art and write a set of rules, for example the Royal Academy under Joshua Reynolds. Academic painting dominated the 19th century, but when the rules of art were broken by artists whose work did not conform, the French Academy of Fine Arts held a Salon of the Rejected to show how correct the Academy was in not accepting these ‘inferior’ paintings. These ‘Impressionists’, as they became known, cared about art, not ‘Art’ and begun a revolution that is still felt today.

The Art Historian E.H. Gombrich wrote that ‘there really is no such thing as Art. There are only artists’. This acknowledges that artists always need a bit of breathing space in which to make work. To have a strict notion of Art stifles creativity. Consequently, artists have always sought to invent new ways to depict the world by breaking away from the hackneyed notions of ‘orthodox’ Art. There is always an impulse to break the accepted rules, to make anti-Art.


I will be teaching a five week course that will explore this urge as experienced by artists during the 20th century. The early part of the period is often seen as a golden age of experimentation: Dada, Surrealism, Primitivism and Art Brut all began as a challenge to the staid conventions of the time. At an aviation fair in Paris, artists Marcel Duchamp and Constantin Brancusi discussed ‘what art could be’ in the future.

Painting is finished. Who can do anything better than this propeller? Can you?” asked Duchamp. Could engineered objects be art if the artist declared they were? Brancusi later discovered that one of his sculptures (Bird in Space) had been declared ‘not art’ on its way through US customs and therefore subject to import duties as a machine-part. Duchamp imagined the scenario where one could display a machine-made object in an art gallery and in 1917 submitted a urinal entitled Fountain to an art exhibition in New York.

Dada, one of the most important art movements of the 20th Century, emerged during the chaos of the First World War. It employed shock tactics in its refusal to conform to the conventions of the Art establishment. After the Second World War, Jean Dubuffet turned to children’s drawings to inspire what he called his ‘raw art’. The anti-Art impulse continued throughout the Modern period, through Pop, Fluxus and Happenings, and is still with us today of course – in the works of Mike Kelly, Sarah Lucas, Martin Creed and many others who kick against art with a capital A.

Ed Bruce will be teaching Anti-Art a five week course beginning on the 5 of October, 6-8pm. If you would like to book on this course you can do so by clicking here Anti-Art

Leonora Carrinton at Tate Liverpool – Guided tour

If you would like to learn more about Leonora Carrington the Tate Liverpool are providing a special guided tour of the Leonora Carrington exhibition led by Joanna Moorhead, Carrington’s cousin and biographer.

Date: 2 May 3 – 4pm.

Venue: Leonora Carrington Exhibition, 4th Floor Gallery, Tate Liverpool

£13, £11 concessions


When Leonora Carrington eloped with Max Ernst in 1937, she took a one-way ticket out of both her country and her family. For the next 70 years she had virtually nothing to do with either: but in 2006 her cousin, journalist Joanna Moorhead, became intrigued by her story and travelled to Mexico in search of her. The two became friends, and Joanna visited her eight more times before her death in 2011. Join Joanna Moorhead at Tate Liverpool for a guided tour where she will explore the family story hidden within Carrington’s work, and describes her remarkable relationship with the black sheep who went on to become the national treasure of a country thousands of miles from the Lancashire where she was born.

Advanced Booking Essential

For more information, please see our website: http://www.tate.org.uk/whats-on/tate-liverpool/talks-and-lectures/leonora-carrington-special-guided-tour

I look forward to seeing you there.

Best wishes,

Alison Jones

Programme Manager: Public & Community Learning

Tate Liverpool

Albert Dock


L3 4BB

Searching for Richard III


The skeleton found beneath a Leicester car park in 2012 is beyond reasonable doubt that of King Richard III. One of the most controversial of English rulers, Richard has continued to fascinate ever since his death in battle at Bosworth in 1485, provoking numerous literary and artistic portrayals as a ruthless murderer of princes and devious plotter with unstoppable ambition. The legacy of this long tradition is the indelible image of Richard III as a disfigured hunchback, malign in appearance and in character.

This autumn, Continuing Education researchers in the Archaeology, Art History, English and History departments join the search for the real Richard III in a series of linked evening lectures. These talks will investigate the scientific and historic evidence that helps us to understand how this picture of the king was formed and will enable us to better judge how accurate the picture might be. If you choose to attend all four Richard III lectures then you will pay the discounted rate of £30.

Richard III: reign and reputation
Lecture: Monday 14 October 6.15 – 8pm, University of Liverpool
With Dr Martin Heale
This lecture will assess the brief reign of Richard III and consider how historians have sought to understand and evaluate this most controversial – and topical – of English kings.
CRN 17617

Life in the age of Richard III: a bioarchaeological perspective
Lecture: Monday 28 October 6.15 – 8pm, University of Liverpool
With Shirley Curtis-Summers
Using scientific evidence from the skeletal remains of Richard III, this lecture will build a picture of past lifeways in the middle ages. Key case studies will be presented in bioarchaeology (how we identify and recreate evidence of diet, health, trauma and pathology). We will analyse the skeletal trauma from Richard III and the Battle of Towton skeletons, investigate monastic dieting and fasting practices, and consider diet and disease from the medieval perspective.
Note that images of human remains will be shown in this lecture.
CRN 18025

Richard III: Shakespeare’s villain
Lecture: Monday 11 November 6.15 – 8pm, University of Liverpool
With Andrea Young
As part of our Searching for Richard III series, this session will explore the historical, literary and dramatic influences on which Shakespeare drew to create one of his greatest anti-heroes.
CRN 17885

Richard III: Portraying the King
Lecture: Monday 25 November 6.15 – 8pm, University of Liverpool
With Dr Suzanne May
One of the Walker Art Gallery’s most important paintings is ‘David Garrick as Richard III’. This lecture tells how William Hogarth’s 1745 portrait reconciles Shakespearean historicism and dramatic licence with artistic ambition and celebrity portraiture.
CRN 15667

For more information on Continuing Education please visit www.liv.ac.uk/conted/