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10NADFAS REVIEWSUPPLEMENT/ SUMMER ARTSNADFASARTS EDUCATION AND HERITAGECONSERVATIONPeople often remark that we arespoilt for choice in London, thateverything is available. True, butfew have the confidence to takeadvantage of the treasures in ourgalleries and museums if parents orteachers don't introduce them to thoseopportunities first. I was talking to a taxidriver who confessed he had neverbeen inside a gallery. He wanted to takehis children but didn't know how. I alsoremember once going to the Tate to seean exhibition of sculpture by Picasso. Aclass of young children waspainstakingly drawing the sculptures. confidence. Valerie McBride said: "I wasvery impressed by the responsiveness ofthe students who were disciplined andindustrious." Our third masterclass isalready being planned. At the Wallace Collection theeducation team works with coordinatorsof the Gifted and Talented programmefor their masterclasses and we fund onefor A-level Art History students. Theevent combines lectures and practicalwork. Fifty students attend and hearexpert talks on studying Art History atuniversity and about the breadth ofcareer potential in galleries andAbove: A-levelstudents learnlife drawing skillsat DulwichPicture GalleryTop: Self-portraits byyoungstersattending an artsummer schoolat the NationalPortrait Gallery How Greater London Area has teamed up with galleriesacross London to help some of the capital's most giftedyoung arts students unlock their potential. By Gillian EeleyThis is whatyou can doI pointed out to one little boy that the goat'shorns were in fact bicycle handlebars. Theinformation spread through the groupwho were soon exchanging their owndiscoveries. This was a long time ago,but how shocking that children could beexpected to sit quietly to draw withoutunderstanding what they were seeing.This is unlikely to be the experience ofyoung people today.In recent years galleries and museumshave appointed teams of staff who haverevolutionised the experience for theiryoung visitors by introducing innovativelearning programmes, games and trails.These teams enable us to make theGreater London Area Young Artsprogramme effective. By consultingthem we can select and refine projectsthat fit our funding aims. Dulwich Picture Gallery's educationteam devised and ran our firstmasterclass - a three-day coursedesigned to give A-level students theopportunity to work on life drawing.Flyers were sent to local state schoolsinviting students to apply. Fifteenstudents filled the places and teacher,artist and illustrator Valerie McBride soonhad them working from the life modelwithout embarrassment. At the end ofthe course the students' families, andrepresentatives from local NADFASSocieties came to see the displayedwork, which was of a standard thatimpressed us all. Next time we ran the course wemoved it from spring to the autumn halfterm to fit better around exams.Applicants quadrupled. Again, theparticipants' work was exceptional andthe students made friends and gained

NADFASARTS EDUCATION AND HERITAGECONSERVATIONRight: LaleGuralp's strikingoutfit wasinspired by theWallaceCollection'sarmour galleries,as was LucyPatterson's dress (picturedfar left)museums. They spend time with theWallace conservation experts, handlingitems and learning about the techniquesinvolved. They also gain practical skills inanalysing works of art.At the 2009 masterclass studentsformed their own exhibitions from theWallace's collections and showed themin the lecture theatre using digital media.This event helps students confirm theirplans for university and explore possiblecareer opportunities in the arts. We willfund it for a third year and havediscussed the possibility of amasterclass on conservation.Last year Greater London funded aunique project with the WallaceCollection and Chelsea College of Artand Design. Sixty second-year BA(Hons) Textile students would use thesuperb armour galleries at the WallaceCollection as inspiration for their end-of-year show under the title 'Futuramour'.Arms and Armour curator TobiasCapwell guided the students through thegalleries and inspired them to think ofarmour not only as protection but alsoas works of art for display and status. The students created textiles knitted,woven and constructed in wool, leather,paper, plastic, metal and feathers. Theirdesigns were eye-poppingly imaginativeand amazingly professional.At the final show prizes were awardedfor the best design to Lale Guralp for astunning jacket and chaps of leather'feathers', and for 'The Spirit of theWallace Collection' awarded to LucyPatterson for a dress with trailingsleeves echoing armour design.In a successful partnership last Augustthe Area and Westminster DFAS teamedup to fund an art summer schoolplanned by the education team at theNational Portrait Gallery, and designedfor Key Stage 4 students in the Giftedand Talented Programme.The 15-and 16-year-olds approachedthe course with commitment andworked with the guest teachers to studyworks of art in the gallery and toexperiment with different techniquesincluding drawing, painting, photographyand digital work. At the final show, parents confidedthat they had no idea their children wereso talented; one said she withdrew heropposition to her son's wish to go to artschool and would give him total support.Most touchingly, one student said toanother: "You must go on, you reallymust. This is what you can do."These projects enable us to supportand fund valuable learning experiencesfor students that we don't have theexpertise or manpower to generateourselves. The students gain inexperience and confidence. Theysurprise themselves and those aroundthem with their progress and learn tosupport each other, forming realfriendships. They also form connectionsand familiarity with the galleries, whichwill serve them well in the future. Gillian Eeley is the Greater LondonArea Young Arts REVIEW SUPPLEMENT/ SUMMER 201011