ARTISTS AND OPTICS - Lecture by Hilary Spiteri

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ARTISTS AND OPTICS  

photography techniques employed by artists 300 years before the advent of photography

Hilary Spiteri will be holding a lecture entitled Artists and Optics where he will be discussing the very first photography techniques employed by artists 300 years before the Deguerrian practices of photography.

The lecture will be held at Corinthia Hotel, St Georges Bay, St Julians Malta on the 4th of January 2012 at 20:00.

The lecture is open to the general public.

Leonardo: A painter at the Court of Milan - A worth visiting exhibition!

Artistically speaking, December 2011 presented me a great opportunity of visiting the British capital, London, and paying a visit at the world renowned current exhibition: Leonardo: A painter at the Court of Milan.  Mr Patrick Sammut, my fellow colleague, and five students accompanied me throughout this late 15th century Leonardian tour.

Some information about the exhibition

Leonardo da Vinci: Painter at the Court of Milan’ is the most complete display of Leonardo’s rare surviving paintings ever held. This unprecedented exhibition – the first of its kind anywhere in the world – brings together sensational international loans never before seen in the UK.

Leonardo the artist

While numerous exhibitions have looked at Leonardo da Vinci as an inventor, scientist or draughtsman, this is the first to be dedicated to his aims and techniques as a painter. Inspired by the recently restored National Gallery painting, The Virgin of the Rocks, this exhibition focuses on Leonardo as an artist. In particular it concentrates on the work he produced as court painter to Duke Lodovico Sforza in Milan in the late 1480s and 1490s.

As a painter, Leonardo aimed to convince viewers of the reality of what they were seeing while still aspiring to create ideals of beauty – particularly in his exquisite portraits – and, in his religious works, to convey a sense of awe-inspiring mystery.

Works on display

Featuring the finest paintings and drawings by Leonardo and his followers, the exhibition examines Leonardo’s pursuit for perfection in his representation of the human form.  Works on display include ‘La Belle Ferronière’ (Musée du Louvre, Paris), the ‘Madonna Litta’ (Hermitage, Saint Petersburg) and ‘Saint Jerome’ (Pinacoteca Vaticana, Rome).

The two versions of Leonardo’s ‘Virgin of the Rocks’ – belonging to the National Gallery and the Louvre – were shown together for the first time.

The final part of the exhibition features a near-contemporary, full-scale copy of Leonardo’s famous ‘Last Supper’, on loan from the Royal Academy. Seen alongside all the surviving preparatory drawings made by Leonardo for the 'Last Supper', visitors will discover how such a large-scale painting was designed and executed.

Hilary Spiteri featured on MEANDER re: Academic Artistic Training in early British Malta

Hilary Spiteri interviewed on his latest publication Academic Artistic Training in early British Malta by Mariella Pisani Bencini on MEANDER.

Hilary Spiteri featured on Il-GENS by Patrick Sammut

Hilary Spiteri llum huwa lecturer tal-Istorja tal-Arti fis-Sitt Klassi tal-Kulleġġ ta’ De La Salle. Huwa parti mill-grupp Footprints li jdoqq mużika tal-ġeneru Christian Rock. Huwa wkoll wieħed mill-artisti żgħażagħ kontemporanji u fotografu dilettant. Dan l-aħħar ħareġ il-ktieb tiegħu bl-isem ta’ Academic Artistic Training in Early British Malta. Għal iktar tagħrif wieħed jista’ jara s-sit: www.hilaryspiteri.com 

L-Intervista:

1. X’inhu l-isfond tiegħek f’rabta mad-dinja tal-Arti?

Fil-prezent nista nghid li l-Arti tinvolvi parti sostanzjali minn hajti. Hija kemm il-professjoni tieghi kif ukoll il-passatemp tieghi. Fuq bazi personali jien involut artisitikament fi produzzjoni ta’ arti pittorika, muzika kif ukoll kitba.

2. Minn fejn bdiet l-idea li tippubblika xogħol bħal dan?

Din ir-ricerka taf il-bidu taghha meta kont ghadni student unversitarju. Infatti l-bicca l-kbira tar-ricerka saret ghall-Masters li jiena ghamilt fid-Dipartiment tal-Istorja tal-Arti fl-Università ta’ Malta. Xi ftit snin wara li wettaqt b’success dan l-istudju, sibt hafna inkoraggiment minn kollegi u hbieb sabiex ngholli din ir-ricerka ghall-livell ta’ publikazzjoni. Minkejja li kienet triq twila u xi mdaqqiet b’hafna ostakoli, nista nghid li l-perseveranza wasslitni sabiex intemm dan il-progett li jaghti gieh lill-istorja ta’ art twelidi.

3. X’tittratta eżattament din il-pubblikazzjoni tiegħek? Kemm ħaditlek żmien biċċa xogħol bħal din?

Il-ktieb bit-titlu 'Academic Artistic Training in early British Malta', joffri studju dettaljat fuq il-pedagogija akkademika artistika li kienet offruta f’Malta fl-ewwel sittin sena tal-hakma kolonjali Ingliza (1800-1860). Dan il-ktieb huwa l-ewwel produzzjoni Maltija li tittratta b’mod dettaljat it-taghlim tal-arti fl-ewwel zminijet bikrija tal-Inglizi f’Malta. 

Ir-ricerka li wettaqt tul dawn l-ahhar disa’ snin ma kinitx wahda facli. Grazzi ghall-appogg u l-ghajnuna li sibt minn ghalliema u kollegi, fosthom il-Professur Mario Buhagiar, Kap tad-Dipartiment tal-Istorja tal-Arti fl-Università ta’ Malta, u l-hidma kontinwa permezz ta’ ricerka f’dokumenti originali, kemm f’Malta kif ukoll f’pajjizi barra minn xtutna (Ruma u Londra), irrnexxieli nifformola stampa cara tal-istabbilimenti ewlenin f’Malta li kienu joffru mezzi didattici artisitci u min kienu l-ghalliema, studenti u artisti fl-ewwel nofs tas-seklu dsatax.

4. Għal min hija mmirata l-aktar? 

Din il-publikazzjoni hija wahda ta’ natura teknika. Ghaldaqstant inhoss li l-element viziv kif ukoll l-adattament tal-kitba jghinu sabiex din il-publikazzjoni sservi bhala passagg li jittratta l-aspetti artistiku, socjali u politiku f’Malta, fl-ewwel snin tal-hakma Ingliza.

5. Inħoss li element importanti ħafna f’din il-pubblikazzjoni huwa l-aspett viżiv. Xi tgħid dwar dan?

L-aspett viziv ta’ din il-publikazzjoni involva ammont sostanzjali ta’ energija u xoghol sabiex il-prodott ikun wiehed tal-oghla livell. It-tfassil u l-issettjar huwa wiehed ta’ natura semplici u diretta sabiex jagevola lill-qarrej. Min-naha l-ohra, huwa ta’ min japprezza r-rikkezza fotografika tax-xoghlijiet artisitici li toffri din il-publikazzjoni. Kull dettal gie evalwat sabiex il-qarrej ikollu pprovuduta gwida viziva parallela mal-kontenut. 

6. X’inhi l-importanza ewlenija ta’ ktieb bħal dan? 

Dan il-ktieb jiftah tieqa fuq aspetti interessanti fuq il-perjodu Ingliz ta’ Malta fejn ftit li xejn gie apprezzat u ricerkat. Dan il-ktieb joffri nisga ta’ avvenimenti artistici li sehhew f’Malta u li mmodifikaw l-identita taghna bhala poplu.

7. Żgur li Malta qed terġa’ titqiegħed fuq quddiem bi proġett bħal dan. Xi tgħid dwar hekk?

Malta kellha x-xorti li ghaddiet minn taht l-idejn ta’ diversi hakkiema li ddominaw b’supremazija fl-ibhra tal-Ewropa. Tajjeb li wiehed josserva li meta Malta saret kolonja Ingliza, hija saret parti minn dominju kbir li bla ebda dubju halla impatt qawwi u pożittiv fuq livell amministrattiv u edukattiv. Din il-publikazzjoni titfa’ dawl fuq dan il-progress u kif Malta zammet pari passu mal-medda taz-zmien.

8. Xi tgħid dwar it-tagħlim tal-Arti fl-iskejjel Maltin illum? Għamilna pass lura jew ’il quddiem? X’jista’ jsir għall-aħjar?

L-arti fl-iskejjel Maltin hadet spinta ’l quddiem. Min-naha l-ohra nahseb li fadal hafna xi jsir sabiex l-istudenti taghna jingħataw formazzjoni artistika kompluta. Personalment inhoss li n-nuqqas ta’ rizorsi presenti fl-iskejjel kif ukoll in-nuqqas ta’ rikonixximent tad-dixxiplina artisitka fuq livell terzjarju qed jillimitaw dan is-suggett. 

9. Inti kif tirrikonċilja x-xogħol tiegħek ta’ għalliem, l-attività kreattiva tiegħek bħala artist u proġetti ambiżżjużi u ta’ natura akkademika bħal dan il-ktieb tiegħek?

L-attività artisitka, il-professjoni tieghi u n-natura akkademika jinvolvu hafna hin u hsieb u ghalqadstant mhux daqshekk facli sabiex wiehed jilhaq kompromess. Min-naha l-ohra nhoss li din hija nisga fejn ghandek elementi differenti li jikkumplimentaw lil xulxin u jaghmlu l-affarijiet aktar interessanti. Dan iservi ta’ stimulu sabiex navvanza aktar ’il quddiem bil-progetti tieghi li ghaldaqstant iservu ta’ kontribut ghas-socjetà li naghmel parti minnha.

Intervista ta' Patrick Sammut

Hilary Spiteri featured on MUZAJK by Natasha Turner

Hilary Spiteri interviewed by Natasha Turner on Il-Mument Newspaper

Il-Hadd, 27 ta’ Novembru, 2011 - INTERVISTA

Artist minn kull dimensjoni 

Natasha Turner tintervista lil Hilary Spiteri

L-arti, il-muzika u l-fotografija huma l-akbar passjonijiet tieghu. Ghalkemm fit-tlieta li huma ha tahrig differenti, hu jhoss li huma tliet dixxiplini li jmorru hafna ma’ xulxin u li joffrulu spunt ta’ ispirazzjoni kontinwa. Ghandu wkoll passjoni kbira lejn it-taghlim u l-istorja tal-arti. Il-professjoni ta’ Hilary Spiteri – dik ta’ ghalliem – izzommu f’kuntatt mad-dinja ta’ madwaru filwaqt li l-istudenti tieghu jimlewh bil-hegga u l-kuragg biex ikollu hidma dejjiema. Is-suggett li hu tant ghal qalbu u li specjalizza fih jittratta l-arti akkademika prodotta fl-ewwel zminijiet tal-perjodu Ingliz f’Malta. Din ir-ricerka wasslitu biex jaghmel xi mawriet barraminn Malta biex jirricerka, specjalment f’Ruma. Fil-bidu ta’ dan ix-xahar ippubblika ktieb dwar ir-ricerki tieghu,bl-isem Academic, Artistic Training in Early British Malta. 

Xi tghidilna dwar il-pubblikazzjoni l-gdida tieghek?

Il-ktieb jismu Academic Artistic Training in Early British Malta, prodott mill-Allied Publications. Dan joffri studju dettaljat fuq il-pedagogija akkademika artistika li kienet offruta f’Malta fl-ewwel sittin sena tal-hakma kolonjali Ingliza(1800-1860). Dan il-ktieb hu l-ewwel produzzjoni Maltija li tittratta b’mod dettaljat it-taghlim tal-arti fl-ewwel zminijiet tal-Inglizi f’Malta. 

Ir-ricerka li wettaqt tul l-ahhar snin ma kinitx facli. Grazzi ghall-appogg u l-ghajnuna li sibt mill-ghalliema u mill-kollegi, fosthom il-Professur Mario Buhagiar, il-Kap tad-Dipartiment tal-Istorja tal-Arti fl-Università ta’ Malta, u l-hidma kontinwa permezz tar-ricerka f’dokumenti originali, kemm f’Malta kif ukoll f’pajjizi ohra barra minn xtutna (Ruma u Londra), irrnexxieli nifforma stampa cara tal-istabbilimenti ewlenin f’Malta li kienu joffru l-mezzi didattici artistici u min kienu l-ghalliema, l-istudenti u l-artisti fl-ewwel nofs tas-seklu dsatax.

Il-ktieb joffri passagg ta’tliet stadji storici li ghadda minnhom pajjizna: it-tmiem tal-hakma tal-Ordni ta’ San Gwann, il-wasla tal-Francizi u l-irvellijiet tal-Maltin li wasslu ghall-hakma Ingliza.Din il-qalba halliet impatt qawwi fuq diversi aspetti, fosthom dawk politici u socjali. Fil-ktieb hemm spjegat b’certa reqqa, il-perijodu tat-transizzjoni li ghadda minnu l-istabbiliment edukattiv Malti. 

It-twaqqif tal-Iskola tad-Disinn fi hdan l-Università ta’Malta – li kienet taht it-tmexxija tal-Kanonku Francesco Saverio Caruana – kienet rivelazzjoni ghall-istudenti Maltin li kellhom ghal qalbhom l-arti u l-industrija. Persunaggi maghrufa fl-istorja tal-arti Maltija, fosthom Michele Busuttil, Giorgio  Pullicino, Pietro Paolo Caruana, Raffaele Caruana, MicheleBellanti, Giuseppe Calleja u Giuseppe Calì taw kontribut qawwi f’din l-iskola fejn iggwidaw lill-istudenti Maltin biex imorru jistudjaw l-arti f’akkademji rinomati barra minn xtutna u jaghtu gieh lil pajjizhom. Il-ktieb jittratta diversi elementi relatati mad-didattika artistika. 

Elementi mportanti hafna msemmi hul-introduzzjoni tal-Iskola tan-Nudo fi hdan l-istess Skola tad-Disinn. Aktar ’il quddiem, f’wiehed mill-kapitli, hemm prezentat studju dwar l-istatwi tal-gibs li jinsabu fl-iskola tal-arti kif ukoll fil-bini tal-Università l-Antika, il-Belt Valletta. Dawn l-istatwi kienu manifatturati u migjubin mill-Ewropa u jafu l-ewwel uzu taghhom propju fl-Iskola tad-Disinn. Ma jonqosx li nsemmi l-istudenti li attendew l-Iskola tad-Disinn. Infatti, rapprezentati wiehed isib mixeghla ta’ disinji maghmula mill-istess studenti Maltin, prizervati fil-Muzew tal-Arti, il-Belt Valletta, fejn jakkumpanjahom hemm studju relatat.

X’messaggi trid twassal bl-arti tieghek?

Personalment ma ghandix hafna pretensjonijiet ghall-arti tieghi. Qatt ma kelli f’mohhi li bl-arti tieghi nohloq xi rivoluzzjoni jew tibdil fid-dinja ta’ madwari. Ghaldaqstant dejjem infittex lix-xoghol tieghi jkun ricerkat kif jisthoqq u li jsir b’certu livell gholi ta’ dedikazzjoni. Jiena nfittex li bl-arti tieghi nohloq tbissima u esperjenza ta’ kulur. Uhud mill-aktar kummenti gratifikanti li qatt ircivejt fuq ix-xoghol tieghi kienu li l-kuluri huma vivaci u l-kompozizzjoni li nohloq inisslu sens ta’ ferh u tbissima f’dak li jkun. Dan ghalija jfisser hafna, ghaliex il-kwadru tieghi jkun wasal biex jolqot il-karattru emottiv ta’dak li jkun espost ghalih. 

Hemm xi nies li influwenzawk, u b’liema modi?

L-involviment tieghi fid-dinja tal-Istorja tal-Arti wassalni biex insir naf hafna aktar fuq artisti varji minn diversi perjodi tal-Istorja tal-Arti. Ghaldaqstant, zewg artisti li tassew jaffaxxinani x-xoghol taghhom huma Rembrandt u J.M.W. Turner. Il-kwalità tat-tessut, kif ukoll il-manipulazzjoni taz-zebgha taz-zejt fil-kwadri ta’ Rembrandt joffru spettaklu ghall-ghajn li mhux ta’ min jitilfu. Min-naha l-ohra, il-freskezza u l-ambjent atmosferiku li Turner jimmortalizza fix-xeni pittorici tieghu jittrasportawni f’dinja kulurita kompletament estranea ghalija.Fuq bazi lokali jattirani hafna d-disinn metikoluz u meqjus tal-artist Emvin Cremona. Barra minn hekk, l-ahhar u mhux l-inqas, artist lokali li tassew halla impatt qawwi fuqi hu Charles Cassar, li kontinwament jarrikkixxi l-karattru artistiku tieghi b’ispirazzjoni immaginattiva u b’forom kuluriti.

Tahseb li l-Maltin japprezzawha bizzejjed l-arti?

Il-poplu Malti hu poplu msawwar, sa minn zmien missirijietna, minn ghagna kulturali qawwija – naturalment, kulhadd fuq il-livell personali tieghu. Personalment inhoss li ghalkemm il-poplu Malti ghamel passi ta’ ggant fejn jidhol l-apprezzament artistiku, nahseb li fadal hafna xi jsir fejn tidhol l-edukazzjoni artistika. Jien inhoss li f’Malta l-edukazzjoni artistika hi sottovalutata, bil-kosegwenza li t-tahrig artistiku ingenerali fl-iskejjel Maltin jitqies fuq livell inferjuri jew vokazzjonali. Jiena nemmen li d-dixxiplina artistika, fuq diversi livelli, issawwar bniedem denju tal-istorja li ssawru u tat-twemmin li hu jhaddan!

Xi jdejqek jew xi jweggghek l-aktar fis-socjetà?

Is-socjetà ta’ madwari toffri bosta opportunitajiet. Ghaldaqstant jien ninsab imwegga’ minn sitwazzjoni ta’ menefregizmu (terminu li nhobb nuza hafna u li jfisser:“kulhadd jigi jaqa’ u jqum minn kollox”) li dan l-ahhar sar fenomenu komuni fiz-zghazagh, mhux biss Maltin imma anki globalment. Dan qed iwassal biex qed tkun generata atmosfera ta’nuqqas ta’ interess u hegga,dominata minn uzu abbuziv tad-dinja elettronika. Min-naha l-ohra, fuq livell lokali, jien ninsab urtat fuq in-nuqqas ta’ trasparenza f’kull livell tas-socjetà Maltija, lithaddan dan il-kuncett b’certa sahha. Mhuwiex facli li f’dan l-ambjent wiehed jirnexxi bil-progetti tieghu.

X’tixtieq l-aktar f’hajtek?

Hemm hafna affarijiet materjali li wiehed ikun jixtieq f’hajtu, fosthom is-success, ir-reputazzjoni u l-istabbiltà socjali. Ghalkemm, sincerament, inkun qed nonqos jekk ngnid li ma nixtieq xejn minn dan. Biss, nahseb li l-aktar li nixtieq huma affarijiet dejjiema, bhall-kuntentizza interna, li nemmen li twassal ghall-ispirazzjoni dejjiema, il-mutur / muza tal-artist. L-aktar haga li nixtieq fuq bazi lokali hi li l-element zaghzugh jinghata aktar cans ghall-espressjoni u iktar opportunitajiet biex wiehed javvanza u jesponi l-potenzjal tieghu. Inhoss li Malta tkun qed titlef meta diversi individwi jistabbilxxu ruhhom b’success barra minn xtutna minhabba li l-kwalitajiet eccellenti taghhom ma jkunux gew apprezzati, anzi spiccaw imwarrbin.

Ghal aktar informazzjoni dwar dan l-artist,wiehed jista’ jzur: 

www.hilaryspiteri.com

www.hilaryspiteri.blogspot.com

Hilary Spiteri featured on PBS re: Academic Artistic Training in early British Malta

The recently published book by Hilary Spiteri, entitled Academic Artistic Training in early British was featured on Malta' national television station PBS. The feature was written by Mr. Sergio Mallia and filmed by Mr. David Gutteridge.

The short clip, which was filmed at the National Museum of Fine Arts, Valletta, Malta, summarizes the plot behind this new publication. It also discussed the highlights of this book offering a hands-on exposure of a number of original drawings, preserved in the Maltese national collection, which feature in the said publication. 

The feature stresses the importance of this publication as being the first one of its kind in Malta and also about the relevance of this study in our contemporary art practices.

The feature was produced in Maltese language.

Artistic scenario in early British Malta - www.timesofmalta.com

The makings of an artist.

We often look at the finished product – the installation, the painting, the sculpture, the form – forgetting to trace the trajectory that brought the creative process to fruition.

Artistic training, whether formal or informal, should not be overlooked, nor underestimated. And this is precisely what artist, educator and author Hilary Spiteri is bringing to the fore in his publication Academic Artistic Training in Early British Malta being presented at this year’s Malta Book Fair.

Ahead of the presentation of his publication, Mr Spiteri shared some thoughts concerning his research, his choice of subject and context.

“Way back, as a student I recall attending a conference at the Old University Building in Valletta. It was then I came across part of the collection of classical plaster casts exhibited in the corridors leading to the Aula Magna. It was love at first sight!”

Soon after, he was to submit a proposal for a Master’s degree at the University of Malta. After showing interest in the subject and discussing the matter with History of Art head of department Mario Buhagiar, it was decided that he would focus on a chronological and socio-political artistic understanding of the context in Malta during the early 19th century under the newly-established British rule. “This was much needed, especially to bridge Malta’s glorious past under the Order of St John and the newly-set colonisation brought forward by the British.”

The purpose of this publication is to contribute as a comprehensive study of academic training and academic artistic production in Malta during the first half of the 19th century. “This is the first publication of its kind to broaden and adjust our perspective of the artistic scenario of early British Malta and to show how, in spite of the decline in official patronage, the University, under the enlightened direction of Mgr Caruana, succeeded in providing Malta with a respectable art academy. This was not an anticlimax but a new beginning and a benchmark development in Maltese Art History.”

The book summarises the research conducted by Mr Spiteri for his MA, however, he has re-assessed and amplified some areas of my research, especially the critical analysis provided on the collection of 19th century drawings present at the National Museum of Fine Arts (NMFA) while simultaneously citing reports related to the University of Literature and education in Malta during the first half of the 19th century. He explains how, originally, he had no pretension of featuring any stunning discoveries in his account. However, “Thanks to the help of Theresa Vella and the late Dennis Vella (at the time curators of the NMFA), I came across an invaluable collection of 19th century drawings present at the museum... I believe that this was a major discovery in assessing academic 19th century art in Malta. I strongly affirm that this collection is to be listed as a national treasure.”

This publication also presents a thorough research of 19th primary sources. This resulted in the unearthing of a number of practices adopted at the University of Literature at the time. The documents reveal the establishment of the Malta School of Design, its pedagogical programme and its didactic resources. During the process, Mr Spiteri also encountered some very interesting documents affirming the establishment of a life class under the tuition of artist Michele Busuttil. “This was a 19th century milestone in Malta considering the rigid religious conservative attitude prevailing at the time,” he explained.

“I also ought to mention a very important report written by Canon Emmanuele Rosignaud in 1839, preserved at the Malta National Archives, which I brought to light. This report offers an outstanding scientific account of the education in Malta during the first half of the 19th century.”

Mr Spiteri consequently explains how this publication bridges Malta’s Knights period and the British imprint on the islands: “This scarcely-researched period has drawn the attention of a number of art historians, but most of their writings were limited to a general overview, due to the lacunae present in most of the public archives. The merit of the publication thus lies in a much needed attempt to broaden and adjust our perspective of the artistic scenario of early British Malta.” Mr Spiteri hopes that his publication will mark the beginning of a series of studies featuring Malta’s 19th century academic artistic training and the art being produced at the time. “My intention is to pursue in studying this artistic period in depth thereby contributing to the enrichment of art history in Malta.”

Presently, Mr Spiteri is dedicating his time to promoting his book locally and internationally.

Meanwhile, as an educator, he is driven by the love and passion to acquire knowledge about his country’s artistic identity, availing himself to further research the ample grounds which this field of study offers. His profession on the other hand together with his artistic activity and production compliment his research and embody his fulfilment.

• Academic Artistic Training In Early British Malta is published by Allied Publications and will be for sale at Word for Word, Castille Place, Valletta and all leading bookshops.

Academic Artistic Training in early British Malta by Hilary Spiteri - Available in all leading bookstores

MIPP Collective Exhibition at Valverde, Sicily

The Malta Institute of Professional Photography (MIPP) will inauguarate a photographic exhibition under the title ‘Streets of Malta’ on Friday, October 28, at Galleria Fiaf - Le Gru in Valverde(Sicily). 

Giuseppe Fichera, president of Gruppo Fotografico Le Gru and Santo Mongioì, director of Galleria Fiaf - Le Gru will introduce the event. The exhibition will remain on till November 4, 2011. 

Exhibited photographic works are by MIPP members: Adrian Camilleri, Alexandra Pace, Andrew Galea Debono, Anthony Grech, Astrid Pardew, George Abdilla, Hilary Spiteri, John Ambrogio, Joseph Herbert, Kevin Casha, Omar Camilleri, Owen Vella, Ruben Buhagiar, Reuben Chircop and Sergio Muscat.

ST. Art Project

Recently, I have attended an interesting conference launching a new project under the branding ST.ART.  This aims to bring together street art forms and art education aimed to be used as a bridge to re-establish communication between young people and local community and to strengthen the sense of common ground and interest.

The specific objective of the ST.ART project is to help young people acquire the basic life-skills and competences necessary for their personal development, for future employment and for active European citizenship. The main aim of this project is to get to know the difference between aesthetic and street art forms, graffiti and vandalism, and how different choices can lead to different consequences.

The project aims at encouraging wider arts participation, creative teaching and learning through a new integrated methodology that combines Web 2.0 and Open Sim. This new kind of platforms integration creates a Virtual Learning Environment (VLE) that aims at developing an innovative learning environment in order to:

• - improve students’ transversal skills as digital, social and civic competences, sense of initiative and entrepreneurship, cultural awareness and expression;

• - encourage students’ creativity through developing street art works in Open Sim environment.
• 
  

The performing arts are used to carry the message and spread information in exciting visual ways that capture the attention of users.

As MELISSA HUGHES states in her STREET ART & GRAFFITI ART: DEVELOPING AN UNDERSTANDING, “Enabling students to think critically for themselves is unquestionably integral to their development as young adults, and this type of critical thinking can take place inside the art classroom. The artistic process offers infinite opportunities for creative thought, personal expression, and problem solving. When students are deeply engaged in constructing meaning by looking at art, discussing, or constructing it, they grow artistically and personally.”

Through out the two-day conference one had the opportunity to meet foreign art teachers and share ideas.  Very interesting sessions were organised having the intervention of foreign scholars about the subject. Workshop 3 turned out to be an exhaustive but informative featuring Street Art in relation to art history and its proceedings. Following are the number of lectures presented:

Art assessed over time

Chair: Ms. Monica Fasciani – University of the Studies Guglielmo Marconi

Overview of art works in Malta

Mr. James M. Grimaud - artist

The WAVES project: an experience of urban culture

Ms. Simona Galizia – Delegated to the Youth Policy by the Mayor of Civitavecchia -
coordinator project Waves

Street art or graffiti?

Mr. Cedar Lewisohn – artist, writer and curator

From street art to urban art

Mr. Dario Morgante – curator of Mondo Bizzarro Gallery in Rome
Being against.

Remarks on Rebellion and Recognition through the history of art

Ms. Irene Baldriga -  teacher
ANISA Associazione Nazionale Italiana Insegnanti di Storia dell’Arte

Academic Artistic Training in early British Malta | Forthcoming publication

Academic Artistic Training in early British Malta

Hilary Spiteri has woven together the history of the rise and decline of the School of Design, set up by Mgr Francesco Saverio Caruana, and discusses it in a meaningful art historical context. The book summarises the research for a Master’s thesis that he defended in the Department of History of Art at the University of Malta. Its great merit is the way in which it broadens and adjusts our perspective of the artistic scenario of early British Malta and to show how, in spite of the decline in official patronage, the University, under the enlightened direction of Mgr Caruana, succeeded in providing Malta with a respectable art academy. This was not an anticlimax but a new beginning and a benchmark development in Maltese Art History.

Professor Mario Buhagiar

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The book will be out on November 4, 2011.  It will be available for sale from leading book stores and online from ALLIED PUBLICATIONS.

Art in danger!

I was recently reading The Art Newspaper and an article entitled ‘Arts education in England threatened’ featured. This brought to my mind our educational progress and reformation and the way it is affecting the humanities, especially art, in our schools.  This is something occurring globally and to a certain extent even in Malta’s educational curriculum. Art is demoted and thus being considered as an added or vocational field of study.

 

Anny Shaw, correspondent for The Art Newspaper brought to the light the concerns brought forward by the Cultural Learning Alliance (CLA) and Arts Council England about the eminent cut of the arts subject from secondary school education in England following the introduction of the English Baccalaureate. As stated, pupils are to be ranked according to grades scored in five core subjects being: maths, English, science, a language and either history or geography.

 

I believe that the arts are facing a hard time. An increasing interest in generating an empiricist and scientific frame of mind is placing aside the arts. In Malta, the arts have suffered throughout.  Since the early nineteenth century, art was one of the major subjects offered in our curriculum, until it was demoted and noted as being an additional subject.  Locally, students who have an artistic inclination are being deprived from having the opportunity to study the fine arts. A case in point, Malta’s highest body of education does not offer a degree in fine arts.  In turn, students have to find other alternatives. They have to further their studies on a personal basis, either locally or more-likely to attend foreign universities.

 

One ought to ask; is this the right way to go? The pressure excerpted from the technological progress is to undermine the arts?

 

Being an educator and art teacher, I daily encounter a good number of students who lack initiative and creativity. Unfortunately, this is a phenomenon that is gaining momentum quite rapidly in our schools. Contrastingly, these two artistic qualities are also considered as pre-requisites when considering working in well-established technical posts. In fact technical establishments constantly show their concern that the present generation of apprentices lack the urge to create and produce something innovative in an ever-growing global entity, where everything is considered as discovered and pre-emptied.

 

Are we to compensate for this lack? Should art related subjects further generate and enhance the student’s innate creative abilities?

 

Is the philosophy of making more attractive science oriented subjects going to be fruitful? Is the shelving of art oriented subjects going to back-fire in the long run?

 

These are some of the issues which our educational establishments should address. I believe that our education should offer a holistic approach allowing equal opportunities for those students who opt to study the arts.  Anna Culter, the director of learning at the Tate and a member of the CLA, hits the bull’s eye when saying that “if arts subjects are taught with rigour, they add values and competencies and a capacity to think imaginatively and differently, which we need in a society based on innovation. It's what we valued in the Renaissance, this wide range of knowledge that inspires innovation.”  This affirmation should become a main focus in an expanding educational and pedogical conscience.

 

One finds it difficult to apprehend the way art is growing to become something related with our civilisation’s glorious past, the history of great social eras (Renaissance, Baroque and many others). Our curricula are growing to be more nostalgic rather than generating a sense of belonging through the application of the arts, which will eventually set the ball rolling in drafting our future.

Rotta tal-Arti 2011 - The Inauguration - September 9, 2011

Resting Boats & The Fight

2nd Floor

Yesterday, I was present at Dar Partit Nazzjonalista for the inauguration of the 6th consecutive exhibition entitled ‘Rotta tal-Arti’.  This exhibition, which was inaugurated by the Maltese Prime Minister Dr Laurence Gonzi, forms part of the Malta Independence festivities, which are organised annually in Malta.

This exhibition is one of the vastest exhibitions annually held in Malta under one roof.  It comprises different art forms including sculpture, ceramics, paintings and mixed media.

Inauguration of the 2008 exhibition by Prime
Minister of Malta Dr Laurence Gonzi

One is also to note that this exhibition honours late famous Maltese artists.  In fact a section of this exhibition is dedicated to renowned names such as Wille Apap, Ċensu Apap, Anton Agius, Emvin Cremona, Antoine Camilleri and Victor Diacono.

My works are exhibited in the second floor of the building.  For further information about my works, ‘The Fight’ and ‘Resting Boats’, please follow this link: Rotta tal-Arti 2011.

Entrance to the exhibition is free and it will be open to the public until the 30th of September 2011.

Modern Artistic Sensibilities in Maltese Art - The Exhibition

Recently Heritage Malta has invited me to what I consider as a major event when it comes to reassess Modern Art in Malta. I was present to the official book launch of ‘Pioneers of Modern Art in Malta’ written by Prof Joseph Paul Cassar. This event was accompanied by an exhibition entitled ‘Modern Artistic Sensibilities in Maltese Art’, also curated by Prof Cassar.  The exhibition featured Modern works of art from the National Collection and it was held at the National Museum of Fine Arts, Malta.

Heritage Malta in collaboration with Prof Cassar, organised an onsite lecture, in which Prof Cassar revisited a good number of the works exhibited.  His lecture was a very detailed and inspiring one.  


On a personal note, during this lecture, I recalled my past days at the UOM Junior College and University of Malta when I used to attend Prof Cassar’s enriching and well-prepared lectures.

Prof Cassar, who is reputed to be one of the major scholars on Modern art in Malta, in his book, sheds light on the Maltese modern artistic sensibility and states as follows:

“History makes it apparent that modern sensibility in the realm of the visual arts in Malta is a belated experience. This does not take away the efforts brought about through a group effort mainly by the Modern Art Circle, Atelier ’56, The Modern Art Group, The Artists’ Guild, Spectrum ’69 and Vision ’74...”

Biographical note:

Prof Joseph Paul Cassar is a practising artist, art historian, art critic, curator and educator. He was a decisively inspiring academic spearheading the formation of a generation of Maltese scholars, educators and professionals in the field before moving to University of Maryland University College where he is currently Professor of Art. He is also engaged in designing dynamic online art courses for the New York Times Knowledge Network. Professor Cassar is also one of the Malta National Museum of Fine Arts'  internationally acclaimed consultants and advisors.