Slade School of Fine Art (Graduate Programmes) Faculty: Arts & Humanities EVALUATIVE REPORT

UCL QUALITY REVIEW FRAMEWORK - ANNEX 6.1.3: ASER EVALUATIVE REPORT AND DEVELOPMENT & ENHANCEMENT PLAN Academic Session: 2014/15 Department: Slade School of Fine Art (Graduate Programmes) Faculty: Arts & Humanities EVALUATIVE REPORT

Context:

The Slade offers two graduate programmes. Our MA in Fine Art is a two calendar year programme (24 months) and our MFA in Fine Art is two academic years (18 months). Both are non-modular studio-based programmes and share similar entrance requirements. The MA requires students to have gained a second class honours degree; the MFA requires students to be of graduate standing. All applicants must submit a portfolio of work for inspection. The MA course includes a History and Theory of Art component. The MFA course includes a Critical Studies component comprising of two parts: a written and an oral contextual study. The student cohort has a strong international perspective, and benefits from a wide variety of specialist knowledge delivered by staff and from a range of technical facilities.

The graduate programme is organised into three subject areas: Fine Art Media, Painting and Sculpture. Each subject area is led by a Head of Area and staff team. Important to both programmes are the regular meetings between staff and students in their respective areas in which the course is discussed and weekly events reviewed. Heads of Area, the Graduate Coordinator, Head of Art History and Theory of Art and the PhD Co-ordinator discuss the programmes at weekly Programme meetings. Further opportunities to review the programmes are facilitated by Departmental Teaching Committee and Staff Student Consultative Committee meetings, and a dedicated Planning Programme meeting held annually. Programme Specifications and Programme Diets are reviewed and reconfirmed annually.

Achievements:

 From the 2013/14 graduating year, 100% of Slade students went on to employment or further study. Of these, 81% entered graduate-level employment or further study.  A number of graduates participated in prestigious national and international exhibitions, including the New Contemporaries and are pursing PhD studies, which can include curating high profile exhibitions such as ‘Painting in Time’, Tetley, Leeds, May – July, 2015. One 2014/15 graduate was invited to participate in the forthcoming Liverpool Biennial.  All final year Graduate students achieved either a Merit or Distinction.  Six students on the Dean’s List, three from the MA and three from the MFA.  The Slade School continues to offer several large, external awards. Some of these, such as the Adrian Carruthers Award offer students studio space and a stipend in the year following graduation. In 2015 the Chadwell Studio Award was open to Slade Students for the first time (along with graduating students from the Royal Academy School and the Royal College of Art) and was won by a Slade student.

Improvements:

 Dedicated studio spaces were allocated to the PhD cohort at the Slade Research Centre. The relocation of PhD students improved studio conditions for graduate taught students and PhD students, enhanced studio culture and a sense of community for the PhD cohort.  A clearer introduction to the Critical Studies requirements for MFA 1st year students was instigated in the MFA 1st year meeting in the Summer Term.  The Interim Show was re-defined for a shorter, more intense run and re-configured to take place in the Slade’s main building instead of the Slade Research Centre at the start of the academic year. This revitalised the event for both staff and students and provided a wonderful occasion, both celebratory and critical, also with an outward-facing public aspect, for students across all programmes at the Slade. It also allowed improvements to be made to the Graduate and Undergraduate programming of the first two weeks of term.

Student Projects:

 As the Slade delivers research-based teaching and Slade students develop negotiated study and research plans through tutorial discussion, our students develop individual research projects from the day they enter the school. These projects are supported by one-to-one tutorials, group tutorials and through workshops and seminars that develop skills and conceptual and contextual frameworks. Students receive feedback from staff and their peers and also from expert visitors to the school.  In addition, the Slade recognises that students collaborate on group and off-site exhibitions and projects that create a context for their work beyond the School. Last year students took part in a number of projects including:

o Graduate Painting Group Project at ‘The Windshow’, Camden People’s Theatre, London, November 2014.

o Four graduate students had the opportunity to work for US artist Jennifer Bornstein on a London-based printing commission in September 2014

Collaborations:

 The Red Mansion Foundation provides an annual opportunity for one first year graduate to travel to Beijing for a residency in August, in participation with the RCA, the Ruskin School of Art, Goldsmiths and Chelsea College of Art.  ‘Cities Methodologies’ is a pan-UCL initiative to showcase innovative methods in urban research, drawing together work from undergraduate programmes through to graduate and PhD studies, staff and the wider research. Two graduate students took part in the exhibition.  ‘Inspire’: a British Council strategic exchange initiative between the Slade and the University of Dhaka that has provided an exchange residency for two graduates from each institution and an opportunity for staff from both institutions to visit each art school and contribute to the programme with lectures and workshops. Initially funded for three years in 2010, the British Council have extended support for the programme until 2017. Two 1st year graduate students went to the University of Dhaka for the month of April in 2015.  The ‘Rock Room Project’ was initiated in 2013 for Slade Graduate students in collaboration with UCL Earth Sciences. Currently in its third year, the project involves a yearly pop-up exhibition at the UCL Rock Room as well as excursions and tours through a series of UCL Earth Sciences laboratories (including the Geochemistry Laboratory, Fracture Mechanics, Micropaleontology Laboratories, Vibration and Cold Rooms, the Regional Planetary Image Facility, the UCL Engineering wave machine (Marine Engineering), the Chemistry Department and the UCL Mullard Space Science

2 Laboratory in Surrey.  UG/PG Studio Critique collaboration between Camberwell School of Art and Graduate Painting at Slade  Promotion of the Slade Graduate Programme: a graduate student contributed to the Graduate Forum at Chelsea College of Art and was invited for follow-up tutorials in November 2014.  Materials Research Project aims to research and promote understanding of material knowledge. As part of this, the Pigment Library was begun in 2010 and now includes over 700 pigment samples. Students are introduced to both traditional and contemporary techniques though a continuing series of workshops by staff and invited experts, such as Winsor & Newton, John Purcell Papers and Historic England.  Museum of London annual commission: In its second year in 2014-15, each year, the Museum of London commissions a piece of work from a Slade student for its LED light curtain which is then on display for a number of months at the Museum. In 2014-15, the proposal of a second year MFA (Media) student was selected.

Events:

In 2014/15, these included:

 ‘PhotoClub’: A medium-specific forum for students from across the Slade to discuss conceptual and technical concerns around their use of photography, this takes place weekly during term time.  Slade Interim Show: The Slade MFA/MA Interim Show is a chance to see the work of MFA and MA Fine Art students entering their second year of study at the Slade. The show includes work by students in Fine Art Media, Painting and Sculpture.  The Slade Print Fair: The Slade Print Fair is a fundraising event to raise scholarship funds for Slade students. The fair, in its second year, continued to celebrate contemporary printmaking and featured an exhibition, the latest Slade Edition by artist Lisa Milroy, live screen printing and a sale of original editions. The print fair included works by current Slade students, staff and alumni. Crucial to the Slade Print Fair was the comprehensive participation of the students in the organisation, preparation and delivery of all aspects of the fair and engagement with the public.  Slade Print Fair at Multiplied: Extending the activities of the Slade print fair works by current Slade students, staff and alumni were shown and were for sale in a lively setting of artists, art-lovers and critics during the Frieze week in London. The fair encompasses the whole spectrum of contemporary prints and publishing.  Slade School of Fine Art/UCL Art Museum annual collaboration: The sixth one-month exhibition which began with a challenge to all current students at the Slade to develop their own practices while given special access to thousands of historically important artworks from the Museum’s collections. The students’ research led to the discovery of a number of hidden treasures that they then responded to. Many of the historical artefacts were displayed alongside their responses.  ‘Multiple Corner UCL Observatory’: An initiative during the degree show giving the undergraduate, graduate and PhD students the opportunity to sell editions of their own prints and multiples to the public, hosted in the specially adapted interior of the Observatory in the UCL quad.

Staffing developments:

 Last year was a challenging period for the History and Theory of Art staff on the MA programme. One of the two members of the History and Theory team was absent through illness requiring cover from January 2015 and the teaching assistant appointed to teach for the year had an accident necessitating cover from early November 2014. A teaching assistant who had taught previously on the MA course covered MA1 teaching in term 2

3 and MA1 and MA2 research supervision. Prompt and well managed replacement cover meant that the course was delivered with minimal impact on students, with the external examiner commenting in his report that ' The course recovered well from the serious illness of a key staff member and an accident sustained by another, drafting in an associate lecturer with considerable experience of the course.'  In Graduate Painting, a staff member was granted sabbatical leave for the autumn term 2014, which was followed by an extended leave of absence. This resulted in the appointment of a teaching fellow in Painting.  Appointment of a new 0.2 teaching fellow in Fine Art Sculpture, for one year, specialising in 3D Print and Digital Processes.  Lisa Milroy, Head of Graduate Painting was promoted to Reader, Joy Sleeman, Head of Taught Courses in History and Theory was promoted to Reader and Sharon Morris, Deputy Director and Head of the Doctoral Programme, was promoted to Professor.  International artists who come to the Slade as part of the Slade artist residency programme as part of the Transcultural Artists’ Network (TAN) contribute to the Slade through enhancing widening studio discourse with a global international perspective on contemporary art practice  There are currently three Honorary Research Associates who contribute to the graduate programmes’ research culture and projects, including the Materials Research Project and the Discourse Project.

Strengths: Issues:

 Student Profile (Male, Female, Home, EU, Overseas, Ethnicity, WP)  Student Profile (Male, Female, Home, EU, Overseas, Ethnicity, WP)  Admissions and recruitment  Admissions and recruitment  Progression  Progression  Average Student Achievement  Average Student Achievement  BME student Progression and Achievement  BME student Progression and Achievement  Widening Participation  Widening Participation  Final Classification  Final Classification  Student Feedback (NSS, EE, DS, PTES etc.)  Student Feedback (NSS, EE, DS, PTES etc.)  Learning Resources Learning Resources  Student Profile (Male, Female, Home, EU, Overseas, Ethnicity, WP) Student Profile (Male, Female, Home, EU, Overseas, Ethnicity, WP) Gender - The Slade graduate male:female ratio of 41:59 % is slightly more equal than UCL as a whole which has a male and female ratio as 37:63 %. Ethnicity - The main concern in terms of student profile is the low number of This is surprising given that there is more of an imbalance at undergraduate students identifying as BME with 71% of those joining in 2014/15 identifying level. as white as opposed to the cross-UCL total of 54%. These figures correspond to the undergraduate figures (71% and 53% respectively). In 2014/15, the Graduate programme was led by two female Heads of Area and one male Head of Area. The gender balance of staff on the graduate Admissions and recruitment course has been discussed at the Slade and does not seem to be an issue. We will take note of the staff gender balance in the light of any need to Total application numbers were lower for the graduate programme. 248 change staff roles. applications were received for the 2014/15 intake against 290 for 2013/14 and a peak of 463 in 2010/11. However, the overall recruitment was

4 Domicile – The ratio of Home - EU - Non EU students is 55 – 12 – 33. UCL adequate (see Strengths) in terms of quality for both Home/EU and Overseas as a whole has a ratio 53 – 12 – 34. This suggests that the Slade School is applications and admissions. line with other UCL departments in this area of recruitment. Issues with attracting Overseas and BME students have also been Widening Participation highlighted in sections on Ethnicity and are matters of ongoing discussion in the School. The Slade graduate admissions process is organised to promote fair opportunities for all candidates at both the portfolio inspections and interview The Slade is also extremely concerned that a high application fee (a £50 stages. The Slade encourages interested students to visit during the autumn application fee added to the £25 portfolio inspection fee for 2014/15 entry) term; the Slade tours were fully-booked in 2014/15. Additionally, the Slade may have discouraged applicants from the widest range of backgrounds to participates in the UCL Graduate Open Days and holds its own Slade open apply. studio day in December. Staff take care during the initial portfolio inspections to look for promise within the students’ work. BME student Progression and Achievement

In addition, the School actively engages in WP initiatives with the following This data is not currently maintained separately in-house but this is easily undertaken during 2014/15: remedied if those Slade students categorised as BME can be identified for the School’s Academic Manager. Slade staff would then be able to analyse  Introduction of a WP sub-committee of the DTC to look at the issues relevant data and comment. and priorities surrounding WP and Access for the School.  At the request of UCL Access and Outreach, the Slade’s Academic Widening Participation Manager joined an external WP group - the HE Access Arts Forum. The new Academic Manager is also willing to continue this This proves more difficult at postgraduate level, owing to the need to have gained the necessary skills to produce a good portfolio at undergraduate membership. level. Graduate student loans may go some way to assisting students from  Disability declared students: The Slade has a high intake of students less privileged backgrounds to attend, although students may only apply for with disabilities (19%) compared with 6% across UCL as a whole. one year’s tuition fee loan; the Slade MA/MFA programmes last for two years. Students who declare a disability before or during the application The Slade is pleased to offer a selection of scholarships, such as the process and who wish to visit the Slade, are offered the opportunity to Sarabande Scholarship, which are awarded on the basis of both need and make an appointment with Student Disability Services to discuss the academic excellence. support and adjustments which UCL can offer. Final Classification

Admissions and recruitment Several external examiners reported concern with the introduction of the Merit category into the Slade’s final degree classifications. External Applications for both MA and MFA programmes remain steady with a total of examiners also suggested that it would be helpful for “contextual” information 248 received for 2014/15 entry against an agreed target of 56 – a ratio to be available when examining the students’ final exam pieces. therefore of almost 4.5 applications for each available place. Applicants for both programmes must submit a portfolio of work for inspection by a panel of Student Feedback (NSS, EE, DS, PTES etc.) internal examiners, with approximately 133 of those who do subsequently invited to a formal interview at the Slade. A total of 80 offers were made from Space was a frequent subject which students mentioned at SSCC and this final applicant pool resulting in a subsequent intake of 58 students. This informally to staff. The Slade is fortunate to manage its own footprint and is

5 meant an overall 72.5% conversion to target. The Slade recruited its target of able to adapt space to respond to students’ needs; however, this will need to 19 Overseas students and 2 more Home/EU students than expected. be carefully monitored in future years as the numbers of graduate and undergraduate students, and the numbers of students in each area, fluctuate. Care is taken during the recruitment process to balance the gender of staff across the interview panels, where possible. There were lots of positive comments about the system of tutorials at postgraduate level, although some students had concern about availability of Progression tutorials.

As a non-modular programme, progression cannot be tracked on Portico and In terms of the MA programmes, there are challenges in supervising so wide is therefore instead monitored in-house. End of year progression for first year a range of MA research projects by a small team of staff teaching in History students is based on an internal review and assessment and reported at the and Theory of Art. The external examiner for history and theory commended internal PG Review and Assessment Panel. All first year students progressed our meeting this challenge in his report, stating that, “As is the nature of this to the second year. integrated course, where students are encouraged to pursue idiosyncratic interests in parallel with their creative studio practice, the range of topics Average Student Achievement addressed continues remarkably and positively diverse. The challenge to supervisors and markers has clearly been met.” With continued strong Again, given the non-modular nature of the Slade’s programmes, average recruitment to the MA programme and the need for continuity of supervision student achievement cannot be shown in the statistics prepared by the UCL across two calendar years the provision of supervision and the volume of Statistics team. Data is however maintained in-house and the local database marking continue to present a considerable challenge to the small team of can be reconfigured to ensure that statistical analysis to mirror that required permanent staff teaching in History and Theory of Art. for the ASER can be carried out. With regard to the Contemporary Art Lecture series, students also raised Final Classification concerns about the Slade’s programme of visiting speakers. Several problems were encountered with last-minute cancellations from visitors. Results across the two programmes were consistently high. In the MA, 5 students achieved a Distinction and 4 students achieved a Merit Learning Resources classification; in the MFA, the breakdown was 20 Distinctions and 22 Merits. These results reflect the high standard of applicant and teaching at the Slade. The Slade attempts to keep all workshops and resources, such as software Our assessment process is thought of highly by external examiners and is provision, well equipped and up to date. This is a challenge given that much reflected in their reports. equipment is expensive and constantly being improved but we believe we have good learning resources at present. The metal and woodwork workshop Student Feedback (NSS, EE, DS, PTES etc.) has been redesigned and works well but need updating, in relation to upkeep and repair of equipment and health and safety. Students have requested Monitoring of Teaching is mostly positive and provides insight into the longer “out of hours” access to studios and longer lending hours for strengths and weaknesses of the programmes. Trends based analysis of equipment. MOT responses was introduced in 2013/14 and highlighted areas for consideration, which were acted upon in 2014/15. We are hopeful that the Whilst many of the studios are in good condition, some can be cold in the introduction of the PTES will provide a streamlined method for collecting data winter months and badly lit. Some areas, including the lavatories and sinks, about students’ views. are in need of refurbishment. There have been ongoing problems with water leaks in the Underground Studio at the Slade (studio 18) which houses first year graduate Sculpture Students. Estates have been seeking to address for

6 Learning Resources some years however this is yet to be satisfactorily resolved. The Slade is concerned that this does not present well, especially when students are The Slade attempts to keep all workshops, studios and lecture rooms well paying high fees across the Slade’s two year graduate taught programmes. equipped, and its resources, such as software provision and tools and machines, up to date. We have a range of learning resources relevant to the subject and adequate for delivering generic and specialist fine art skills and the components of the different components of the programmes. The UCL library is excellent, as is the Institute of Making, which our students use well. Learning resources that students benefit greatly from include:

 The Slade School of Fine Art is located in the centre of London and London’s art world, enabling easy access to a wide range of unparalleled learning resources including many important galleries, museums, libraries, cultural institutions and theatres.  The Slade School of Fine Art maintains and supports cutting edge methods of making whilst continuing to explore and invest in traditional approaches.  The Slade Research Centre provides an excellent space for students to explore their research to fully achieve learning objectives and progression to post-degree education and establish professional practices.  Visiting Lecturers programme.  Student led and research based teaching methodology.  The Slade actively maintains access to traditionally-based resources such as the book bindery, lithography, Steenbeck 16mm and super 8 film editing decks, as well as contemporary and emergent resources including Black magic camera 4 k video. This feeds a dialogue between established and emerging technology and its impact on critical thinking.

Programme Name: >>> MA Fine Art

Programme Name: >>> MFA Fine Art

7 Key Departmental Priorities for Action:

1) Tutorial Support for MA/MFA students. 2) Review of the Visitor and Contemporary Art Lecture programmes. 3) Recruitment across all types of student (Home, EU and Overseas). 4) Responding to student requests for more and “better” space, new equipment and longer opening hours. 5) BME Student recruitment and monitoring. 6) Widening Participation. 7) Discuss the clarity of assessment criteria (EE) and the contextualisation of students’ exam work. 8) Classification rules change. 9) Investigating students’ opportunity for employment after graduation.

*NSS – National Student Survey, EE – External Examiner Reports, DS – DEVELOPMENT AND ENHANCEMENT PLAN Data Set, PTES – Postgraduate Taught Experience Survey, PD- Peer Dialogue

All key priorities for action listed above should be addressed in the Development and Enhancement Plan below.

Departments are also asked to explain how they have involved students in the development of the Plan and how it and its outcomes will be communicated to them.

Person Implementation Comments/ Source Issue Action Progress Evidence Responsible Date Issues Organisation and Management [NSS, [Identify key issue] [Identify evidence that [identify start EE, etc*] [Identify agreed action for [Identify [Identify date of issue has been date, or mark resolution] responsibility] implementation] resolved i.e. NSS etc*] complete]

8 EE We do not believe that this Standards will be The Slade SSCC is a key issue to be monitored by EE and was praised in addressed in 2015/16 MOT, as well as by an EE report based on EE reports and analysis of comments for its handling MOT data. raised by students at of difficult the SSCC. staffing Students were invited at the issues, which SSCC to report any areas arose through of concern in view of the illness and ASER submission. injury in 2014- 15. Teaching MOT Contemporary Art Each year a staff member Planning Recommend September 2015 This will be reviewed SSCC Lectures (CAL) undertakes to programme Committee ations from at the following the Contemporary Art the 2014/15 year’s Planning Lectures. Although the feedback Committee using programme reflects the have been students’ comments particular vision and outlook put into place from the PTES and of the staff member, it for 2015/16 SSCC. should also embrace current issues within contemporary art and include a range of guest speakers to inform, challenge, stimulate and inspire the CAL audience.

The CAL programme is reviewed during the Planning Committee. In view of staff and student feedback, the number of lectures has been reduced for 2015/16. Most lectures can be viewed on podcast to reach those students who may not be able to attend and to reach the widest possible audience.

Assessment and Feedback Assessment and We can confirm that all Director of MOT will We will review Standards will be EE MOT Examination was widely programmes and courses Graduate start in March MOT data in the monitored by EE

9 praised by external have clear assessment and Studies and 2016. Summer term and MOT, as well as examiners, although marking criteria and these Academic 2016 and by analysis of students have asked for are available and clearly Manager implement comments raised by clearer assessment publicised to students in changes if students at the criteria. both Student Handbooks needed for SSCC. and on the departmental September intranet. 2016.

Students are briefed on assessments at the beginning of the year and at later stages of the programme.

We can confirm that effective mechanisms exist to ensure that feedback in assessment is returned to students within four weeks in line with UCL policy.

Different forms of assessment are employed. Individual feedback sessions are given to all MFA students for their Critical Studies Part 1 at the start of the Spring Term; and to all 1st year students following their 1st year Assessments in the Summer Term. MA students receive written feedback on all coursework essays, research essays and reports using forms with sections that correlate with the criteria for assessment set out in the student handbook. Students are able to demonstrate a range of acquired studio skills and

10 knowledge (both generic and specialised) through exhibition presentation and presentation of research material, while other and further skills and knowledge are demonstrated through written components of the programme.

Assessment Criteria are clear and accessible; Heads of Area communicate the terms of assessment to students clearly in meetings. Criteria are linked to learning outcomes and the skills and knowledge required to be an artist or work in arts-related areas. Heads of Area have also established clear communication surrounding the indicative marks, which are released to students at the end of the first year.

Graduate Fine Art submission processes. This requires physical exhibition and cannot be submitted online.

Workload Distribution is planned and spread across the year with deadlines and presentation points such as critiques and seminars placed into calendars and e- mailed to students. The Fine Art programme is non-

11 modular.

Anonymity and externality is applied when possible; however, the nature of Fine Art and exhibition practice means that anonymity is not possible for practical/studio work as both staff and external examiners have good knowledge of the work before the exhibition exam. All MA written work is marked anonymously and all written work that counts towards the final degree mark is double marked and externally examined.

Marking consistency is distributed across all aspects of the programmes. In this, we maintain a rigorous parity process. A full range of marks is used and discussed by external examiners and staff.

Feedback Quality is important to Slade staff; we give formative feedback through seminars and critiques and tutorials, and summative feedback through face-to-face meetings and written reports in relation to yearly progress. Final year students do not get feedback on their degree

12 mark; external and invited guest artists and art professionals give feedback on the degree show exhibition.

Formative assessment and feedback is on going and considered holistically as part of the personal development of a student. Students have presentation points clearly marked in the school calendar. Students decide on format and content of presentation and focus of discussion and feedback. In this way, students determine the focus and discussion of their work and, thus, their formative assessment meetings and feedback.

Self-reflection, peer learning and feedback are also important at the Slade. This is achieved through seminars, group critiques and presentations in which the students feedback to other students and develop their critical skills. In this, students on the two programmes and from both year groups work together.

EE “Contextualisation” of Several of the external Slade This issue If the Teaching Any changes will be students’ work for the examiners commented that Director, will need to Committee communicated to final shows it would be helpful to have Academic be brought to recommends students at Area

13 had a small written Manager and Teaching that this change Meetings and contextualisation of Heads of Committee, be made, we clarification will be students’ work for the final Area during closed would need to included in the next show, especially where a business, for inform students year’s Handbook. student’s focus has shifted further in the summer significantly since the discussion term about its preliminary inspections implementation which take place in the as it is not spring term. currently a required part of the exam show. EE Change to classifications The introduction of the Merit The Slade of students work. band was a UCL-mandated notes that decision; the Slade is under the Some of the external therefore not currently able initial examiners expressed to take action on this. proposals of concern that the the introduction of the Merit Academic classification could Review, retrospectively departments disadvantage students may be given who graduated in the choice to previous years. introduce pass/fail classification for degrees. Learning Resources

14 Graduate studio space Studio spaces need to be Studio The Studio Heads of Area PG area meetings, We are very can be dark and cold. well-lit and heated and Manager and Manager has already work SSCC and MOT will concerned Ongoing water leaks in designed to support work UCL Estates focused on with student evidence that the Studio 18 created by students in each working to reps and the maintenance issues unresolved subject area. Student improve air Studio Manager and improvement. maintenance spaces (and work) need to circulation, to ensure situation, be protected from water lighting, wall smooth running including the ingress and leaks. Adequate construction of the studios persistent storage facilities need to be and storage. and to maintain leak in provided. The Slade needs The studio good studio Studio 18 is to maintain workshop Manager is culture. worsening. equipment and technology also working and upgrade software to closely with keep pace with other estates to schools and developments address in contemporary art. some of the longer term problems (such as Studio 18)

Visitor Programme All efforts are made among Heads of The September 2015 Feedback from staff to keep to schedules Area programme students will be and avoid cancellations, of visitors for reviewed in the including guest speakers. If 2015/16 has MOT. a cancellation is regrettably been drawn unavoidable, the change to up in schedule should be consultation communicated to students with as soon as possible. The students. range of visitors to each subject area is established by invitations from both staff and the student cohort, and reflects current critical and craft-based concerns.

Access to studios and The equipment lending Studio Changes September 2015 Dialogue will equipment system has been updated Manager and have already continue with and should work more Heads of been put into students through the efficiently (for example Area place for the SSCC and the

15 Siso). The request for longer lending of representatives at studio access hours is equipment Teaching Committee regularly re-examined at the (Siso). to address longer Planning and Staff/Student opening hours. Committees. For financial reasons, staffing, safety concerns and issues of well- being, the School retains its opening hours of 9:00 – 22:00, with workshop facilities available from 10:00 – 17:00. Access on weekends is 10:00 – 17:00. DPs (designated persons) are now paid until 22:30 in recognition of their job to ensure the Slade’s security following the studio closure at 22:00. The Slade continues to offer studio hours during the holiday period, and studio access for continuing graduates over the summer break. Students are encouraged to make full use of the working day to utilise the workshops.

Personal Development 81% of Slade students The Slade will engage with Carey Young By the next Any change will be At graduate enter graduate level work the Careers Office to (Slade academic evidenced in the level, Slade or study compared with discuss what sources and Careers session. DLHE data provided students are UCL an institutional average guidance are available for Tutor) to the department. invited to data of 91% students who are seeking take part in work in the Fine Art sector. many different We do note that 100% of collaboration

16 graduates from the MA/MFA s, events and programme went into study professional or employment and that the practice average of 81% is in line opportunities with the Russell Group (also (i.e. 81%) and marginally higher commissions than the UK as a whole )throughout (79%). the year. Carey Young programmes a series of career development sessions for graduate and undergraduat e throughout the year. BME Progression and Achievement UCL Lower recruitment of In tandem with the UG team, Director of This issue This will be Any changes to the data BME students. the Graduate Heads of Area Graduate will be raised at the profile of the Slade’s will explore ways in which to Studies and brought both DTC on student body will be boost participation across all Graduate to Teaching 23/03/16. reflected in UCL ethnicities. The Slade post- Heads of Committee Admissions data. graduate programmes Area and, we recruited students well from hope, can be Chinese/Asian backgrounds, discussed but recruitment of Black with other art students remains low. schools. We would like to investigate whether or not this is a sector-wide problem. Widening Participation UCL Recruitment all types of Traditionally, the Slade has Teaching A change in Data student. recruited well from the 25-39 Committee Academic age group, suggesting that Manager has our post-graduate students delayed the

17 take some time between discussion finishing their undergraduate about WP. degrees and applying for graduate study. We are deeply concerned about the impact of students graduating with exceptionally high undergraduate fee debt on the decision to apply to graduate programmes. We remain committed to a diverse student body.

Application fee As many of our applicants Slade The Slade The Slade (with The outcome of The highest apply having taken some Director director has the support of these discussions application time out of formal education raised this A&H) has will be reported to fee of any after their UG degrees, we with the already Teaching Committee the Slade’s do not think that the Slade Dean A & H signalled a and any changes competitors has yet felt the full force of and with the willingness to reflected in the is £65. the increased UG tuition Vice Provost absorb the cost Central UCL fees. Education of the portfolio admissions (having inspection if an information. We are concerned that the already agreement can high cost of the combined raised it with be reached to portfolio and application fee UC student reduce the UCL (£25 + £75) is discouraging and registry application fee applicants including those services) to £50. from from poorer backgrounds as well as some overseas applicants. It is also causing some reputational damage to both the Slade and UCL (and already have some evidence of this) Academic Support MOT Tutorial availability The procedure for Graduate Action has September 2016 Student feedback requesting tutorials will be Heads of already been will be monitored in clearly outlined to students Area agreed by the MOT and PTES.

18 in subject area meetings at the Graduate the start of the autumn term: Heads of tutorials can be arranged by Area, who email, sign-up sheet and by have already direct contact with staff in drafted a the studios. Students will be template for informed of which days part- tutorial time tutors are at the Slade; feedback. and that all tutors who teach at the Slade are available for tutorials for all students. This represents an enormous range of diverse skill and knowledge and is a distinctive part pf the Slade’s studio culture. Tutorial exchange is also supported by a guest visitor programme in each subject area. Students’ expectations will need to be managed about their tutorial engagements. Staff tutorial reports for students were reviewed in the autumn Graduate Staff Meeting with a view to creating a template to define the terms of the report. DATE OF SUBMISSION TO FACULTY TEACHING COMMITTEE: 15/02/16