DOCSLIB.ORG

Conception: Reception

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

u tin 88 in Association of For information on advertising, membership and distribution contact: February Art Historians A AH Administrator, Claire Davies, 70 Cowcross Street, London EC1M 6EJ 2005 Registered Charity No. 282579 Tel: 020 7490 3211; Fax: 020 7490 3277; <[email protected]> Editor: Jannet King, 48 Stafford Road, Brighton BN1 5PF <[email protected]> www.aah.org.uk TH CHALLENGES FACING ART HISTORY by GEN DOY, MALCOLM GEE AND CHRIS BREWARD bout 40 people attended a joint meeting of the AAH schools members' group was read in her absence. A AAH and the DHS (Design History Society) in A wide range of teachers and researchers in art and November 2004 to consider the issue: 'Are we in Crisis? design history were represented, although it was noted Challenges in Teaching and Research in the New that the majority were from the 'new university' sector. Century7. The meeting was addressed by Jonathan The reason for this was probably that the issues facing Vickery (AAH and Warwick University), Chris Breward new universities as a result of the last RAE and falling (DHS and Victoria and Albert Museum), Barbara student numbers have yet to make an impact on art and Burman (DHS and Winchester), Fran Lloyd (AAH and design history provision in old universities, which have Kingston University). A paper from Carol Jacobi of the tended to do better in terms of money and student numbers. RESEARCH AND TEACHING THRIVING The meeting was stimulating and useful, raising a wide range of issues and proposing possible courses of action in response to the current situation. Overall the sense was that the disciplines are not in crisis - indeed in some respects they are thriving, for example in terms of the quality of research and teaching being carried out by our members. However, at times things looked pretty bleak. Barbara Burman from Winchester reported on course closures and redundancies in the area of design history (several have also closed in art and design history), and hoped that postgraduate provision would continue to thrive, thus ensuring the survival of the subject. Fran Lloyd from Kingston also felt that postgraduate numbers were holding up well, and that this was encouraging for the CD future. However, it was later apparent that both associations have to work hard, hopefully together, to • • ensure the survival and development of art, design and architectural history from school level upwards, and that postgraduate provision alone would not be enough, AAH ANNUAL CONFERENCE nor should it be. AS/A LEVEL NUMBERS CAUSE FOR CONCERN Conception: Reception One particularly concerning factor was that only around 1,000 students take the one existing AS/A2-level in Art History, and of these the great majority are from Bristol 31 March - 2 April 2005 independent schools. (There are only 200 people studying AS/A2-level Art History in the state school see page 21 sector.) Carol Jacobi analysed this depressing scenario: Art History is still perceived as a dilettante subject, AAH Executive Committee, Representatives and Staff Executive Committee Students AAH Representatives Outi Remes ELECTED OFFICERS (VOTING) History of Art Dept (non-voting) Chair University of Reading Treasurer Colin Cruise Blandford Lodge Peter Baitup School of Art and Design Whiteknights, PO Box 217 Temple Farmhouse Staffordshire University Reading RG6 6AH Chapel Street Flaxman Building Tel: 0790 093 7401 Broadwell College Road <[email protected]> Morton-In-Marsh Stoke-on-Trent, ST4 2DE Universities and Colleges Glos, GL56 0TW Tel: 0178 229 4698 Evelyn Welch Tel/Fax: 01451 830199 <[email protected]> School of English and Drama Rupert Shepherd Queen Mary College Hon Secretary (Artists' Papers Register) Christiana Payne University of London <[email protected]> Oxford Brookes University Mile End Road School of Humanities London El 4NS Deborah Cherry Gipsy Lane Tel: 020 7882 3172 (Editor, Art History) Oxford OX3 OBP <[email protected]> (Central Saint Martins College of Tel: 01865 483 582 Art and Design) <[email protected]> <[email protected]> ELECTED 2002 (VOTING) CHAIRS OF MEMBERS' GROUPS Richard Williams Fintan Cullen (VOTING) (University of Edinburgh) (Deputy Editor, Art History) Art Galleries and Museums Malcolm Gee (University of Nottingham) Amy Barker (University of Northumbria) <[email protected]> Sunderland Museum and Winter ELECTED 2003 (VOTING) Liz James Gardens Tom Gretton (Vice-Chair) (Reviews Editor, Art History) Burdon Road (University College London) (University of Sussex) Sunderland Louise Bourdua <[email protected]> Tyne and Wear, SRI 1PP (University of Aberdeen) <[email protected]> Marion Arnold (Honorary Editor, The Art Book) Schools ELECTED 2004 (VOTING) Carol Jacobi Christine Riding <[email protected]> Westminster School (Tate Britain) Dana Arnold Common Room Natalie Adamson (Editor, New Interventions in Art 17 Deans Yard (University of St Andrews) History) London SW1P3PB EX-OFFICIO MEMBERS (VOTING) (University of Southampton) Tel: 020 79631050 Stephen Bann <[email protected]> (Chair of the British National Ed Lilley Independent Art & Design Historians Committee of CIHA) (2005 Conference Organiser, Bristol) Frances Follin (University of Bristol) Fred Orton 20 Norlands Crescent <[email protected]> Chislehurst (2006 Conference Organiser, Leeds) Kent, BR7 5RN Tel: 0181 467 0512 Bulletin contributions Staff (non-voting) <[email protected]> Please send contributions (preferably Senior Administrator in electronic form) to: Jannet King, Claire Davies Editor, Bulletin, 48 Stafford Road, Brighton BN1 5PF, Tel & Fax: 01273 70 Cowcross Street 509653 <[email protected]> London, EC1M 6EJ Tel: 020 7490 3211 Next deadline: 6 May 2005 Fax 020 7490 3277 Conference/fellowship information <[email protected]> and job ads printed free of charge. All other ads contact Editor to discuss price. Association of For queries re material to be posted as an insert with Bulletin, please Art Historians contact the Administrator. Registered Charity No. 282579 Designed and typeset by Jannet King. Printed in Brighton by TJie Print House ISSN 03079163P while in fact the A level is too difficult (so that even of supporting continuing scholarship and a public independent schools are dropping it); the subject has no profile for the work of art, design and architectural presence at all in the pre-16 syllabus. This compares historians. It was also noted that museum-based with 6,000 AS/A level students doing film studies, the research (curating, catalogue writing, exhibition and curriculum of which has been very well structured and gallery development work) was possibly undervalued nurtured, apparently. by some panels at the last RAE by comparison with more 'traditional' book and journal outputs, and that Considerable discussion took place about the 'identity' some work will need to be done to persuade the new of the discipline, and it was felt (not by all!) that the panels to alter their perceptions. notion of 'visual culture' had perhaps diffused the profile and identity of art and design history. It was felt On the positive side, it was noted that 280 students that there should be common propaganda by the DHS enrolled for the MA in art history at the Open University and the AAH to support the public profile of our (though some did not find the course to be what they discipline, in teaching (at all levels), research and in expected/wanted) so there is a demand for the subject at museums. The old problem of the lack of a text book for an advanced level. And when students come into AS/ A level students was raised, but clearly no publisher contact with our subject (which is almost invisible in is going to take this on with a small number of possible schools), for example as part of a general first-year sales in the UK. The key would seem to lie in the US course of study at university, they are very enthusiastic. market. In conclusion it was decided that: Jonathan Vickery, and others, made the suggestion that • a sub-committee of members of the DHS and the advisory bodies could be created to support particular AAH should meet twice yearly to take these issues strategies within the discipline. It seems that university further, and to develop closer links between us vice-chancellors and the like pay attention to the views of businessmen/women interested in the arts, as well as • there should be an annual meeting of Heads of local councillors, MPs and arts council officers. Department and other key representatives of our Advantages of networking could help the position of a subjects small, intellectually lively, and culturally and socially valuable subject area. After some discussion, it was felt • there should be a collection of statistics on numbers that more work was needed to investigate how exactly of courses and students doing art and design history, these advisory/advocacy bodies would work and in as well as an effort made to establish a database of art what context. Toshio Watanabe felt they were best and design historians in the UK suited to specific initiatives, and made the important • the executives of the DHS and the AAH would point that we need to build international connections discuss this meeting and suggestions arising from it, and collaborations. such as the idea of specific project advisory committees, at the next available opportunity. RESEARCH ASSESSMENT EXERCISE The RAE was discussed, of course, and it was felt that The AAH and the DHS would like to thank Ken the RAE was doing exactly what it had been created to Quickenden and the other members of art and design do: result in some teaching-only establishments, the history at UCE Birmingham, as well as the closing of courses, and the retrenchment of the administrators at the AAH and DHS, for their help in discipline away from adventurous interdisciplinary making this meeting possible and ensuring the smooth projects back into very specialist areas, since people running of the afternoon's events.
Recommended publications
  • Copyright Statement

    Copyright Statement

    COPYRIGHT STATEMENT This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and no quotation from the thesis and no information derived from it may be published without the author’s prior consent. i ii REX WHISTLER (1905 – 1944): PATRONAGE AND ARTISTIC IDENTITY by NIKKI FRATER A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY School of Humanities & Performing Arts Faculty of Arts and Humanities September 2014 iii Nikki Frater REX WHISTLER (1905-1944): PATRONAGE AND ARTISTIC IDENTITY Abstract This thesis explores the life and work of Rex Whistler, from his first commissions whilst at the Slade up until the time he enlisted for active service in World War Two. His death in that conflict meant that this was a career that lasted barely twenty years; however it comprised a large range of creative endeavours. Although all these facets of Whistler’s career are touched upon, the main focus is on his work in murals and the fields of advertising and commercial design. The thesis goes beyond the remit of a purely biographical stance and places Whistler’s career in context by looking at the contemporary art world in which he worked, and the private, commercial and public commissions he secured. In doing so, it aims to provide a more comprehensive account of Whistler’s achievement than has been afforded in any of the existing literature or biographies. This deeper examination of the artist’s practice has been made possible by considerable amounts of new factual information derived from the Whistler Archive and other archival sources.
  • Corey Allikas Painting the War: Artistic Depictions of World War II in Europe, 1939-1945 HIST

    Corey Allikas Painting the War: Artistic Depictions of World War II in Europe, 1939-1945 HIST

    Corey Allikas Painting the War: Artistic Depictions of World War II in Europe, 1939-1945 HIST 395 - Fall Semester (Galgano) World War II shaped the twentieth century, as its events and aftermath affected the entire globe. The attitudes and actions of the nations' populations determined how the war played out, and the thing that most shaped these peoples' actions was war art. War art in World War II had two important goals: mobilization of citizens and creation of accurate depictions of the battlefield. War art's intended audience was foremost the citizens, as their support for the war was crucial to success. Dependence on civilian support - both through labor and service - was much greater in World War II than in any other previous war. Many participating nations in WWII developed war art programs, with the goal of showing the warfront to garner civilian support back home. Artists ranged from active-duty soldiers, like in the United States, to civilians following troops on tours, like Great Britain. These hired artists were given specific subjects to depict, depending on where they were stationed; the first hand account ensured the most accurate depictions possible. However, the disparity between the actual war fronts and the artists' depictions was present in all major art programs. This paper looks at the war art from the major powers in World War II: Great Britain, the United States, and Germany. It examines the styles adopted by artists in these nations, the subjects artists depicted, and the war art's purpose in society. Germany, to anchor their claim of "supreme race", used traditional art forms similar to the Roman Empire.
  • Bristol 2005

    Bristol 2005

    Bulletin 87 3§ Association of For information on advertising, membership and distribution contact: October Art Historians A AH Administrator, Claire Davies, 70 Cowcross Street, London EC1M 6EJ Tel: 020 7490 3211; Fax: 020 7490 3277; <[email protected]> 2004 Registered Charity No. 282579 Editor: Jannet King, 48 Stafford Road, Brighton BN1 5PF <[email protected]> www.aah.org.uk ART HISTORY IN CRISIS? Come and air your views ast April at the AAH AGM at the Nottingham • Is a different sort of teaching required for contextual Lconference several speakers from the floor voiced studies and service teaching from that used to teach concern at threats to art history as a discipline in some art and design students? universities; several degree courses have been closed or • What strategies can we use to halt further decline are under threat, and application numbers are low. The role of historical and critical studies on studio-based and raise the profile of the discipline? courses is being redefined - sometimes, it was felt, in Speakers will include Chris Breward (Chair, Design ways that threaten the distinctiveness of the discipline. History Society, Deputy Head of Research), Barbara Burman (Winchester School of Art, University of In response, the AAH has joined with the Design Southampton), and Fran Lloyd (Kingston University) History Society to discuss some of these pressing issues The forum will take place at Birmingham Institute of Art and to consider possible solutions at an institutional, and Design, University of Central England (Aston national and organisational level. Amongst the topics to Campus), 1.30 - 6.00 pm on 26 November 2004 .
  • Dance Fields Conference Boa NEW

    Dance Fields Conference Boa NEW

    Dance Fields Conference April 19th – 22nd 2017 Book of Abstracts (Chronologically listed) SESSIONSPANELSPRACTICALSWORKSHOPSROUND TABLES Thursday, April 20th 10:00 – 11:30 Session I Chair: Ann R. David Michael Huxley Dance Studies in the UK 1974-1984: A historical consideration of the boundaries of research and the dancer’s voice The first Study of Dance Conference was held at the University of Leeds in 1981. The following year saw the First Conference of British Dance Scholars in London, leading to the inauguration of the Society for Dance Research and then the publication of its journal, Dance Research. Since 1984, the field of dance studies in the UK has both developed and been debated. My paper draws on archival and other sources to reconsider this period historically. With the benefit of current ideas of what constitutes dance, practice, research, and history, it is possible to consider the early years of UK Dance Studies afresh. In the twenty-first-century there are some accepted notions of dance studies. I would argue that they have established boundaries, but that these are often unstated. The period is re-examined with a view to uncovering a broader, and indeed more inclusive, idea of dance studies. In this, attention is given to the researches of practitioners in the period; both published, including in New Dance, and unpublished. Whilst recognising the significant scholarship of the period, the paper also considers the ideas that dancers gave voice to. The analysis is taken further by considering the unexamined discourses that helped enable research in dance in the UK to develop in the way it did.
  • Government Art Collection Annual Report 2008-2009

    Government Art Collection Annual Report 2008-2009

    Annual Report and Acquisitions 2008 – 2009 Contents 3 Foreword – Julia Somerville, Chairman of the Advisory Committee 4 Director’s Report – Penny Johnson 15 Advisory Committee members and GAC staff 16 Acquisitions 28 Annex 1 – List of works lent to public exhibitions 34 Annex 2 – List of long-term loans outside Government Our aim is to improve the quality of life for all through cultural and sporting activities, support the pursuit of excellence, and champion the tourism, creative and leisure industries. 2 Foreword Looking back over the past year, what stands out is the extraordinary growth in public interest in the Government Art Collection (GAC). We’ve been featured on radio and in the newspapers. And the public continues to flock through the doors of our headquarters when we have open house days. Visitors enjoying an Open House Tour at the GAC’s premises We continue to make our resources stretch as far as they can. The Director’s report highlights some of the exciting and important works which we have been able to acquire over the last year. This continues the GAC’s track record of making acquisitions by British artists of the highest calibre, fulfilling its role in promoting British art by displaying it in Government buildings in the UK and abroad. The Collection plays a vital part in Britain’s representation abroad: both as a reminder of our historical past and an illustration of our contemporary preoccupations. Our activities are an integral part of the UK’s diplomatic mission. We are pleased that we are increasingly playing a strategic role when new embassies are being planned.
  • Carshalton College

    Carshalton College

    REPORT FROM THE INSPECTORATE Carshalton College April 1997 THE FURTHER EDUCATION FUNDING COUNCIL THE FURTHER EDUCATION FUNDING COUNCIL The Further Education Funding Council has a legal duty to make sure further education in England is properly assessed. The FEFC’s inspectorate inspects and reports on each college of further education every four years. The inspectorate also assesses and reports nationally on the curriculum and gives advice to the FEFC’s quality assessment committee. College inspections are carried out in accordance with the framework and guidelines described in Council Circular 93/28. They involve full-time inspectors and registered part-time inspectors who have knowledge and experience in the work they inspect. Inspection teams normally include at least one member who does not work in education and a member of staff from the college being inspected. Cheylesmore House Quinton Road Coventry CV1 2WT Telephone 01203 863000 Fax 01203 863100 © FEFC 1997 You may photocopy this report. CONTENTS Paragraph Summary Introduction 1 The college and its aims 2 Responsiveness and range of provision 6 Governance and management 16 Students’ recruitment, guidance and support 26 Teaching and the promotion of learning 37 Students’ achievements 50 Quality assurance 62 Resources 71 Conclusions and issues 80 Figures GRADE DESCRIPTORS The procedures for assessing quality are set out in the Council Circular 93/28. During their inspection, inspectors assess the strengths and weaknesses of each aspect of provision they inspect. Their assessments are set out in the reports. They also use a five-point grading scale to summarise the balance between strengths and weaknesses. The descriptors for the grades are: • grade 1 – provision which has many strengths and very few weaknesses • grade 2 – provision in which the strengths clearly outweigh the weaknesses • grade 3 – provision with a balance of strengths and weaknesses • grade 4 – provision in which the weaknesses clearly outweigh the strengths • grade 5 – provision which has many weaknesses and very few strengths.
  • Contents Qualifications – Awarding Bodies

    Contents Qualifications – Awarding Bodies

    Sharing of Personal Information Contents Qualifications – Awarding Bodies ........................................................................................................... 2 UK - Universities ...................................................................................................................................... 2 UK - Colleges ........................................................................................................................................... 6 Glasgow - Schools ................................................................................................................................. 12 Local Authorities ................................................................................................................................... 13 Sector Skills Agencies ............................................................................................................................ 14 Sharing of Personal Information Qualifications – Awarding Bodies Quality Enhancement Scottish Qualifications Authority Joint Council for Qualifications (JCQ) City and Guilds General Certificate of Secondary Education (GCSE) General Certificate of Education (GCE) Edexcel Pearson Business Development Royal Environmental Health Institute for Scotland (REHIS) Association of First Aiders Institute of Leadership and Management (ILM) Institute of Occupational Safety and Health (IOSH) UK - Universities Northern Ireland Queen's – Belfast Ulster Wales Aberystwyth Bangor Cardiff Cardiff Metropolitan South Wales
  • Figurative Art and Feminism

    Figurative Art and Feminism

    Re-presenting melancholy: Figurative art and feminism Christina Reading A thesis submitted in partial fulfilment of the requirements of the University of Brighton for the degree of Doctorate in Fine Art April 2015 The University of Brighton in collaboration with the University for the Creative Arts Re-presenting melancholy: Figurative art and feminism Re-presentations of women’s melancholic subjectivity by women figurative artists from different historical moments, canonical images of melancholy and theoretical accounts of melancholy are brought together to address the question: ‘What aspects of women’s experience of melancholy have women figurative artists chosen to represent historically and contemporaneously, and further what is the importance of these artworks for understanding the nature of women’s melancholic subjectivity today?’ The question is examined through an original juxtaposition of women’s figurative art history, theories of melancholy and the author’s own studio practice. Adopting and refining Griselda Pollock’s method of the Virtual Feminist Museum, the thesis elaborates a new critical and creative space to gather, re-read and make artwork to address the theme of women’s experiences of melancholy (Pollock, 2007). The author curates a ‘virtual feminist museum’ of women’s figurative art dealing with melancholy, past and present. Using Pollock’s model as a trigger, the research project sets up a space for interrogating what new meanings are revealed in relation to notions of melancholy by examining the overlaps, collisions and juxtapositions between the works the author has selected and the works the author has made. The artworks are theorised and interpreted by their relationship to the following discourses: the history of figurative art practice, melancholy and feminism; Freud’s foundational text ‘Mourning and melancholia’ (1917); and the examination of the author’s own representational multimedia studio practice.
  • Part 2 – Confidential Facts and Advice

    Part 2 – Confidential Facts and Advice

    Appendix A – Project List Successful Projects GLA capital Proj ect ti tl e Organisation contribution IT enabled S E ND provision New City College £300,000.00 Developing Invitational Centres London Borough of Lewisham Regeneration Unit £300,000.00 Outstanding Digital E xperience for Learners The City Literary Institute £219,714.00 Expanding Adult Education Digitally in Communities RB K ingston Upon Thames (K ingston Adult E ducation) £94,000.00 Digital Inclusion at WAES City of Westminster Council (WAES) £75,500.00 E xpansion of The Right Course LTE Group - Novus £108,376.00 Inspiring spaces: lecture and screening auditorium The City Literary Institute £231,516.00 Upgrading SEND facilities Barking & Dagenham College £300,000.00 Improving Learner E ngagement S utton College £69,450.00 Digital media for construction proposal Waltham Forest College (RH Architects) £300,000.00 Investing in Sculpture Skills Morley College London £80,500.00 MITSkills Limited Brentford Capital Bid 2019 MITSkills Limited £35,000.00 Building Infrastructure S kills for the F uture LONDON SKILLS & DEVELOP MENT NETWORK £65,000.00 British Academy of J ewellery British Academy of J ewellery £42,862.00 Design Innovation Room LB Redbridge - Redbridge Institute Community Learning and S kills £25,000.00 S ports facilities for sixth form students St Charles Sixth Form College £48,000.00 P erforming Arts S pace and S E ND Training K itchen S outh Thames Colleges Group £222,500.00 Outreach IT E ast London Advanced Technology Training (E LATT) £53,702.00 Improving Learning through
  • ETHEL GABAIN, EVEL YN Gffibs and EVEL YN DUNBAR Volume

    ETHEL GABAIN, EVEL YN Gffibs and EVEL YN DUNBAR Volume

    University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2006 Three officially commissioned women war artists of the Second World War : Ethel Gabain, Evelyn Gibbs and Evelyn Dunbar Strickland , Alice Marina http://hdl.handle.net/10026.1/599 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. THREE OFFICIALLY COMMISSIONED WOMEN WAR ARTISTS OF THE SECOND WORLD WAR: ETHEL GABAIN, EVEL YN GffiBS AND EVELYN DUNBAR Volume I by ALICE MARINA STRICKLAND A thesis submitted to the University ofPiymouth in partial fulfi lment for the degree of DOCTOR OF PIDLOSOPHY School of Art and Performance Faculty of Arts JULY 2006 \ . ' ';.· ; 1 L)niversit)''ofPiymouth · ! • LibrarY ' litem No _ i · Cjoo~i'i9'Lq 7-Lf · c· , . · · - · : . _..,;; ll.' She!fril~rk 0 0 1 ~~E.IS. JJit t1C\ 4:0S")i! st F ~~~~~- \,-._~,~ ~~ ~,., ~ J<- ?--~TOO~ 5 .. ~ . Abstract Alice Marina Strickland Three Officially Commissioned Women War Artists of the Second World War: Ethel Gabain, Evelyn Gibbs and Evelyn Dunbar. This thesis has been written with the intention of providing an account of the work of Ethel Gabain (1883-1950), Evelyn Gibbs (1905-1991) and Evelyn Dunbar (1906-1960). All three were commissioned as war artists during the Second World War by the War Artists Advisory Committee and are probably best known today for the work they performed as war artists, indeed, the major repository for their work is the Imperial War Museum.
  • Enrolment Guide (PDF, 540.36KB)

    Enrolment Guide (PDF, 540.36KB)

    ENROLMENT INFORMATION FOR LOCAL/ CENTRAL LONDON COLLEGES Please see the Guide to Results Day 2018 for further and information and advice on what to do once you receive you’re A Level or GCSE results. The listings below provide you with enrolment information for local and central London Colleges. For sixth forms please refer to the Croydon Post 16 Prospectus or https://www.croydon.gov.uk/education/adult/16-19-education-training- careers for details and contact them directly as soon as possible. TITLE & DATE/TIME ENROLMENT INFORMATION CONTACT DETAILS Dates/Times: Croydon College Web: Tuesday 28th August / 9:00am-7:00pm You will need your passport or a British https://www.croydon.ac.uk/ Wednesyday 29th August / 9:00am-7:00pm birth certificate. If your passport is not Thursday 30th August / 9:00am-7:00pm British or from a country in the European Tel: Friday 31st August / 9:00-4:00pm Union / Iceland / Liechtenstein / 020 8760 5934 Monday 3rd September / 9:00am-5:00pm Switzerland / Norway then we will need to Tuesday 4th September / 9:00am-5:00pm see your and/or Home Office Email: Wednesday 5th September/ 9:00am-7:00pm documentation. [email protected] Thursday 6th September / 9:00am-5:00pm Friday 7th September / 9:00am-4:00pm GCSE certificates / results slips MUST BOOK A PLACE ONLINE Dates: Capel Manor Web: Wednesday 22nd August / Wednesday 29th August http://www.capel.ac.uk/ Time: Please research which documents are 11:00am – 7:00pm applicable for your enrolment and ensure Tel: you bring them with you. 0303 003 1234 Email: [email protected] 1 Dates: Carshalton College Web: https://carshalton.ac.uk/about/enrolment Wednesday 22nd August / 9:00am-5:00pm Please research which documents are Thurday 23rd August / 9:00am-8:00pm applicable for your enrolment and ensure Tel: Friday 24th August 9:00am-4pm you bring them with you.

  • Education, Employment and Training (Eets) Guide

    CS.1921 (3.21).qxp_Layout 1 30/03/2021 15:30 Page 1 WANDSWORTH VIRTUAL SCHOOL Education, employment and training guide for care experienced young people CS.1921 (3.21).qxp_Layout 1 30/03/2021 15:30 Page 2 CONTENTS Virtual School 4 Colleges and 6th forms 5 Thinking about university? 10 Apprenticeships, internships, training and employment 20 Volunteering 31 Part-time work 32 Money matters 33 Self-employment opportunities 37 Your voice matters 39 Leisure centres and libraries 42 Information and advice 43 My education journey has made me forget about my past problems and has motivated me to focus on my future aspirations. Bethany, 20, studying International Social and Public Policy at London School of Economics CS.1921 (3.21).qxp_Layout 1 30/03/2021 15:30 Page 3 WELCOME FROM VIRTUAL SCHOOL HEADTEACHER A wise person once said to me... ‘...reach for the moon and then keep reaching further’ What this meant to me was to never limit your horizons, take every opportunity that comes your way. Education, knowledge and skills are your toolkit for life – they are something you achieve and take with you as you journey towards your future goals. Once you have them, they’re yours and yours only. This guide is intended to equip you with questions you want advice about when talking to your social worker, PA or Virtual School advisor – it is important to remember that as corporate parents, we are here to guide and support you along your journey. I hope you will find some inspiration in this guide to help you navigate towards your aspirations and dreams.