university of the arts ual: london
Research Degrees Prospectus
W www.arts.ac.uk/research/research-degrees/ E [email protected] T @ResearchUAL F www.facebook.com/UALResearch Contents
3 Foreword Research Degrees at University of the Arts London 4 Length of study 6 Research Training RNUAL – Research Network University of the Arts London 6 Student support 7 International students 7 Entry requirements 8 How to apply 9 Funding opportunities 9 Writing an outline of your proposed research About the Colleges 12 Camberwell, Chelsea, Wimbledon 16 Central Saint Martins 20 London College of Communication 24 London College of Fashion 28 University of the Arts London Research Centres 29 Afterall 31 Centre for Fashion Curation – CfFC 34 Centre for Sustainable Fashion – CSF 38 Creative Research into Sound Arts Practice – CRiSAP 42 Design Against Crime Research Centre – DAC 46 Ligatus Research Centre 50 Photography and the Archive Research Centre – PARC 54 Textile Futures Research Centre – TFRC 58 Transnational Art, Identity and Nation – TrAIN 62 University of the Arts London Archives and Special Collections 63 University of the Arts London Archives and Special Collections Centre College Archives and Special Collections 66 Camberwell, Chelsea, Wimbledon 68 Central Saint Martins 71 London College of Communication 72 London College of Fashion 73 Contact us Foreword
Research is at the heart of our creativity Our vision is to develop a sustainable, world-class research culture that informs and raises the University’s academic reputation, producing internationally recognised research and supporting the development of the creative economy.
University of the Arts London brings together six of the world’s most recognised colleges for study in Art, Design, Performance and Communication. It is the largest specialist provider in Europe of higher education and research in these subjects offering research degree programmes in all six Colleges: Camberwell College of Arts Central Saint Martins Chelsea College of Arts London College of Communication London College of Fashion Wimbledon College of Arts Each College offers both theoretical and practice-based research programmes leading to a PhD or MPhil awarded in any subject area where the University can provide appropriately qualified supervision. Students studying for a research degree at any one of the Colleges benefit from access to cross-College resources, interdisciplinary dialogue, and to the Research Network University of the Arts London (RNUAL), which offers research students support and ongoing training to enhance their studies and future careers as researchers.
2 | 3 Research Degrees at University of the Arts London
Research Degrees at University of the Arts London Length of study Research Training RNUAL – Research Network University of the Arts London Student support International students Entry requirements How to apply Funding opportunities Writing an outline of proposed research
Length of study A Master of Philosophy (MPhil) or Doctor of Philosophy (PhD) at the University of the Arts London is achieved through an individual research project in a programme of study. Research students engage in a programme of independent research with guidance from their supervisors. Each student has a team of supervisors (a Director of Studies and one or two co-supervisors). Programmes of research may be proposed in any field of study within the expertise of the University, provided that the proposed programme is capable of leading to scholarly research and to its presentation for assessment by appropriate examiners. A research degree is characterised by the sustained, rigorous and critical investigation of a defined subject, by the openness of the research methods and results to evaluation by others, and by the contribution to public knowledge and understanding of its outcome. When creative work forms a significant part of the research programme, references to the ‘thesis’ are understood to mean University of the Arts London was the ideal place the totality of the submission for the degree, which will include the creative to develop my research degree. I had brilliant and work and/or documentation of the creative work, and the written text. well recognised supervisors, and holding a PhD Duration Minimum Expected Maximum from the University opens many doors. MPhil – Full-time 1 year 3 months 1 year 9 months 3 years Dr Flavia Amadeu – PhD (Fashion Design), 2016 MPhil – Part-time 2 years 3 years 6 years PhD – Full-time 2 years 2 years 9 months 4 years PhD – Part-time 3 years 5 years 8 years
4 | 5 Research Degrees at University of the Arts London
All University of the Arts London students have free membership of International Students House, which offers a programme of social and cultural events, sport facilities, a travel club, and a residential Research Training programme at Christmas. RNUAL (Research Network University of the Arts London) is an More information is available from the International extensive training programme in research methods and skills, Office or www.arts.ac.uk/study-at-ual/international/. and is a very important feature of studying for a research degree at the University. It is a cross-college initiative bringing together Entry requirements research degree students in a series of seminars and training The normal minimum entry requirement for a sessions to develop research skills, and as a forum for students place on the Research Degrees Programme is an upper second class honours (2:1) degree of a to present their work at different stages in their study. The RNUAL British university or recognised institution of higher programmes are delivered by a wide range of researchers and education, or an equivalent qualification from an experts from both within and outside the University. RNUAL is institution outside of the UK. International students not a taught course, it is offered as a flexible training programme. However, a Master’s degree in an appropriate The international student body is one of the Students negotiate their own use of it in relation to their field of subject is considered to be a particularly valuable characteristics of the University that contributes to the preparation for the academic and intellectual study and their training needs in addition to the three compulsory range and quality of our research community. Each demands of an MPhil or PhD. In some instances, units which have to be completed in the first year. College has an International Student Co-ordinator, applicants without the minimum academic who leads international affairs at the College, and is requirement as outlined above may be considered the first point of contact for international students. Research Training in the context of research Student support for a place on the Research Degrees Programme degree programmes does not just involve engaging Within Student Services at your College or at High if they can demonstrate appropriate alternative There is a wide variety of support available at the with the formal programmes offered in RNUAL, it Holborn a Student Adviser can help with queries qualifications, relevant professional experience, University to help you while you study, covering also consists of the many other activities in which about immigration, money matters or your rights in or previous research. areas such as accommodation, careers, library you are likely or expected to become involved; the UK, like banking, part-time work and healthcare. and computer use, health, wellbeing and for example: attending, organising or participating The Student Adviser (International Students) ensures language learning. in conferences, scholarly seminars; organising or that Student Services support is available and participating in exhibitions; involvement in other The Student Centre at our High Holborn site in relevant to all our international students. The Student professional activities for arts organisations, central London hosts the support services for Services website www.arts.ac.uk/study-at-ual/ has networks, or other external research groups. students across the University under one roof. It the latest information on practical issues that affect houses the Student Advice Service, the Language international students and hosts a mailing list aimed Centre, the Learning Zone, Students’ Union, at the University’s international community. galleries for student and alumni work, a café-bar and an activities studio. More information is available from Student Services I was close to some of the world’s leading libraries or at www.arts.ac.uk/study-at-ual/. (including the University’s own) and specialist research networks. Being in London made a huge impact on my development as a researcher and subject specialist.
Dr Lipi Begum – PhD (Art and Design: History and Theory), 2015
6 | 7 Research Degrees at University of the Arts London
If English is not your first language, you will normally How to apply Funding opportunities Subject area, aims and objectives. Briefly need to demonstrate that you are suitably proficient define your subject and the main concerns of the All information regarding the application procedure, Funding opportunities for PhD students are available in English before we can enrol you in the Research investigation, including a set of aims and objectives deadlines and the relevant forms can be found on from the University’s website www.arts.ac.uk/research/ Degrees Programme. You can do this by providing that will guide your research. If your proposal is our website at www.arts.ac.uk/research/research- research-degrees/funding-opportunities/. evidence of one of the following: primarily practice-based you should also use this degrees/apply-for-a-research-degree/. Full information about funding schemes is normally section to describe your practice. It is worth thinking – A recent University of the Arts London-approved Your application should be submitted electronically released in December for funding to start in the next hard about this section, as it will form the basis English Language Test (ELT) score which meets the to [email protected]. academic year i.e. from September. of your study for the next few years (though it will University’s requirements for the Research Degrees inevitably evolve as you make progress). Programme: either an IELTS minimum overall test Once the application is received it will be reviewed result score of 7.0 with a 7.0 in writing and with by a panel for selection to interview. Candidates Writing an outline of proposed research After defining your subject, you might find it helpful no other component score lower than 6.0, or an who are selected will then be invited to interview to consider the main concerns of the project as When you apply to enrol as a research student you equivalent test score; to discuss their proposal, supervision and resource questions you are asking yourself, to which you hope will need to prepare an outline proposal. This will be requirements. Candidates who are accepted will to find the answer or as issues that your research – Recent completion of an MA level course of used as the basis for discussion at your interview. be sent an offer letter following the interview. will address. The aims and objectives are important study (Distinction only) in a majority English- It will also be the starting point for preparing your because they, in a sense, declare the criteria for your speaking country. We recommend that you use the website to explore submission to register the programme with the investigation, against which the success or failure of the many different research areas in which the University’s Research Degrees Sub-Committee. By ‘recent’ we mean that your English Language your project can be assessed. University specialises prior to making your application Test score or MA level qualification needs to have We would encourage you to use the headings below and that you consider each College and its If you find it difficult to articulate your aims and been awarded no more than two years prior to to define the sections of your proposal. specialisms carefully. You can consult College objectives you might find it helpful to think of your the date that you would first enrol in the Research Research web pages for further information on aims as the most significant questions or problems Degrees Programme at the University. We cannot Title This should express the main area of the research undertaken at the University: you hope to tackle. Your objectives are the steps normally accept evidence that is older than this. investigation, implying its questions and potential by which you will meet these aims. Your proposal Camberwell, Chelsea, Wimbledon argument or standpoint. While being a working title, You may submit an application for a place on the should normally have one or two aims, followed www.arts.ac.uk/chelsea/research/ which will inevitably change over time, it is important Research Degrees Programme before you have by a series of up to six objectives. The idea is that that you are as specific and precise as possible. The obtained your IELTS or equivalent test score, or Central Saint Martins by the time you have met all your objectives, you title should be brief, and reflect the main question of before you have received your MA certificate, but www.arts.ac.uk/csm/csm-research/ should have achieved your aims. the project. You should avoid over-long or technical if you are offered a place then you would need to London College of Communication words and phrases such as ‘an investigation into…’ provide evidence of having satisfied this condition www.arts.ac.uk/lcc/lcc-research/ before we can enrol you. London College of Fashion Each applicant is assessed on an individual basis www.arts.ac.uk/fashion/research/ and if you are offered a place on the Research Degrees Programme, then depending on your level It is also recommended that you look at the staff of English language proficiency as demonstrated research profile pages to find out more about the The research seminar programme is through your application form and interview, we will research expertise of our world-class researchers. comprehensive and exciting, and I’ve had inform you whether we would require a new IELTS You may wish to identify and contact your potential result before you can begin your PhD studies. supervisors during the application development great support from both my supervisors process. They can give you some valuable input Please note that we can no longer accept TOEFL and the other students. as to the relevance and shaping of your proposal. test results for this purpose. Sara Chong Kwan – PhD student (Art and Design: History and Theory)
8 | 9 Research Degrees at University of the Arts London
Historical context There is no single history that Methodology Your research method and approach Work plan Make a prediction of the major stages suits all investigations but you should identify the will need to be defined in all cases but in practice of the work (probably not more than five) and the various strands of history that relate to your particular based areas of study, methodologies are less minor subdivisions (if appropriate). Take care if research. It may be a history of ideas and concepts well established, so you may like to think about aspects of the research will run concurrently. that have influenced the development of a particular the following: area of art and design, the history of the medium or Prediction of the form of the final presentation – try to describe the basic methods and procedures technology in which you work, or a particular part of Think about the form of the final presentation, for you will adopt in discovering and recording the history of art or design. example: research information. – will this be a wholly written thesis? Contemporary context As far as you are able, – if it is a practice-based proposal, how does the identify the contemporary work that relates to your theory relate to the practical experimentation? – will it be a written thesis with DVDs? field of investigation. – what is the theory for? – will it be an exhibition and a written thesis? You must do this for the following reasons: – what process of experimentation will you use? – will it be a written thesis with images? – to demonstrate that you are aware of the field – how will you record what you do and keep track in which you are working; Main study list and bibliography List the main of what you have done? reference works that you will use for your research – to demonstrate that your proposed research (no more than one page of A4). These may be films, will have distinct features which will make it Ethical dimensions of the research If you consider paintings, TV programmes, curated collections or potentially original; there are ethical considerations that need to be websites as well as books or journal articles. Citations taken into account then you should address them – to form the basis of links with other research must be consistent and adopt a recognised standard briefly in your application. There is a comprehensive work to which you will contribute or on which system, for example, Harvard (with or without ethical approval process, which is intended to you will build. footnotes) or Numeric. safeguard researchers, participants and others on whom the proposed research might impact, Theoretical context There is a great choice of directly or indirectly, which can be found on our options in this area, none of them exclusive. An website www.arts.ac.uk/research/researching-at- element of theoretical context is important for every ual/researcher-support/. kind of project, though the degree of theoretical content will vary, particularly for practice-based If you are offered a place to study you will address Studying in London is in itself a first-class educational work. You should be able to demonstrate the ways any ethical issues formally when you apply to register in which you evaluate your own work and that of your research proposal in your first year. In broad experience. In addition to what you might gain from others, as well as the sources you use to inform terms, the University expects all research to respect your formal training, the cultural offer at museums, your evaluation. A theoretical context will help you participants’ rights (commercial, intellectual and civil, avoid simply asserting a position and support you dignity – including privacy and confidentiality), safety galleries, events, exhibitions and talks by leading in the reflective approach that is needed for a and well-being. research degree. intellectuals and artists is extraordinary. Ana Laura Lopez de la Torre – PhD student (Fine Art)
10 | 11 About the Colleges – Camberwell, Chelsea, Wimbledon
Camberwell, Chelsea, Wimbledon
The Camberwell, Chelsea, Wimbledon Graduate School Through the combined work of the many talented and Public Programme, along with the dedicated researchers across the three colleges, we are activities of TrAIN (Transnational able to offer an exciting and rigorous experience for our Our research activities are frequently grounded in the portfolio of art Art, Identity and Nation) and the and design subjects represented by our taught Masters programmes. conservation and archiving centre graduate students. One of the most important functions of They offer new and challenging ways of thinking about how specific Ligatus (the two University of the the Camberwell, Chelsea, Wimbledon Graduate School is disciplines can share common concerns and questions. Issues Arts London Research Centres to facilitate greater communication, focus and debate of surrounding the practice, theoretical and historical contexts of fine hosted by the Graduate School) key research issues across the three colleges. Our research art, design, curating and collections, theatre and performance are provide a rich calendar of events communities engage with urgent cultural, social, political developed and interrogated through a focused research approach to inform and enhance the of contemporary relevance. We are particularly interested in research broader taught course and and economic agendas of our time and address them degree proposals that will engage with and respond to our core college based activities. through innovative and creative responses. disciplines and draw on the research expertise of our staff.
12 | 13 About the Colleges – Camberwell, Chelsea, Wimbledon Our Public Programme evidences our commitment to ensuring that our individual and group research activity has a direct impact not only within the colleges but also externally.
A significant and distinctive aspect of the Graduate School is the range and quality of its external partnerships and networks with cultural industries, organisations and institutions in London, the UK and internationally. Many of these relationships have been built up over the years by the individual colleges and have resulted in a number of prestigious research projects as well as numerous staff and student exchanges.
My University of the Arts London supervision team were all brilliant scholar-practitioners who encouraged me to push beyond the boundaries of conventional thinking.
Dr Kimathi Donkor – PhD (Fine Art), 2016
Camberwell, Chelsea, Wimbledon Graduate Graduate School Public British School at Athens PhD Seminar Series 1st Year PhD Exhibition School Seminars and Activities Programme Arts Bursary and Residency We offer a seminar series for Research degree students have for Camberwell, Chelsea, The Graduate School programme, along with the Through our programme of newly enrolled, pre-confirmation the opportunity to develop and Wimbledon PhD Students activities of research centres and networks, provides events, Camberwell, Chelsea, and finishing students. Each curate an annual exhibition. a rich calendar of events to inform and enhance the Wimbledon Graduate School aims The British School at Athens and seminar series is led by a research broader curriculum. Key activities include: to celebrate the research activity Camberwell, Chelsea, Wimbledon staff member, and all are focused taking place within our three Graduate School have embarked on the open discussion of colleges, integrate this within on a new joint initiative. An arts research in progress. our taught courses and position residency in Greece, supported ourselves within key debates by a bursary, with studio and relevant to art and design. accommodation provided, is offered annually to a practice- based PhD student from one of the three colleges. 14 | 15 About the Colleges – Central Saint Martins
You become part of a network of Central Saint Martins researchers across University of the Arts London with whom you can share your work. This network and the access to the University’s collections have been invaluable in my career as a researcher.
Dr Claire Holdsworth – PhD (Art and Design: History and Theory), 2016
Central Saint Martins is original, experimental, unconventional, visionary, Our research work shapes the future of theory and practice, and intellectually and technically rigorous. Guided by the principle of research is led by academics renowned in their fields. It pushes disciplinary as the generation of new knowledge with real-world significance – and boundaries and is carried out in collaboration with industry, museums and galleries, governmental organisations and academic institutions, therefore as an inherently creative and risky process – we provide an and funded by the European Union, British Academy, Wellcome Trust, environment which continues to nurture successive generations of artists, Leverhulme Trust, UK Research Councils, and charitable trusts and theorists, designers, performers and makers who challenge, define and foundations. The results of our research take many forms, including re-define our times. artefacts, designs, patents, catalogues, exhibitions and digital resources of various kinds, as well as published books, journal articles and commissioned reports.
16 | 17 About the Colleges – Central Saint Martins
University of the Arts London We have eight research programme areas at Central Saint provided shelter for my inter- Martins: Product, Ceramic and disciplinary research practice, Industrial Design, Jewellery and Textiles, Culture and Enterprise, and nurtured my creativity Fashion, Graphic Communication Design, Fine Art, Spatial Practices We give our candidates time and space, together The crucible for all this creativity is the award- with a fine balance between and Drama and Performance, and with expert supervision and support, a focused winning Granary Building in King’s Cross, our independence, supervisory a thriving research community series of skills seminars and workshops, opportunities home, with a range of studios, workshops, lectures working within and across these to contribute to research groups and forums, to theatres, performance and exhibition spaces, and guidance and inspirational specialisms, with more than 70 present and test research, to organise and curate dedicated space for research students to work students from around the world exhibitions, conferences and events, and to write in, come together, and be inspired. college life. studying towards MPhil and PhD and edit publications. Dr Marin Sawa – PhD (Architecture and Spatial Design), 2016 degrees here.
18 | 19 About the Colleges – London College of Communication
London College of Communication
London College of Communication is a world leader in The research community at London College of Communication includes communication design and media offering a unique experience renowned practitioners and theorists specialising in film, contemporary practice for research students across increasingly vibrant networks and histories of photography, communication studies, sound arts, graphic, information and service design, as well as spatial design. Our research is and communities of practice. Underpinned by exploration supported by collaborations with industry, commerce and the cultural sector, and experimentation across converging subject areas, our funding from UK Research Councils, and through international partnerships. research crosses disciplinary boundaries and both informs, and is informed by, innovation in the creative industries.
20 | 21 About the Colleges – London College of Communication Research output at London College of Communication is characterized by artefacts and objects, exhibitions and events, journals, books and publications, digital archives and information systems, often produced in partnership with academic institutions and public, cultural and commercial organisations, both nationally and internationally.
College-based seminars and activities
London College of Communication offers a supportive and exciting research environment for graduate researchers with seminars, lectures and events. In recent years graduate researchers have curated exhibitions and publications of their work. I have a brilliant supervisory team and get The College hosts two world leading research centres: the Photography and the Archive Research regular tutorials and feedback. The university- Centre (PARC) and the Centre for Research in Sound wide research network enables us to meet Arts Practice (CRiSAP) as well as several research fora open to established and emerging researchers: other research students and share news Photography and the Contemporary Imaginary; Design Activism; Conscientious Communicators; and information. Documentary; and Gender and Sexuality. Dr Rohit Dasgupta – PhD (Art and Design: History and Theory), 2016
22 | 23 About the Colleges – London College of Fashion
London College of Fashion
Research at London College of Fashion thrives within London College of Fashion hosts two world leading University the College’s unique specialist and transdisciplinary of the Arts Research Centres: for Fashion Curation and Sustainable environment and is supported and resourced by dedicated Fashion; the Digital Anthropology Lab and seven Research Hubs. Our research spans practice and theory in design, research facilities such as the cosmetic science and digital performance, curation, artefact, psychology, cosmetic laboratories, Fashion Space Gallery (FSG), world-class science, social science, sustainable and material practices, library and archive. creative business and management, digital production and communication; film, media and cultural studies
24 | 25 About the Colleges – London College of Fashion
London College of Fashion’s partnerships consist of wide ranging cultural and creative institutions with ever expanding collaborations including the Victoria and Albert Museum, with whom the college has a The College’s research community comprises of twenty five year working history. thirteen Professors and five Readers, five Post-Doctoral London College of Fashion Researchers, twelve Research Fellows, three Creative also form part of a five year Fellows and eight Early Career Researchers (ECRs). collaboration with Kering. The college has over 60 research students. Researchers are engaged in a number of practice- based and theoretical projects which engage with Studying at University of the Arts London is a wonderful many dimensions of fashion, from sustainability, experience as it is a research community that spans digital anthropology, textile science and engineering to performance dress, transnational media, and its colleges, encouraging interdisciplinary approaches creative business and marketing. to original research. The breadth and depth of research has a global reach, Felice McDowell – PhD student, London College of Fashion with partners and collaborations across the world, which attracts a number of visiting researchers.
26 | 27 Research Centres – Afterall
A Journal of Art, Context and Enquiry
Arahmaiani Tania Bruguera Inji Efflatoun Art and Biopolitics
Afterall
Research Centres at the University Co-Directors Professor Mark Lewis and Professor Charles Esche of the Arts London offer a supportive Website www.afterall.org and cohesive environment allowing Twitter @AfterallJournal Facebook www.facebook.com/Afterall.org/ University of the Arts London doctoral students to develop their own research with a focused community of Research Centres specialists. Centres provide invaluable Afterall is a Research Centre of University of the access to senior academics and Arts London, located at Central Saint Martins. practitioners in specific fields of arts We undertake contemporary art research within research, network collaborations this framework and in partnership with other in tandem with a progressive grant international educational and cultural institutions. applications strategy that focuses on identified research strengths at Afterall focuses on late modern and contemporary art (1955 onwards). The Centre has an academic emphasis on developing the field of the University. exhibition histories and is closely linked to the MRes Art: Exhibition Studies pathway. With the support of Arts Council England we disseminate our research through Afterall Journal, Afterall Books, www.afterall.org/online, screenings, talks and symposia.
28 | 29 Agnes Martin Research Centres – Centre for Fashion Curation Night Sea
Suzanne Hudson
Afterall Books: One Work
Centre for Fashion Curation – CfFC
Co-Directors Professor Amy de la Haye and Professor Judith Clark Website www.arts.ac.uk/research/ual-research-centres/centre-for-fashion-curation/ Afterall Journal Afterall Books Twitter @CfFC_UAL Blog www.fashion-curation.com/ Afterall is published by Central Offering critical analysis of exhibitions of contemporary art that have Saint Martins in partnership changed the way art is seen and made, the Exhibition Histories series with M HKA in Antwerp, and is is published in partnership with the Center for Curatorial Studies, The Centre for Fashion Curation is the centre for currently engaged in a two-year Bard College. Dedicated to producing studies of single works of art, research programme with Art considered in detail by single authors, and the wider context for art knowledge and experiential-based research in fashion Gallery of Ontario in Toronto and the One Work and Critical Readers series were founded in partnership curation at University of the Arts London. The main the John H Daniels Faculty of with The MIT Press. objectives that shape the direction of CfFC are designed Architecture, Landscape and Our PhD students might come from an academic or practice-led art to encourage experimentation and rigorous research Design, University of Toronto. background; they may be artists or writers, art historians or curators. and outcomes. The Centre is already recognised by Our centre members offer a broad range of expertise. These include key research and academic institutions, museums the directors, Professor Charles Esche and Professor Mark Lewis, and galleries for its generation of authoritative new Dr Lucy Steeds, Yaiza Hernández, David Morris, Helena Vilalta, Joyce Cronin and Caroline Woodley. Students will have unique access to the knowledge through innovative methodologies, a resources and knowledge already amassed by Afterall, as well as to breadth of research and interdisciplinary practices. its network of contributors and collaborating institutions. It is building on an already well-recognised research profile for its members’ work in fashion curation.
30 | 31 Research Centres – Centre for Fashion Curation
Alumni from the MA and PhD programmes are working in leading institutions and as freelancers in many countries including, amongst others, China, France, Italy, Sweden, America, Mexico, South Korea, Japan, Russia and Malaysia.
A core aim is to become an international leader in educating future practitioners in the field, equipping them with curatorial expertise appropriate to fashion. Research students explore notions of fashion and curation across a broad range of subject areas, Our PhD students come from broad backgrounds The CfFC PhD supervisory team includes leading practitioners and from sociological and anthropological perspectives, and disciplines – from fashion studies to literature, theorists in the field of fashion curation crossing many different to material culture, life-writing and museological history to sociology, fashion-makers to exhibition- disciplines and fields. These include fashion history and exhibition- methodologies, on subjects such as personal makers. They are united by rigorous interrogation making; the history of womenswear and menswear; studies in gender wardrobes, the fashion industry, exhibition and of what the practice of dress display and narratives and sexuality; object- and ideas-led exhibition-making; oral histories diverse curatorial interventions. in exhibitions could be. The interdisciplinary nature and archival practices; and the biography of objects and material of fashion studies is perfectly exemplified in the culture. The Centre is fortunate to have three professors specialising breadth of research currently being undertaken in the field who all currently supervise PhD students: Amy de la Haye, by CfFC’s academic researchers, and PhD Judith Clark and Claire Wilcox. Further supervisors include Dr Shaun students. Fashion and museological theory forms Cole (Associate Dean, Postgraduate Communities at London College a fundamental building block upon which students of Fashion), Dr Jeffrey Horsley (Post-doctoral Research Fellow in frame their research. They can complete practice- fashion curation) and Ligaya Salazar (curator, Fashion Space Gallery, based research degrees or conventional theses. London College of Fashion).
32 | 33 Research Centres – Centre for Sustainable Fashion
Centre for Sustainable Fashion – CSF Current and recent PhD students cross a number of boundaries, including working in relation to design Director Professor Dilys Williams for lower impact in clothes maintenance, design for Website www.sustainable-fashion.com different lengths of life, clothing with embedded Twitter @sustfash CSF seeks to make a distinctive contribution to technology related to wellbeing, mending, designing Facebook www.facebook.com/centreforsustainablefashion sustainability futures by leveraging fashion’s role in to foster a closer relationship with nature, the identifying and connecting us to our time and place, practices of social innovation. its role at the centre of contemporary society, as The work of the Centre for Sustainable Fashion a global industry and as an attractor of people in (CSF) is situated in the field of research of design order to foster new understandings of change and for sustainability, explored specifically in its also to create it. Drawing on theory and practice of the field of design for sustainability, research activity application to fashion, where it draws upon tends towards trans-disciplinary work and to projects multiple philosophies, approaches and methods. rooted in people and nature that critique and push beyond a reductionist approach to sustainability change and the industry status quo.
34 | 35 Research Centres – Centre for Sustainable Fashion
Many of our PhD students come from a background Our supervisory teams comprise world-leading as design practitioners in fashion, textiles or product researchers based at Centre for Sustainable Fashion, development, design-based knowledge which is with deep experience and expertise in fashion, used to inform and direct the research journey. textiles and sustainability and in both creative and This may involve, for example, the production and more traditional practices of research. These include evaluation of prototypes, the development of new Dilys Williams, CSF Director and Professor of Fashion concepts and processes, or recommendations for Design for Sustainability; Sandy Black, Professor of designers. All our researchers synthesise a number Fashion and Textile Design and Technology; Helen of different bodies of knowledge in the development Other PhD candidates may choose to apply their Storey, Professor of Fashion and Science; Lucy Orta, of their ideas, creating unique profiles, methods and theoretical and practice-based knowledge to Professor of Fashion, Art and Environment; and Dr cross-disciplinary expertise. In this way, we nurture particular situations and needs, such as developing Kate Fletcher, Professor of Sustainability, Design, researchers who can feel confident with both the new processes or products in relation to specific Fashion, who also leads the CSF PhD community. theoretical basis of their ideas and with practical communities, either in the UK or overseas. CSF applications. research catalyses fashion thinking and design, creating synergy between design, technology, science and industry.
36 | 37 Research Centres – Creative Research into Sound Arts Practice
Creative Research into Sound Arts Practice – CRiSAP
Co-Directors Professor Angus Carlyle and Professor Cathy Lane Website www.crisap.org Twitter @CRiSAP2
CRiSAP is a research centre dedicated to the exploration of the rich complexities of sound as an artistic practice. Our aim is to promote dialogue, Our main, but by no means exclusive, areas of activity can be debate and creative activity in sound arts practice categorised as: through the production of new creative work, — Sound and the Environment exhibition and curation, publication and public — Sound and Language, exploring the spoken word in artistic practice debate, and the formation of new collaborative — Digital Improvisation and Performance relationships. — The development of new creative tools — Creative practice and cross arts collaboration — Investigating the potential of archival materials to animate contemporary sound art debate
38 | 39 Research Centres – Creative Research into Sound Arts Practice CRiSAP derived its initial impetus from the research activities of key personnel in the London College of Communication’s School of Media. It has since gone on to foster connections with many of the other colleges in the University and to develop collaborations with relevant external individuals and institutions.
To date, activities include published books: In The Field, Sinister Resonance, On Listening, years, amongst many individual successes, our PhD Autumn Leaves with an accompanying audio students have collectively contributed artistic work compilation (winner of a Qwartz Electronic Music to the Sound Portal installation at Chelsea College Award 2008); and Playing With Words: the spoken of Arts, performed at the White Cube Bermondsey word in artistic practice; Performance: events as part of the Christian Marclay exhibition, delivered connected with the Her Noise archive at the Tate lectures at the Soundscapes exhibition at the Modern, London and in Oslo; events connected with National Gallery and participated in the Sound Playing With Words at the Small Publisher’s Fair, CRiSAP has curated a series of online exhibitions Passages symposium at the Università Iuav, Venice. Conway Hall, London and Gallus Theatre, Frankfurt; including Clickanywhere, exploring the edges Co-curation of a Sound Escapes exhibition at Space; between the audible and the visible, Vermilion Our members have lectured and performed around commission of two innovative software applications: Sounds, a showcase of the long running environmental the world and have had their work produced on Speechcutter for the manipulation of recorded vocal sound radio programme, and Not For Human We have also organised a conference on Sound BBC Radio 3, Channel Four, ResonanceFM and material and Déjà Vu, a powerful ‘sound seeker’ Consumption, an online exhibition of material related and Anthropology (with the University of St Andrews), elsewhere. We have a large network of national and designed to work with large audio databases. to sound phenomena that is inaudible or impossibly three symposia – Sound Body and The Performance international associates. CRiSAP is also involved loud. We hold the whole archive of the London’s of Sound (with Tate Britain) and In The Field, with the delivery of undergraduate and postgraduate Musician Collective. International Symposium for Field Recording at teaching in the Sound Arts and Design department. The British Library as part of the Sounds of Europe at London College of Communication. partnership. We have delivered numerous conference papers and presentations and have organised master classes for students with Jez Riley French, Felicity Ford, Daniela Cascella, Francisco Lopez, Nic Collins and Taina Riikonen. In the last three 40 | 41 Research Centres – Design Against Crime Research Centre
Design Against Crime Research Centre – DAC
Director Professor Lorraine Gamman Website www.designagainstcrime.com Twitter @designagainst Facebook www.facebook.com/designagainstcrime
DAC has learned to respect a wide range of creative as well as functional requirements, such as social inclusivity and energy efficiency, and to Design Against Crime (DAC) is a socially responsive, understand the need for community engagement in all projects, delivering on design in their thinking – practice-based research initiative, which uses the design with the people, for the people and sometimes by the people. in other words, when devising processes and products of design to reduce all This demands careful research into the nature of the crime problem: the crime preventive solutions of techniques of perpetrators in stealing, robbing or committing fraud, for their own – and they have to kinds of crime and promote community safety whilst example. It also requires much iterative trial and improvement, testing use innovation and design-like improving quality-of-life. prototypes with diverse stakeholders whilst also adopting a quantitative processes themselves. This approach to measure the impact of our designs on crime. is because context strongly DAC poses many exciting challenges, both for the design profession determines whether an and for those who use design. Designers need to be far more creative Professionals in local government, transport, the police, the banking intervention works in reducing than criminals, who are known to be adaptive and innovative. Often, industry or mobile phone service providers, for example, may need to crime and improving quality of the wider design dilemma is how to design objects, services, and select and deploy the products of secure design, whether off-the-shelf wlife, and whether it is workable. environments that address both users and abusers, without making or bespoke. Alternatively, they may have a wider requirement to draw the products look ‘criminal’ or security-obsessed.
42 | 43 Research Centres – Design Against Crime Research Centre
We therefore have to prove and promote the social and commercial benefits of creativity in addressing crime and other social issues linked to behaviour change to government and to manufacturing and service industries, as well as to those concerned with the ‘social At DAC we aim to build interdisciplinary and economy’. We also seek to international collaborations to develop and share transfer practice that has a the richest academic and cultural base for DAC Many different interests, individuals and organisations are usually strong evidence-base of and SRvDI. For prospective PhD students – involved when we attempt to prevent crime, and often social innovation success to other social issues whether designers or users of design – we offer becomes as important as technological innovation. At the cultural level, to be addressed by design, unparalleled scope for cross- or interdisciplinary too, DAC poses challenges to the designer and the policy maker in such as health, ageing, climate study, ranging from conventionally academic to choosing, for example, whether to treat graffiti as a crime or a negotiable change and finance, via our practice-based; from product to communications creative practice. Resistance to any design contribution delivered has to Socially Responsive Design or service design; with various active partners from be faced and our case made, whether to leading architects who refuse and Innovation (SRvDI) focus. academia (especially crime science and criminology), to accept that it is their role to combat crime, to sceptical police officers government, commerce and industry. We have or to commercial companies seeking to avoid yet another constraint learned to effectively address social concerns using and cost imposed for the good of society. design and we will continue to work on crime, as well as embracing other problems, where design can help deliver social change and transfer trusted design methods and models to address the difficult social issues that face us.
44 | 45 Research Centres – Ligatus Research Centre
Ligatus Research Centre
Co-directors Professor Nicholas Pickwoad and Dr Athanasios Velios Website www.ligatus.org.uk Saint Catherine’s Monastery Library Twitter @Ligatus_UAL Bookbinding terminology Mount Sinai, Egypt Ligatus is leading the development of a terminology The monastery of St Catherine in the Sinai, Egypt, The Ligatus Research Centre offers a unique for historic bookbinding. Following a project which is the oldest active Christian monastery in the world. resulted in a detailed bookbinding glossary and a The monastery’s library holds a unique collection environment within the University of the Arts London, methodology to record historic bookbindings. Over of Byzantine and other manuscripts and printed where the study of the history of bookbinding and the past two years, Ligatus has led a large network books. Ligatus undertook the task of assessing the book conservation is combined with research into of European partners in the development of a widely condition of the manuscripts in a detailed survey of semantic data structures and collection survey tools. adopted bookbinding thesaurus based on semantic the 3,300 bound manuscripts and the 100 earliest web standards. This has resulted in a detailed online printed books in the collection. It has also designed PhD applications are welcome in the following glossary of bookbinding terms (www.ligatus.org.uk/lob) a new conservation workshop, a stainless steel areas of research: and a recommended methodology for recording box for the protection of the manuscripts and is historic bookbindings, to be described in the advising on further conservation work. The project forthcoming book: Coming to Terms: guidelines has been funded by the St Catherine Foundation. for the description of historical bookbindings, PhD applicants can work with the outcomes from PhD applicants are invited to submit proposals this project and are invited to submit proposals in on historical bookbinding and bookbinding book conservation and historic bookbinding with terminologies, especially with an emphasis on an emphasis in the Byzantine tradition. a multi-lingual/multi-cultural context.
46 | 47 Research Centres – Ligatus Research Centre
John Latham Archive Ligatus is working with the John Latham Foundation on the John Latham Archive. The archive has been digitised and is available for study online. John Latham’s influence on the visual arts is remarkable. His philosophical ideas on Events, Event Structures and ‘Flat Time’, a unifying overview of the world, are fascinating and complex. PhD applicants are invited to submit proposals on the study of John Latham’s art and texts.
Digital archive of bookbinding Knowledge Organisation and Semantic Archiving Partners and cooperators The 30,000 slides of the bound manuscripts in the Ligatus is pioneering the development of methodologies Ligatus cooperates with many institutions, notably including: library of St Catherine’s Monastery, taken as part of for documenting heritage archives. Following the – Saint Catherine Foundation the survey, have been digitized and have been joined proposal of Creative Archiving where the archivist’s – School of Advanced Study, University of London by 10,000 digital images of the bindings on the early subjectivity is turned into an advantage by introducing – Centre for the Study of the Book, Bodleian Library in Oxford University printed books. Based on this material, Ligatus is in an interpretation layer through modern software – Museum of Byzantine Culture in Thessaloniki, Greece the process of building a repository of an unrivalled, tools, Ligatus is developing ways to enable the – International Institute for Conservation of Historic and Artistic Works collection of materials relating to the history of book- conceptual linking of heritage archives based on – Foundation for Research and Technology, Greece binding with images donated by key scholars who have semantic technologies (Linked Open Data). PhD – John Latham Foundation worked internationally in major public and private applicants are invited to submit research proposals – The Herzog August Bibliothek, Wolfenbüttel collections. PhD applicants can work with this material in the areas of Knowledge Organisation, Semantic – The National Library of Mexico on relevant subjects, including image recognition Ontologies and Digitisation with particular emphasis – The University of Uppsala and automatic identification of binding types. on the arts and humanities. – The Consortium of European Research Libraries (CERL)
48 | 49 Research Centres – Photography and the Archive Research Centre
PARC acts as a catalyst for practice-based research alongside Photography and the Archive Research Centre – PARC academic scholarship. This rich vein of work relates to an expanding Director Professor Val Williams field of both creative and scholarly Website www.photographyresearchcentre.co.uk activity. As the Centre has grown The Centre’s interests span the history and culture of photography, with Twitter @PARC_UAL and developed over the last particular emphasis on post-war British photography, the documentation Facebook www.facebook.com/PARC.UAL ten years, and responded to the of war and conflict, the photography of fashion and style, the visualization interests of its members, students of the counterculture, and photography and sexuality. Past projects and the University community, it from PARC include AHRC-funded ROAD: Artists and the M11 Link has increased its range of activity Road Campaign, and The New British Photography of the 1970s; The Photography and the Archive Research Centre to fully encompass ideas and Daniel Meadows: Early Photographs (National Media Museum and (PARC) was designated by the University of the Arts issues around the practice, theory touring, 2011-2015); Considering Vietnam conference (with the Imperial London in 2003 and is based at the London College and history of photography. The War Museum, 2011); A Day in the World (Kulturhuset, Stockholm and Centre initiates new and innovative Museum of World Cultures, Gothenburg, 2013); ‘Ken. To be destroyed’ of Communication. It is a dynamic and growing research into photography and publication and exhibition at the Schwules Museum, Berlin (2016); Research Centre which responds to, and initiates, culture and organises seminars, Garden State: exhibition and publication by Corinne Silva in Partnership significant developments within research into study days, symposia and with Ffotogallery Cardiff and the Mosaic Rooms, London. Individual PARC photography practice, history, theory, curatorship conferences, both within the members work across a wide variety of areas, including the archives of University and externally. It has studio photography, women and photography, photographic practice, and writing. PARC is concerned with a range of instigated the Moose on the Loose Nordic photography, photography theory and history, photography and important questions related to both the archive and Biennale of Research and was the contemporary imaginary, and photography and queerness. PhD contemporary and historical photographic practice. co-convenor of the Fast Forward: supervision is available in all these areas, as well as within the Centre’s Women in Photography conference core research themes. held at Tate Modern.
50 | 51 Research Centres – Photography and the Archive Research Centre
The Journal of Photography & Culture is co-hosted by the Centre, and PARC Director Professor Val Williams is a co-editor. Continuous work with the Journal from PARC’s members play an important part in the Centre’s work. These 2008 onwards means that Photography & Culture include: Professor Tom Hunter; Dr Wiebke Leister; Dr Sara Davidmann; has developed a unique international network of Dr Jennifer Good, Professor Patrick Sutherland; Brigitte Lardinois; academics with photography as their core interest. Current PhD students are working on both practice- Dr Alistair O’Neill; David Moore; Pam Skelton and Dr Paul Lowe. Centre PARC publishes Fieldstudy twice a year, covering its based PhDs and text-based projects. Their work staff and members supervise a growing number of research students, key areas of research, and commissioning issues on includes studies of the single Saudi woman, the political who are active in organizing seminars and master classes on behalf of new photographic practice. The Centre also leads the and social relevance of photography in the landscape, the Centre. PARC’s staff and members contribute to the international online Directory of Photographic Collections in the and community photography in the 1970s and beyond. research culture around photography in many ways, as exhibiting artists, UK. PARC also manages the Camerawork Archive The Centre has also welcomed visiting research curators, writers, educators, editors and speakers at a wide range of and the Archive of Photography Exhibition Posters. students and visiting research fellows. conferences. They include noted curators, with exhibitions initiated in PARC has initiated a biennial festival of research, partnership with institutions, including Tate Britain, the National Media Moose on the Loose – http://mooseontheloose.net/. Museum, and the Barbican Art Gallery. Within London College of Communication, PARC also works closely with the Faculty of Media, and PARC members, staff and research students are active participants in the college’s research hubs. The Centre also worked with London College of Communication to curate the 2012 exhibition of PhD practice. Research outcomes from PARC members can be found at the University’s repository, UAL Research Online: http://ualresearchonline.arts.ac.uk/.
52 | 53 Research Centres – Textile Futures Research Centre
Textile Futures Research Centre – TFRC
Director Professor Rebecca Earley (Textiles Environment Design) CSM Co-ordinator Anne Marr (Urban Fabrics) Website www.tfrc.org.uk Twitter @TFRCtextiles Facebook www.facebook.com/groups/TFRClectures/
TFRC and PhD researchers explore the areas of textile and material The Textile Futures Research Centre (TFRC) is comprised innovations for fashion, product, architecture, environment and social of design researchers and practitioners from Chelsea contexts. Two platforms within TFRC – Textiles Environment Design College of Arts and Central Saint Martins. The Centre (TED) and Urban Fabrics – explore questions concerned with the future of textiles and materials, the circular economy and the potential for provides a wide support network for PhD students and is textile design interventions to bring value into communities. Textile at the forefront of collaborative research concerned with Futures textiles and material design. It brings together University TED research explores sustainable textile strategy, technology and Research of the Arts London research staff, PhD students, national emerging science fields to drive industry innovation – from collaborating Centre and international academic researchers, cultural with scientists on new regenerated fibres and short-life materials; to working with consumer behaviour experts on extending the life of textile institutions, industry and commerce. products through service design. Urban Fabrics reseachers investigate the connection between materials and society in order to develop sustainable socio-responsive textile solutions that empathise with city experiences and promote local ownership.
54 | 55 Research Centres – Textile Futures Research Centre
The centre and its research degree supervisors support both PhD practice and theoretical research within and across these platforms. Our PhD supervisors are world leading researchers and experts in their field. CurrentPhD students contribute to a broad Our research approaches and outputs are continually range of TFRC activities, and are firmly integrated evolving with current and future undergraduate and within TFRC’s research community. The Centre’s postgraduate textile programmes; we are shaping many multi-disciplinary collaborations provide our the future of the textile industry. Current Research Projects PhD students with the opportunity to combine theory with action – working with scientists, technologists, – Mistra Future Fashion – www.mistrafuturefashion.com engineers, designers or makers – translating research – Trash-2-Cash – www.trash2cashproject.eu and innovative methods into the commercial world. – The Textile Toolbox – www.textiletoolbox.com – Cultures of Resilience – www.culturesofresilience.org
56 | 57 Research Centres – Transnational Art, Identity and Nation
Transnational Art, Identity and Nation – TrAIN
Director Professor Paul Goodwin Website www.transnational.org.uk In an increasingly complex period of globalisation, programme of public events and research projects, Twitter @TrAINCentre established certainties about the nature of culture, and it brings together research in transnational Facebook www.facebook.com/TrAINCentre tradition and authenticity are being constantly issues in art and design, both globally and locally. questioned. The movement of peoples and artefacts Central to the Centre’s activities is a consideration is breaking down and producing new identities of the impact of identity and nation on the production outside and beyond those of the nation state. It is and consumption of artworks and artefacts. This The Centre for Transnational Art, Identity and Nation no longer easy to define the nature of the local and problematic is considered within challenging new (TrAIN) at the University of the Arts London is a the international, and many cultural interactions now global contexts such as the politics of migration and cross disciplinary forum for historical, theoretical operate on the level of the transnational. diasporas, techno-cultural shifts and the emergence of new artistic forms, ecologies and networks. TrAIN is a dynamic research forum for internationally and practice-based research in art and design, and Transnational relationships are explored through recognised scholars and practitioners inside and associated disciplines such as communication, crossings that traverse different media including outside the University. TrAIN offers research fine art, design, craft, curation, performance and craft and architecture. excellence and leadership through its coherent popular art forms.
58 | 59 Research Centres – Transnational Art, Identity and Nation
TrAIN has ongoing partnerships Current TrAIN research projects include with a number of national and – Black Artists and Modernism (BAM): a three-year research internationally significant cultural project led by University of the Arts London in partnership institutions such as the V&A, with Middlesex University (AHRC) A recent development is the formation of new Members contribute to TrAIN’s activities by Tate, Iniva, and Autograph ABP. – Translating and Writing Modern Design Histories in East Asia Thematic Strands that consolidate and enhance completing group and individual research projects Key partnerships have included for the Global World (AHRC) research efforts in the centre. These currently include: and through the supervision of relevant postgraduate the TrAIN/Gasworks Artists’ – Performing Romani Identities: Strategy and Critique (AHRC). Transnational Indigeneity (Dr Pratap Rughani and study. Issues and debates arising from research Residency, an international Professor Oriana Baddeley), East Asian Visual Cultures activities are disseminated by TrAIN conferences, residency which raised specific Previous TrAIN projects include: (Dr Yuko Kikuchi and Professor Toshio Watanabe) lectures, exhibitions and publications. Throughout questions for individual artists and and Contemporary Art and Latin America (Dr Michael the academic year TrAIN organises public events, wider issues regarding how both – Forgotten Japonisme, the Taste for Japanese Art in Britain Asbury). More Thematic Strands are being developed such as the TrAIN Open Series, where artists, local and international contexts and the USA, 1920s-1950s (AHRC) to reflect emerging research themes. theorists and curators present their work and are negotiated in practice. – Dress and the African Diaspora (AHRC) ideas. These are held at Chelsea College of Arts, – Other Modernities; Refracted Colonial Modernities: Identities Central Saint Martins and London College of in Taiwanese Art and Design (Chiang Ching-kuo Foundation) Communication. More information about the Centre’s – Meeting Margins, Transnational Art in Latin America and Europe, activities, core members and visiting scholars, is 1950-1978 (in collaboration with the University of Essex, AHRC) available at www.transnational.org.uk. – Afterlives of Monuments (British Academy/Nehru Centre High Commission of India) – Birth of Cool: Style Narratives of the African Diaspora (British Council)
60 | 61 University of the Arts London Archives and Special Collections
University of the Arts London Archives and Special Collections Centre
Website www.arts.ac.uk/study-at-ual/library-services/collections-and-archives/
The catalogue of information about all collections held by the Archives and Special Collections Centre and the six constituent colleges that form the University of the Arts London, is available online. The University has a state-of-the-art Archives and Special Collections Centre, based at London College of Communication. Currently housed in the Centre are the following collections:
C&A Archive Edward Bawden Collection The collection contains materials relating to C&A Edward Bawden (1903-89) was a British painter, University of the Arts London marketing activities from 1940s to 1990 such as slides, illustrator and graphic artist. He was also famous for Archives and Special Collections photographs of store fronts and fashion displays, and his prints, book covers, posters and garden metalwork volumes about the history of the company in the UK. furniture. The collection contains examples of his design The London College of Fashion Special Collections work for commercial companies, many commissioned holds a collection of clothing and fashion adverts through The Curwen Press, for example, London University of the Arts London has an extraordinary range designed by Margrit Seck, dating from the 1950s. Transport. The largest section contains works for the Fortnum and Mason department store, London. of archives and special collections that reflect the rich Comic Book Collection traditions and specialisms of the six constituent colleges. Her Noise Archive The collection includes a wide range of titles from The scope of these collections is immense. They provide the second half of the 20th century covering UK and Her Noise was an exhibition that took place at South a profound insight into past and contemporary practices US mainstream and underground comics, and other London Gallery in London in 2005 with additional within arts, design and communication with items dating specialist and international publications. There are events spread across other London venues such as from the 1400s until the present day. They represent also graphic novels, a number of strips and related Tate Modern and the Goethe Institut. The ambition a significant cornerstone of the University’s research comic ephemera such as posters and free gifts. The of the project was to investigate music histories collection is an invaluable resource for researchers in relation to gender and to bring together a wide infrastructure and a crucial teaching resource. They are interested not only in comic graphics but also graphic network of women artists who use sound as a also of great value to external visitors, ranging from design and illustration, alternative communication medium. Throughout the development of Her Noise, international scholars to local schools and arts practitioners. and social trends. the curators conducted dozens of interviews with artists, while also compiling sound recordings and David Usborne Collection printed materials which would eventually form the Her Noise Archive. Material gathered includes books, David Usborne’s collection of 2,000 objects and tools catalogues, magazines, zines, records, CDs, tapes has been amassed over a period of 30 years. It offers and video pertaining to women in experimental and a unique perspective on human ingenuity while also avant garde music and sound culture. The archive is illustrating the ‘natural’ aesthetics of utilitarian objects. a collection of over 60 videos, 300 audio recordings, Many of the objects relate to obsolete crafts and can 40 books and catalogues and 250 fanzines compiled provide an ongoing source of inspiration to students throughout the development of the project. of fine art and design.
62 | 63 University of the Arts London Archives and Special Collections
John Schlesinger Archive and Library Phillip Knightley Archive The Stanley Kubrick Archive Tom Eckersley Collection The collection comprises much of the library of John Phillip Knightley (b.1929) is a journalist, non-fiction Stanley Kubrick (1928-1999) was a photographer Tom Eckersley (1914-1997) was an eminent poster Schlesinger (1926-2003) with approximately 500 author and media commentator on the intelligence and filmmaker. The archive spans Kubrick’s entire designer from the mid-1930s until late 1990s. The titles on subjects such as film, opera, music, art and services and propaganda. The archive contains career from his time as a photographer for Look collection consists of published posters and original photography. It also includes some rare advertising research, source materials, interviews, notes, magazine to his final filmEyes Wide Shut. The artworks from Eckersley’s own private collection for posters; 150 videotapes (Umatic, VHS and non VHS chapters, and draft versions of Knightley’s journalism main concentration is of records created during various companies such as General Post Office, formats) many of which contain variations of his and books, such as First Casualty. Also included are the making of his films. The archive also includes Gillette, Ministry of Information, The United Nations films, such as the Director’s cuts and airline versions; correspondence and publishing contracts. records created posthumously by the Kubrick Estate Children’s Fund, Transport for London, Imperial soundtrack records; contact sheets; storyboards for relating to projects such as the creation of boxed War Museum, Royal Society for the Prevention of Yanks and The Innocent; awards; and equipment such Robert Fenton Archive sets of Kubrick’s films, and material relating to the Accidents (RoSPA) and World Wide Fund for Nature. as lights and his personalized equipment cases. development and pre-production of the unfinished There are also magazine covers, for example for The archive contains papers and information relating projects Aryan Papers, Napoleon and AI Artificial The Queen, Graphics 31 and The Director and to composition and printing. Robert Fenton (1891-1989) John Westwood Collection Intelligence, among other prospective projects. other printed works such as 1930s illustrations for worked at the London College of Communication The film production material includes records newspaper stories. In addition to printed works there John Westwood was head of design of Her Majesty’s from 1920-1961 and the materials relate to his time created during the development, pre-production, are original artworks by Eckersley, which demonstrate Stationery Office. The collection contains material there. Prior to this, he was a successful commercial production, post-production, distribution and his production techniques. exemplifying typography, design and printing such printer including working for the National Institute for marketing of all Kubrick’s feature films, such as draft as programmes, invites and menus. It also includes the Blind as deputy head of letterpress, 1918-1920. and completed scripts, research materials including posters for European travel, Transport for London, Included are examples of his work, typesetting sheets, books, magazines and location photographs; set Post Office and the Ministry of Information, and composing tools and working notebooks. plans, production documents such as call sheets, tourists’ maps and material from the City of Zurich. shooting schedules, continuity reports and continuity Thorold Dickinson Archive and Library polaroids; correspondence, props, costumes, poster London College of Communication Archive Thorold Dickinson (1903-84) was a film director designs, posters, film and video material, sound tapes The collection contains material relating to the and educator. The collection contains Dickinson’s and records, publicity such as press cuttings and activities of the College and its predecessor bodies, books and periodicals (many of them rare) as well magazines; awards and nominations, drawings and including St Bride Foundation Printing School, Bolt as archives relating to his later career for the United artwork and many photographs documenting the Court Technical School, College for Distributive Nations, British government and the establishment of making and marketing of the films. The collection is Trades, and the Printing Department of the North the Slade School of Art’s film department. It includes of interest to a range of research disciplines including: Western Polytechnic. It contains prospectuses, scripts and treatments, research material, press costume and set design, photography, model making, student work, yearbooks, photographs and some cuttings, reports, correspondence, course outlines screen writing, cinematography, filmmakers and administrative records. A section of the collection and screening notes. advertising. www.arts.ac.uk/study-at-ual/library- features ephemera representing printing techniques services/collections-and-archives/archives-and- and design trends, for example, illustration plates, special-collections-centre/stanley-kubrick-archive/. 19th century Christmas cards and posters. There are also materials relating to printing education and apprenticeships generated by the College, its predecessor bodies and external organisations.
64 | 65 College Archives and Special Collections
Chelsea College of Arts
Website www.arts.ac.uk/study-at-ual/library-services/collections-and-archives/chelsea/
African-Caribbean, Asian and African Art Contemporary Art Slide Scheme in Britain Archive The collection contains sets of contemporary The collection contains documentation of the work fine art slides from exhibitions in London for of contemporary artists of African-Caribbean, Asian educational and research use. The scheme was and African descent practicing in Britain through a run on a subscription basis until 2007 and includes College Archives and collection of exhibition catalogues and ephemera. images from private galleries and artists’ archives. Special Collections Artists’ Books Ephemera Collection The collection contains examples of fine artists’ The collection contains materials relating to artists involvement with the book from the 1960s onwards. and galleries: clippings, press releases, reviews, It is strong on contemporary conceptual works and private view cards, artists’ statements, CVs, Camberwell, Chelsea, Wimbledon artists such as Lawrence Weiner, Sol LeWitt, Ed invitations, letters and posters. It is being added Ruscha and Ian Hamilton Finlay. It also contains to and is a source of information on new and lesser Camberwell College of Arts booksellers’ catalogues, flyers, and exhibition known artists and the changing gallery scene in the related materials and letters. UK. 1960s London-based artists and galleries are Website www.arts.ac.uk/study-at-ual/library-services/collections-and-archives/camberwell/ particularly well represented. Artists’ Multiples Facsimile Sketchbooks The collection contains approximately 500 limited Artists’ Books Camberwell College of Arts Archive edition artworks by artists such as Marcel Duchamp The collection contains facsimile sketchbooks The collection contains works by students from the The archive documents the history of Camberwell and Damien Hirst. An award from CLIP CETL enabled of twenty eight 19th and 20th century artists, 1990s onwards, and supports the MA Book Arts College of Arts from 1898 to the present. It includes the creation of a digital visual archive of the collection, and includes the works of Cezanne, Delacroix, course as well as being of use to other researchers. prospectuses, minutes of meetings of Boards of and a printed version is available for users to browse Gauguin, Mondrian, Picasso, Toulouse-Lautrec Governors, exhibition and degree show catalogues, in the library. All the works are searchable via the and Jackson Pollock. Walter Crane Collection photograph albums, private view cards and other library catalogue and both University of the Arts London College ephemera. and external researchers can view items in the library. Ian Hamilton Finlay Archive Walter Crane (1845-1915) was a graphic illustrator, educationalist and social reformer. The collection The archive contains printed works by Ian Hamilton Chelsea College of Arts Archive comprises about 150 books and ephemera relating Finlay (1925-2006), including artists’ books, cards, to Walter Crane, and some of his illustrated The archive contains records documenting the proposals, plays and poetry; correspondence and children’s books. establishment of the new school and details of postcards; and exhibition catalogues, monographs college activities to the present. Included are and articles about the artist. prospectuses, degree show and other catalogues and student publications. It includes some details of past alumni. Items date back to the 1920s, but the bulk of the collection dates from 1964 to the present. Records relating to the earlier history of the art school are held at King’s College London.
66 | 67 College Archives and Special Collections
Inventory Archive Stephen Willats Archive College Archive Fine Arts, Prints and Drawings The collection contains documentation on the Stephen Willats (b.1943) is a British artist. The A variety of material relating to the College including This rich area of the collection encompasses over 500 development of Inventory magazine and related archive contains material relating to exhibitions, promotional posters, exhibition catalogues, years of artistic practice, from woodcuts by Dürer and art projects. Inventory was first published in1995 and social and community projects such as the prospectuses, photographs, staff records, minute early printed books to work by leading 20th century by Paul Claydon, Adam Scrivener and Damian West London Social Resource Project. books, letters, reports and general press cuttings. artists Eduardo Paolozzi, Norman Ackroyd and Abbott. A complete run of the magazine is kept The Museum also archives press cuttings relating Bernard Meninsky. Cartoonists Posy Simmonds and in the Library. Examples of their multiple artworks to staff, students and alumni of the College. Gerald Scarfe are also represented in the collection. are also collected. Contemporary Collection Wood Engraving The Contemporary Collection comprises art and Noel Rooke (1881-1953) taught at the Central School Wimbledon College of Arts design work bought from degree shows each year between 1906 and 1940 and was instrumental in including paintings, prints, artist’s books, sculptures, the revival of the art of wood engraving. He had Website www.arts.ac.uk/study-at-ual/library-services/collections-and-archives/wimbledon/ jewellery, ceramics, theatrical model boxes, textiles tremendous influence on his students and on book and fashion. The early work of rising stars such as illustration throughout the first half of the20 th century. as Raqib Shaw and Hussein Chalayan play a key Rooke is well represented in this collection, as are Central Saint Martins role in this collection. former students John Farleigh and Robert Gibbings, and later wood engravers Monica Poole, Blair Hughes- Website www.arts.ac.uk/csm/about-csm/museum-and-study-collection/ WR Lethaby Stanton and Simon Brett. A comprehensive archive of material relating to British Artists’ Film and Video Study Collection Central Saint Martins Museum Theatre Costume Design WR Lethaby (1857-1931) – designer, architect, and Study Collection This research collection is dedicated to artists’ educationalist and founding principal of the Central Costume design was one of the most important moving-image. It contains over 4,000 video copies The Museum and Study Collection at Central Saint School of Arts and Crafts – including letters, drawings, aspects of the original Theatre Design Course at the of artists’ works, approximately 5,000 still images, Martins acts as the College archive and tells the watercolours and a collection of his published writings. Central School. This collection includes examples files on over900 artists, a library of over 1,000 books story of the College’s rich history. It consists of work of work by costume designers for theatre, film and and magazines, a collection of historical posters and by staff and students for more than a century, and Textiles television, including Jeannetta Cochrane, Pegaret publicity materials, and documentation relating to key from degree shows from the last 20 years. The result Anthony, Sheila Jackson, Alix Stone, Norah Waugh This collection includes work by leading textile artist-led organisations and public funding bodies. is a collection of more than 3,000 objects showing and Margaret Woodward. designers Colleen Farr, Mary Harper, Diana Armfield, The Study Collection has also undertaken a number the breadth and scope of the work being created by Mary Oliver, Eileen Ellis, Marianne Straub and Joyce of exhibition, conference and publishing projects and students today, from painting and printmaking, fashion German Film Posters Clissold – owner of the Footprints design company. hosts PhD research. Recent projects have included and textile design, ceramic and product design to The Clissold Collection includes block-printed textiles, The posters in this collection advertise silent the book Expanded Cinema: Art Performance Film graphic design, sculpture, photography, jewellery garments, swatches, blocks, dye ledgers and designs films produced in Berlin during the early20 th (Tate Publishing 2011) and Figuring Landscapes. and theatre design. on paper. century. Reflecting an exciting and critical period www.studycollection.org.uk of development in design and cinema, they played The museum also runs a teaching collection that School of Book Production an important role as part of the Central School’s has been more than a century in the making. This teaching collection. encompasses artworks and archives from the 13th This collection includes a substantial number of century to the present day and includes early printed books typeset, illustrated, printed and bound by books, prints, illuminated manuscripts, embroideries, staff and students of the Central School in the early work by members of the Arts and Crafts Movement, 20th century. The School of Book Production at the 1920s German film posters, Japanese prints, textile Central School was dominated by figures such as samples and garments. There is also a fine collection Douglas Cockerell and JH Mason who were hugely of teaching books dating from 17th century. influential in the revival of the art of printing, both in the UK and abroad.
68 | 69 College Archives and Special Collections
The Japanese Print Collection Teaching Books When Frank Morley Fletcher introduced Japanese The collection of Teaching Books reflects the diverse wood-block printing methods into his printmaking range of subject areas taught at the Central School. classes, the Central School bought a large number The collection is particularly rich in natural history, of Japanese prints for its teaching collection. Dating architecture, textiles, early printed books and from the mid 18th to the late 19th centuries, these portfolios of design examples. include individual prints and albums depicting children’s games, flora and fauna and famous actors from the traditional Kabuki theatre.
London College of Communication
Website www.arts.ac.uk/study-at-ual/library-services/collections-and-archives/london-college-of-communication/
The Catherine Arthur Collection Film Script Collection Catherine Arthur was a freelance publisher. The collection contains scripts, mainly American, The collection contains late 20th century books with some British films, from the1970 s onwards, as accumulated by Arthur that reflect her long association well as American sit-coms and British soap operas. with the printing industry. Historic Journals Collection Camerawork Archive The collection contains journals from the 19th The collection contains material relating to Four and 20th centuries (especially 1920s-1930s) that Corners Films, 1970s-1990s, and includes: letters, represent typographic and graphic design. Titles invites and press items. include British and Colonial Printer, Picture Post, Illustrated War News, Fleuron, Alphabet and Image, Decorated Books from the Netherlands Collection Colophon and London Mercury. The collection contains Dutch books with decorated Photographic Exhibition Poster Collection trade bindings, 1893-1939, and includes bindings in the Nieuwe Kunst and Art Nouveau styles by The collection contains posters dating from 1970s Dutch artists such as PAH Hofman, Josef Cantre onwards and charting a range of exhibits held and Jan Toorop. and including shows by: Photographers Gallery, Camerawork and Impressions Gallery. The Edward Clark Collection The collection contains research focusing on 20th century typography and is a resource to support the study of the history and current development of typography and related topics.
70 | 71 College Archives and Special Collections | Contact Us
Printing Historical Collection Talwin Morris Collection Hayes Textile Limited Archive The collection contains items charting the history Talwin Morris (1882-1911) was a book cover designer The archive contains textile swatches by the British and art of the Western book, reflecting its physical, and publisher. The collection contains books from company Hayes that designed and manufactured technical and aesthetic development from the 15th the publishing house Blackie and Son, with covers head clothes for Nigerian women. The swatches to 21st centuries. designed by Morris in the Art Nouveau and Glasgow show a varied sample of patterns and colours that styles including the Red Letter Library series. There were typical of the designs used throughout the are also a number of books from Blackie’s subsidiary company’s lifespan. firm, Gresham Publishing Company. London College of Fashion Archive The archive contains items relating to the history of London College of Fashion the college, from its original trade schools at Barrett Street, Shoreditch and Clapham to the present Website www.arts.ac.uk/study-at-ual/library-services/collections-and-archives/london-college-of-fashion/ day. It contains material documenting training and activities in a variety of subjects such as hairdressing C&A Archive EMAP Archive and make-up. The archive includes a small collection of garments EMAP is a key trade publisher for the fashion industry. Women’s Home Industries Archive and a portfolio of adverts designed by Margrit Seck. The archive contains trade journals from the 1880s The University of the Arts Archives and Special onwards as the Drapers Record. It covers promotion, The collection contains knitting patterns created for Collections Centre contains materials relating to the development of the fashion trade and the history and by Women’s Home Industries (also known as C&A marketing activities from 1940s-1990. of modern footwear. Beatrice Bellini Hand Knits) from 1947-2005.
Clothing and Footwear Institute Archive Gala Collection The Woolmark Archive The collection contains around 350 tailoring and The collection contains scrapbooks of clippings from The archive contains approximately 3,000 black clothing industry books and periodicals spanning newspapers and magazines, publicity and promotional and white fashion photographs covering the period 19th and early 20th centuries. photographs for Crystal Products, Miner’s Cosmetics from the 1940s-1980s. The photographs capture the and Gala Cosmetics. In addition to the scrapbook fashion of the time and the style of photography. Cooling Lawrence and Wells Collection photographs, there are 169 photographs of products, In some cases the original press release issued at promotional shots, point of sale shots, factory shots the same time gives additional information about the The collection contains the London Time Log, 1891- and promotional event shots. garments. Designers covered by the collection include 1937. The time log was a method of evaluating and Hardy Amies, Balenciaga, Pierre Cardin, Courreges, paying for the work of tailors and tailoresses. There Hat Collection Dior, Givenchy, Lanvin and Nina Ricci. is also a Livery Book, 1904-1970, with material samples and details of customers’ orders, some The collection contains hats from high street and correspondence with customers and details of high end retailers and designers, including: Madame uniform specifications, both military and civil. Valerie Brill (1960s), Clarida (1962-3), Marcel Ltd, Philip Treacy, Herbert Johnson (1973), Bermona Trend W www.arts.ac.uk/research/research-degrees/ Cordwainers College Archive (1984), C&A (1955), Webflex(1930s) , Panda (1960s), E [email protected] Frederick Fox (1990s), Velonap (1950s), Kangol The collection contains materials relating to one of (1950s), Jacoll (1960s) and Marida (1970s). the London College of Fashion predecessor bodies, T 020 7514 9389 1915-2000, including: photographs, teaching books, cuttings, prospectuses, programmes, minutes, administrative documents and student work. There are also 650 pairs of shoes, 1780-1990s.
72 | 73 Credits
Picture credits | Cover Archives and Special Collections Centre at LCC (Luke Potter) Inside cover Image of Steffi Kettel’s studio as part of the TrAIN Balmoral residency (Photo by the artist) Images listed by page left to right, top to bottom | Page 2 (John Sturrock) Page 5 (John Sturrock) Page 7 (John Sturrock) Page 11 (John Sturrock) Page 12 TransActing: a Market of Values at Chelsea College of Arts | Ligatus Summer School 2014 Page 13 TED Textile Toolbox exhibit Redressing Activism 2014 (Phillip Koll) | Cover of the Journal of Arts Writing by Students (JAWS) | Inter-Action Games Trust Action Space Inflatable (2015) Rootstein Hopkins Parde Ground, Chelsea College of Arts Page 14 Private View of The Research Hub, the annual exhibition by Camberwell, Chelsea, Wimbledon’s first year research students (Claire Mokrauer-Madden) | View down the spine of the binding on the forged Sidereus Nuncius (Nicholas Pickwoad) | Cover of the Journal of Visual Arts Practice (JVAP) Page 15 When the oil runs out people will need horses. Performing Romani Identity Strategy and Critique (Seminar, 2015) (Pratap Rughani) | Cover of the Moving Image Review and Art Journal (MIRAJ).(Sarah Turner Perestroika) | British School at Athens Page 16 (John Sturrock) | (John Sturrock) | The Readers (detail), Anne Tallentire (Hilary Knox) Page 17 Rush hour, Morning and Evening, Cheapside (film still), Mark Lewis | (John Sturrock)Page 18 Corn Marigold: Chrysanthemum coronarium, stained, transverse stem section, Rob Kesseler Page 19 Nowhere Else Exhibition, Anne Tallentire | Image of En Vie – Alive, new Desing frontiers, Espace Fondation EDF, Paris, curated by Carole Collet, (Laurent Lecat) | Edible Alchemy Aperolab event, Bartaku and Carole Collet, (Mischa Haller) Page 20 LCC students (Ana Escobar) | Patrick Sutherland (2012) Economy: the Elephant and Castle. The Elephant Vanishes Page 21 Russell Beastley (2015) PUNK ROCK!! SO WHAT? (Show/Exhibition) (Russell Beastley) | Cathy Lane (2015) Beam (Multi-channel sound installation), Artry Gallery, Fort Kochi, India (Cathy Lane) | Page 22 Sara Davidmann and Catherine Faulds (2015) Extreme (Show/Exhibition) (Sara Davidmann) | Brad Butler and Karen Mirza (2014) Everything for Everyone and Nothing for Us (Show/Exhibition) Page 23 David Toop and Camille Norment (2015) Rapture (Performance) (David Toop) | LCC Frontage. (Julie Coombs) | Sara Davidman (2014), Ken. To be Destroyed (Show/Exhibition) Page 24 LCF Library | Melica Stevic. 3D printed substrates for cosmetics delivery Page 25 Black Point 2012, Jessica Bugg, Performer: Fukiko Takase, (Marc Craig) | Modest Fashion, Reina Lewis | Helen Storey (2016). Dress for Our Time Page 26 The Sustainable Fashion Handbook, Sandy Black | Lynne Murray (2016) NoHandsLCF project | Liz Ciokajlo. Hemp based 3D printing Page 27 Cloud: Meteoros, Lucy Orta | Catalytic Clothing Field of Jeans, Helen Storey Page 28 (John Sturrock) Page 29 Afterall Journal, Issue 42, published in partnership with M HKA, Antwerp, The Art Gallery of Ontario and the John H Daniels Faculty of Architecture, Landscape and Design, University of Toronto (2016) | TExhibition Histories, Cultural Anthropophagy: The 24th Bienal de São Paulo 1998, published by Afterall Books in partnership with the Center for Curatorial Studies, Bard College (2015) Page 30 One Work, Agnes Martin: Night Sea by Suzanne Hudson, published by Afterall Books (2016) | Luminous Books bookshop in the Lethaby Gallery, CSM, during Afterall exhibition, Martha Rosler: The Bowery, 2015 | Archival display from the Afterall exhibition, Martha Rosler: The Bowery, Lethaby Gallery, CSM, 2015 Page 31 RED Comme des Garçons: innovation, provocation (Exhibition) 2015 (Jeff Horsley) Page 32 Celia Reyer | Coco Chanel: a new portrait by Marion Pike (Exhibition) 2013 (Daniel Caulfield Sriklad) | (Amy de la Haye)Page 33 Judith Clark (2012) Handbags: the making of a museum. (Laura Thornley) | Amy de la Haye and Judith Clark. Exhibiting Fashion: before and after 1971 (Laura Thornley) Page 34 Shared Talent South Africa (Gavin Fernades) | The RAJ, Digital photographic-illustration collage, Hormazd Narielwalla | Transformational Thinking Practice Day (Ana Escobar) Page 35 Shared Talent South Africa (Gavin Fernades) | Local Wisdom Project Flyer Page 36 Antarctic village, 2007, Lucy and Jorge Orta | Flavia Amadeu, Rainforest F | Transformational Thinking Practice Day (Ana Escobar) Page 37 Flavia Aamadeu. Organic Jewellery | Lara Torres (2015) Still from Towards a Practice of Unmaking (Film) Page 38 Road Music, Peter Sinclair Page 39 Louder Whisper, New Sound Art from India, curated by Meena Vari | Students working in LCC Sound Arts Studio (Photo by Mario Alessandro Razzeto) | Spectra, installation at the Meantime Gallery, Cheltenham, Rob Mullender Page 40 Louder Whisper, New Sound Art from India, curated by Meena Vari | Laptop Orchestra-Coronet Page 41 Haptic Optic, shellac impregnated silk sheet, Rob Mullender | Windmill, documentation of performance at the Big Draw, Wimbledon (Tansy Spinks) | Radio Mind, installation at the Old Lookout Gallery (Magz Hall) | CRiSAP publications) Page 42 Stop thief chair Page 43 Puma bike unfolded and folded | ATM privacy zone art installed in Camden and Westminster, London | Poster for ‘Up the down escalator’, DESISlecture, Kees Dorst Page 44 Karrysafe screamer bag | Grippa clip Page 45 Design Against ATM crime exhibition | M stand on street | M stand Page 46 Marbled book block edges, National Trust, Lacock Abbey (Nicholas Pickwoad) Page 47 Saint Catherine’s Monastery, Sinai, from the South East | Bookbinder, Etching by Jan Luyken, ca 1680 | Book from the National Trust Library (Nicholas Pickwoad) | The Sewn Bookblocks without boards or covers, National Trust, Blickling Hall (Nicholas Pickwoad) | Two members of the survey group at St Catherine’s Monastery (Nicholas Pickwoad) Page 48 Conservation box | A 16th-century book board covered in tooled leather re-used on an early 19th-century edition, Private collection (Nicholas Pickwoad) Page 49 Digitised photograph of the artist John Latham © John Latham Archive | English pulp board marked up with slashes for lacing-in, ca 1570, National Trust, Lacock Abbey (Nicholas Pickwoad) Page 50 Iraq War Veteran, Stuart Griffiths, Bolton, 2006Page 51 Peanut man | PARC Summer symposium (Wendy Short) | Zoe and David, Grace Lau Page 52 Daniel Meadows Exhibition, National Media Museum, Bradford | Daniel Meadows catalogue Page 53 Photography & Culture, PARC publications | The Big Conversation, Martin Parr and Grayson Perry | Moose of the Loose Flyer, Designer: Will Brady Page 54 Scentsory Design by Jenny Tillotson | BioLace, Carole Collet Page 55 Philippa (Cristina Schek) | Kate Goldsworthy, Seamsdress | Upcycled Digital Dress, Melanie Bowles and Kathy Round (Photo by Science Museum, London) Page 56 Blue Tree by Linda Florence | Ceramic Pieces (Cristina Schek) | Ceramic Pieces (Cristina Schek) Page 57 Jumper to mend | ReSurfaced, Kate Goldsworthy | Becky Earley. Blouse (Cristina Schek) Page 58 Ocupações/Descobrimentos (Occupations/Discoveries), Antonio Manuel, Installation view, Museum of Contemporary Art Niterói, (Photo by Vicente de Mello) Page 59 If a matter has been considered a very long time, it may happen (even without that the consideration would be finished), Steffi Kettel | TrAIN/Balmoral exhibition installation, (Ellie Pitkin)Page 60 Gasworks, Cinthia Marcelle | Continuous, Anna Maria Maiolino, Camden Arts Centre, Curated by Michael Asbury and CAC (Michael Asbury) Page 61 Frutos do Espaco, Antonio Manuel, Installation Centro Cultural Banco do Brasil, Sao Paulo | TrAIN/Balmoral exhibition installation (Ellie Pitkin) Page 62 Archives and Special Collections Centre at LCC (Luke Potter) Page 70 Selection of images from UAL Archives and Special Collections Inside back cover Seville orange: Citrus aurantium, Pollen grain, Hand coloured micrograph, Rob Kesseler
Design Richard Bonner-Morgan © 2016 University of the Arts London, Granary Building, 1 Granary Square, London N1C 4AA
74