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Issue 5 The magazine of The School of Art FlOW ISSUE 5

Cover Image: Top row (left to right) Ramon Puig Cuyas, Karl Fritsch, David Bielander Middle row Silvia Walz, Felieke van der Leest, Konrad Mehus Bottom row Jack Cunningham, Barbara Paganin, Hans Stofer

Exhibitors in Maker-Wearer-Viewer Mackintosh Gallery 5 March – 15 April 2005

>BRIEFING

Hothouse Font wins We√come International Award The GSA’s font – Hothouse – has won the International Welcome to Issue 5 of Flow. Forum GmbH (iF) award for Typography. The philosophy of widening access to education is embedded in the School’s everyday Hothouse was designed by Jurgen Huber of Meta Design activities and, in this issue, Alan MacAskill talks to GSA staff Eileen Reid, Patsy Forde, as part of the GSA’s rebranding Deborah Holland and Mary Ann Chatterton about this important element of our in 2001. involvement with the wider community. Honorary Professorship An Honorary Professorship has Allan Walker discusses the challenges that lie ahead in his new role as Deputy Director been conferred on Allan Walker, and Director of Academic Development and tells us why he is so pleased to be a part of Deputy Director of the GSA, by the GSA at this time. the .

Correction Finally, we were delighted to receive the news that Aileen Tan (Silversmithing and We would like to correct Jewellery, 2004) had won The Lighthouse’s inaugural Glasgow 1999 Design Medal for her information printed in the last issue regarding an award made Kinetic Jewellery (see image on page 12), a design inspired by the movement between to Josh Reid. The award should the carriages on the tracks of a rollercoaster. The award was presented by Sir Terence have been titled the Prince Conran at The Lighthouse, as we went to press. Congratulations to Aileen for winning this Philip Prize of the Incorporation most prestigious accolade. of Hammermen of Glasgow. The award was presented by HRH Princess Anne at a Professor ceremony in Glasgow, not London as previously stated. The Incorporation also provides a £500 prize for the Design School at the GSA.

In Memoriam We are very sorry to report that John McKay, former Librarian at the School, passed away peacefully in Glasgow’s Prince and Princess of Wales Hospice on the morning of CONTENTS PAGE Saturday 6 November. John’s enthusiasm and energy during Welcome 2 the seven years he was with us Making Waves 3 had a major impact not only in the Library but GS≤A News 6 throughout the GSA. He was Widening Access 7 a great ambassador for his profession and for the School, Allan Walker Q&A 10 and he will be hugely missed GS≤A News 12 by staff and students alike. Alumni News 13 Development News 14 Donors and Sponsors 15 Events 16

Published by: The of Art, 167 Renfrew Street, Glasgow, G3 6RQ Telephone: +44 (0)141 353 4500 www.gsa.ac.uk Edited by: Kate Hollands and Liz Breckenridge Copywriter: Alan MacAskill of Carter Rae Communications Design: Third Eye Design Print: Beith Printing Printed on: 90gms Inter Offset © The , 2004 An electronic version of this publication is available at www.gsa.ac.uk If you require a copy in an alternative format please contact the Marketing & Development Office on: +44 (0)141 353 4710 or at [email protected]

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1 – 3 Part of the Resin Mesh Ring Collection – 2004 Photo: Nick Jell [email protected]

Making waves

THE GSA ACTS AS A SEEDBED FOR ARTISTS, DESIGNERS AND ARCHITECTS WHO WILL SHAPE THE , AND THE WORLD, OF TOMORROW. WE TALK TO JUST A FEW OF THEM:

The GSA makes a huge contribution to the cultural, social and economic life of Scotland and its national and international reputation. The GSA contributes culturally: > By helping to transform Glasgow from a grim post-industrial city to a vibrant cultural capital. > By establishing the reputation of Glasgow, and Scotland in general, as a worldwide centre for the visual arts.

The GSA contributes socially: > By making sure that the GSA buildings, 12 3 collections, Summer Schools, exhibitions and classes are not only available to students and staff – but are also accessible to the public as a whole. Name: David Goodwin What contribution do you think the GSA has made > By encouraging students and staff to Degree: Silversmithing & Jewellery, 2001 to Glasgow, the nation and beyond? interact and work with the local community. Current role: Jewellery Designer The GSA is an outstanding contributor to the world of art > By educating generations of people to within Glasgow, Scotland, the UK and further afield. The understand and appreciate arts and culture. How did studying at the GSA help you in your students who graduate from the GSA are a class apart from current role? most other art colleges. I am always impressed when I come The GSA contributes economically: I developed a great deal at the GSA. The Silversmithing up to see the degree shows. Everyone knows about the > By helping to fuel the creative industries and Jewellery department is one of the best in the UK, GSA, not only because of its Mackintosh , but in Scotland through its graduates and through if not the world. I think having great technical help and also its reputation for producing great artists and designers. its research and innovation. discussions with tutors about my ideas really helped me > By developing graduates with highly refined evolve as a designer. I was able to mature and developed creative skills and abilities. GSA graduates don’t a critical eye for my own work. Having developed these only become artists, designers and architects. qualities at the GSA, I was able to take them to the They also become successful business professionals, and really push things forward. community leaders, civil servants, I doubt I would have achieved as much if it were not teachers and government ministers. “I DOUBT I WOULD HAVE for my time there. ACHIEVED AS MUCH IF IT If you have such a thing as a typical day – what is it? A typical day for me would be getting up at 7.30am and WERE NOT FOR MY TIME heading off to the RCA for 9.30am where I work in the AT THE GSA.” Rapid Form Department. I go home around 5 – 5.30pm to either relax and enjoy not being a student anymore or getting on with some design work. There is always another exhibition to do! The weekends are much more interesting. Pay day is pretty good too!

What’s your favourite memory of the School? My favourite memory of the school would have to be Halloween night 1997, the year I started. Every Halloween at the was a laugh but the first time’s always the best.

MAKING WAVES 3 FlOW ISSUE 5

4 Matthew Ringland 5 Oblivion, the world’s first vertical drop rollercoaster, Alton Towers 6 Nicola McGhee for GAP

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Name: Matthew Ringland Name: Nicola McGhee Degree: Product Design, 1993 Degree: Printed and Knitted Textiles, 1995 Current role: Design Director, Current role: Senior Designer for Men’s Sweaters, GAP The Tussauds Group Studios

How did studying at the GSA help you in your How did studying at the GSA help you in your “NO TWO DAYS ARE EVER THE current role? current role? SAME AND MANY DIFFERENT The GSA taught me how to observe; the School is It helps me continuously. I learnt a lot of my technical wonderfully outward looking and there are so many sweater expertise there and then continued to learn within THINGS CROP UP. IT KEEPS influences to draw on. I gained a sense of a world of the industry after leaving college. American colleges and infinite possibility; a world that, at the time, I was mildly universities really don’t teach students the true intricacies YOU ON YOUR TOES...” overwhelmed by. of their disciplines – I once had to teach interns how to cut a straight line using a metal ruler! That’s why a large portion If you have such a thing as a typical day – what is it? of the fashion industry here in NY is made up of people from If I had a typical day, I would not be doing my job the UK. The bigger companies realise that schooling in the properly. I could be script writing, talking to a ride UK is so much better than in the US and they know that manufacturer, brainstorming, master planning a new they will get much more expert and creative employees. attraction, up to my knees in mud on a rollercoaster site, or even test riding it. Someone has to! If you have such a thing as a typical day – what is it? I am lucky to get to travel quite a lot and have worked A ‘typical day’ varies greatly depending on the day and in some very exciting places. However, once I had a which part of the season we’re in. But the first thing I morning to design a new exhibition entrance proposal, do is answer my emails, which can sometimes take all which I then had to present to a Las Vegas Casino during morning depending on the problems or issues. As I speak lunch! They hated it, so it’s not all glamourous. to you it is Presentation Week, so I’m presenting the new Fall 05 range to the merchants and taking them though What’s your favourite memory of the School? style by style explaining the yarn, stitch, colour and It was probably the day I was graded. Knowing that I concept. It’s going to take a while as, at this stage of the had reached a triumphal end meant I could unwind, development, there are over 100 styles. albeit temporarily. Generally, week to week, I will attend fittings, work I was that embarrassing uncle at a wedding, all on new stitch development and styling ideas, continuously reverence, until Come on Eileen came on and I was up on trawl magazines and shop the market in NY and think of the dance floor. I probably met more new people that day what I’m going to do for the next season. I work with a than I had in the previous four years. I think it was the day team of people here (pre-production, technical, yarn R&D, that my peers revealed their true selves. I was joy and production) and we have regular meetings to keep us all relief ‘writ flesh’. on track and up to date. I’ll also hold weekly phone meetings with our merchant partners in San Francisco, What contribution do you think the GSA makes resolving any previous season’s issues and discussing sales. to Glasgow, the nation and beyond? No two days are ever the same and many different The contribution of the GSA is undoubted and I am proud things crop up. It keeps you on your toes... to have been a part of it. Everyone knows the School as a beacon of creative excellence. The GSA was a linchpin What’s your favourite memory of the School? during the Design Renaissance of 1993 and a Mecca to Apart from Friday night in the Vic and bacon rolls in creative luminaries from around the world. There is a the morning from the Newbery Café, it’s that distinctive gutsiness about the place that imbues its students with artistic smell of the Mackintosh building on the way down a confidence to push themselves creatively. Perhaps it’s to the shop. the Glasgow way, but it certainly can be witnessed at the School. My granny (Mary Rolo Myles) studied at the GSA What contribution do you think the GSA has made in the 1930s and you could see it in her too. to Glasgow, the nation and beyond? I think the GSA helps build Glasgow’s identity as a vibrant creative city. Globally, the GSA is well known and respected but more so for Charles Rennie Mackintosh, rather than a learning institution.

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7 Amy Gibson 8 Collection piece for Mulberry, Amy Gibson 9 Laura Birtwistle 10 L’Oreal Paris,Studio Hotfree standing display unit for Boots.

“GLASGOW IS VIBRANT AND ARTISTIC, AND THE SCHOOL IS A BIG PART OF THAT.”

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Name: Amy Gibson Name: Laura Birtwistle Degree: Printed and Knitted Textiles, 1998 Degree: Product Design Engineering MEng, 2004 Current role: Print Designer, TopShop Current role: Promotional Merchandising, L’Oreal Paris

How did studying at the GSA help you in your How did studying at the GSA help you in your current role? current role? I have always been pretty focused on the kind of career I run my consultancy business from my Brick Lane We were always encouraged to build up relationships with I wanted from an early age. Attending art school was an studio in the East End of London. There I can actually our suppliers when we were carrying out projects at the essential first step in achieving this. As well as learning print-up on fabric and generally be a lot more GSA and that’s what I do here at L’Oreal Paris in London. basics such as the technical skills required to dye and hands on. As a consultant, I currently work closely with I also learnt a lot of project management skills and print on fabric, being at the GSA gave me the freedom the senior designers at Margaret Howell and Mulberry, and presentation techniques. This has come in really useful, to experiment in a relaxed and creative environment. It while I work along side them I become very much a part as I have to manage about 20 different projects every day gave me time to try new things and make mistakes while of the development of the mood of their collections. I will and present to the Marketing Director and the General gaining experience in all aspects of my craft. It was an often design three or four key prints for them per season, Manager every week. This, as well as the creative training encouraging environment where I met lots of like-minded plus the colour palettes for the prints and collections. has been an excellent background for my present role. people and really began to define myself as a designer. Art school was also my first true introduction to work What’s your favourite memory of the School? If you have such a thing as a typical day – what is it? related pressure. While there are many things that art My favourite memories from my four years at the GSA So far there hasn’t really been one, except they’re all school can’t prepare you for when trying to make a living mainly centre around the Vic and the many good times incredibly busy! In the morning I tend to come into work in the fashion industry, my time at the GSA gave me my friends and I had there. I loved being a student in at about 8.45am and check my emails and prioritise my confidence in myself and my own ability without which, Glasgow. Having grown up in the Shetland Islands, work load. Working on up to 20 projects at once, on any establishing myself would have been much more difficult. leaving home and moving to Glasgow when I was 17 was given day I can be: liaising with the marketing department so exciting, and I remember those years as some of the who require a new piece of point of sale material; If you have such a thing as a typical day – what is it? happiest in my life. sketching ideas and choosing materials; choosing a I don’t have a typical working day as such. My working design consultancy; project managing; presenting to the week is divided between working as the print designer for What contribution do you think the GSA has made marketing director and general manager. I’m rarely out TopShop, and my freelance consultancy business. What I to Glasgow, the nation and beyond? of the office before 6.30pm, sometimes a lot later. do day to day very much depends on which of these areas The high student population in Glasgow is definitely a good I am working on and which stage of the design process I thing for the city. I think Glaswegians in general tend to be What’s your favourite memory of the School? am at. quite proud of this aspect of their city, and the GSA, as the I met so many great people there and the working While at TopShop I work very much as part of a large focal point for the study of art and design in Glasgow, has a environment was very laid back with only about 20 people design team. I have to provide a wide range of prints on very particular place in the hearts and minds of the people in my class. We all got on well together and every Friday in demand for the many different departments with a very of the city. Glasgow is vibrant and artistic, and the School is third year we went down to the Cooler Bar at 5.30pm high turnover. This will include developing trends and a big part of that. The large numbers of people that come to until late. colour palettes, designing key-prints and prints for the the School from all over the UK and beyond develop a love Unique collection. My prints are also required for anything of the city that they take with them wherever they go in What contribution do you think the GSA makes and everything: from dresses and t-shirts to shoes and the world. This can only be of great benefit. to Glasgow, the nation and beyond? bags – even marketing and merchandising products. I also There were so many great guest lecturers that really inspired have to oversee the purchase of prints and fabrics from me and pushed me to the boundaries of my abilities. The external suppliers. Research is an important part of this GSA turns out exciting graduates that have a lot to offer the process and, when I can get out of the office, I will visit world and are confident in their own design abilities. It’s an markets, galleries, book shops and clothes shops at home internationally recognised institution and when people find and abroad. However, much of my time is spent sitting in out you’re from there, they certainly expect you to be very front of a computer screen churning out designs. creative and competent.

MAKING WAVES 5 FlOW ISSUE 5

1 Jivan Astfalck, exhibitor in Maker–Wearer–Viewer 2 Degree Show 2004 Photo: Alan McAteer

>BRIEFING >BRIEFING

Congratulations to: GS≤A NEWS Product Design Engineering > Helen Gaffney, 4th Year Product Design Engineering Silversmithing and Jewellery, students won seven out of who won the Young Designer nine Royal Society of Arts Silversmith 2004 Award in Maker – Wearer – Viewer Inclusive Design Awards from October. Helen is the fourth The work of over 70 jewellers from 20 European countries will be on display at a major 56 UK wide entries. GSA student to win the prize. exhibition curated by Jack Cunningham, Silversmithing and Jewellery tutor. The Department was also Called Maker – Wearer – Viewer, the exhibition is Jack’s brainchild and has been awarded given a special award “to > PDE students and a Scottish Arts Council grant of £15,000 under National Lottery Funding. recognise its achievement graduates Padraig Murphy, Setting out to explore the theme of contemporary jewellery that aims to communicate in design education”. Ross Weir and Andrew Grant a comment, story or message, the exhibition will be supported by a publication with an who all won awards or introduction by Dr Helen Bennett, and will include essays by Jack Cunningham, Amanda Christian Hermansen commendations in the RSA’s Game and Prof. Elizabeth Moignard. Each will explore the context of the work of the After more than 20 years Engineering in the Olympics narrative maker and how this may be re-interpreted by the wearer and viewer. There will at the Mackintosh School Student Design Competition. also be a ‘conversation’ dialogue between the curator and Marie-Jose van den Hoet, of Architecture, Christian Padraig (3rd Year) won first Director of Galerie Marzee. The work will be positioned within a European context and Hermansen has resigned prize for his swimming lane its relationship, if any, to that generated in the United States or Asia. his post as Senior Lecturer. divider, Ross (Product Design Sponsored by the GSA, SAC, the Assay Office and the Royal Netherlands Christian is currently on Engineering, 2004) won Embassy, the exhibition will run at the GSA from 5 March – 15 April, the Scottish Gallery secondment to AHO in second prize for a design for 6 June – 29 June and the Galerie Marzee, Nijmegen, Holland 3 October – 24 November. Norway (Arkitekthogskolen a pressure sleeve and Andrew A symposium will take place at the GSA on Saturday 5 March, chaired by Jivan Astfalck. i Oslo) and has accepted the (3rd Year) received a special Speakers include Ruudt Peters, Ramon Puig Cuyas and Dr Elizabeth Goring. offer of a Professorship and the commendation for his blood 1 job of Director of the Institute sugar monitor. of Architecture there. Insight out > Drew Plunkett, Head of National Endowment for Science, Technology and the Arts GSA Enterprises , who has been (NESTA), the Lighthouse and The Glasgow School of Art are Over the last couple of years made a visiting professor in collaborating on a new creative business development staff at GSA Enterprises have the School of Architecture programme called Insight Out. The programme is in two been working hard to increase (which also includes the parts. The first involves selecting eight to ten recent the number of visitors coming Department of Interior Design) graduates from the GSA with interesting proposals for to see the Mackintosh Building, at the Central Academy of Fine creative businesses and providing them with four months while keeping overheads Art in Beijing. of training, coaching and mentoring to develop the creative under control. As a result, business ideas into robust business plans. Each successful the company’s profits have > Sam Ainsley who has been participant will then receive £5000 from NESTA to invest increased dramatically and invited onto the boards of The in the business and will be supported to approach other they have been able to give the Glasgow Studio and investment sources. The process is designed to be of School a total of £100,000 over The Peacock Gallery, Aberdeen. particular relevance to creative people and has been the course of the last two years. 2 developed by NESTA as part of its Creative Pioneers This summer, the School had > Alastair Macdonald, Head Programme. a record number of visitors of Product Design Engineering, coming to see the Mackintosh who has been awarded a Japan ARCHIPRIX at the GSA Talent show Building. Nearly 15,000 visited Foundation Fellowship in the Archiprix International, a biennial event that presents the The annual cornucopia of talent that is the GSA Degree from April to August. Scholars and Researchers world’s best graduation projects from Show was once again a highlight of the Scottish arts category, one of only three institutions in the fields of architecture, urban design and calendar. Hailed a ‘fantastic success’, the work of Visual Communication awarded in this category in landscape architecture, is to be hosted in Glasgow in undergraduate and postgraduate students from the Visual Communication the UK this year. 2005. With 1300 schools invited from 85 different schools of , Design and Architecture and the students continue their run of countries the event provides a unique overview of Digital Design Studio went on public display in all areas successes. Students won five of > Joni Kilmurry, 4th year architecture in a global context. of the School. the 20 ‘Best in Show’ medals Textiles, who won two awards The GSA, in conjunction with a number of partner Highlights included the work of Thomas Bangsted from the D&AD New Blood in this year’s Royal Society of organisations, including the Lighthouse, the Scottish (Fine Art Photography) who was also awarded this year’s Exhibition. The exhibition is the Arts Student Design Awards. Executive, and Strathclyde Newbery medal, and Anthony Campbell (Textiles), who main showcase for student The awards are the Worshipful University, will produce the exhibition and organise both won a number of prizes for streetwise prints combining work in design, advertising and Company of Weavers and The the international workshop and award ceremony at City gilt and graffiti motifs. Indeed, there was something for new media and featured the British Airways Flight Award. Chambers, where selected students will receive a Hunter everyone; Rona McKee’s (Silversmithing and Jewellery) work of 1,200 students. Douglas Award. The Mackintosh School of Architecture will floral pieces used familiar imagery with fabulous host design workshops for over a hundred architecture craftsmanship and, for aficionados, Lucy Stein’s students in groups led by international star architects. large, grungy canvases won her an Armour Travel Bursary. Readers are reminded to mark their diaries now for next year’s show, which will run from 18 – 25 June 2005.

New Head of Research and Postgraduate Studies Dr Naren Barfield has been appointed to the new post of Head of Research and Postgraduate Studies at the GSA. Naren was Director of Research at Wimbledon School of Art where he had strategic, infrastructural and operational responsibility for research. Prior to Wimbledon he was at The Royal College of Art.

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1 Lights made in a Product Design workshop as part of the Clydesdale Bank Art for All project.

WIdeNINg Access

The Glasgow School of Art is actively encouraging wider participation from students from all backgrounds. Flow takes a look to see what is being done to increase student diversity.

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> For generations, students from across Scotland have It is Eileen’s view that if the GSA strives to recruit Tutor and lead practitioner for PPP, is to tackle low benefited from a world-class education at the GSA, with from a broader domestic base and increases student aspirations and inspire secondary school pupils to achieve many becoming internationally recognised artists, diversity it will undoubtedly improve quality. “I look at it greater academic success within the visual arts and designers and architects. from a Darwinian perspective. The broader the spectrum increase applications to the GSA and other art schools. And while 50 per cent of Scottish school leavers go from which we recruit, the higher the quality (of student “A high quality portfolio of art work is an essential on to Higher Education, in the West of Scotland a deficit work) will be. Wider access is about bringing a more component of an application,” confirms Deborah. of applications from working-class, less affluent school diverse range of people into the School. They will bring The groups participating in the workshops are of catchment areas has raised concern within the education their life experiences into their art, which will enrich mixed abilities – the one unifying factor is that few of establishment. communities, the GSA and Scotland as a whole.” these pupils go on to Higher Education. “We get all sorts The GSA is working hard to redress this problem. The wider access initiatives range from cutting edge of young people from 12 to 18 years old in our sessions. Endeavouring to make sure the School provides the best experimental pilot programmes to those that have long Sometimes they are students applying to art school – on possible assistance to increase and improve student been integrated into the infrastructure of the School. other occasions they are selected because they have never applications, whatever their background, a team of “Our strategy for widening participation has focussed experienced anything like this and it is a taster for what personnel has been assembled to work on a variety on three central strands,” says Eileen. “These are student kind of study and careers are available to them. > of programmes targeted at widening student access. applications, admissions and student retention “Over the past four years we’ve worked hard to put and support.” widening participation and equal opportunities at the To make an immediate difference to the amount of heart of the institution,” explains Eileen Reid, Wider successful applicants from low participation schools, the Access Development Officer. GSA developed the Portfolio Preparation Programme (PPP). Its purpose, according to Deborah Holland, Senior

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2 Clydesdale Bank Art for All project 3 Pupils from Braidhurst High School in a Rendering the Human Form workshop. Deborah Holland, Senior Tutor and Jo McMahon, model. Photo: Duncan Chisholm, Principal Teacher of Art at Braidhurst High School

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> “If there is someone who is keen to become an artist, teaching curriculum. The course consists of second and Opportunity of Access and Learning with Schools) project, designer or architect they have the opportunity to meet third year art and design students electing to carry out promoting Higher Education across the west of someone like me from the GSA who can give them the residencies in a variety of schools characterised by social the country. impetus to show them they can do this,” says Deborah. and economic disadvantage, across the West of Scotland. “The students are helping around 2,000 pupils each The Portfolio Preparation Programme has become It is targeted at primary six pupils (ten to 11 year olds) year, with each one carrying out five half days in the amazingly successful. Applications from these schools have but Patsy Forde, Project Tutor, says that, due to the scale school over several weeks. The format has proven to be risen steadily since its inception in 2001. “In the first year of the situation, only schools from the very lowest incredibly popular,” attests Patsy. of PPP there was a 52 per cent increase. Since then an attainment areas benefit. As part of GOALS, local education authorities choose additional 20 per cent more students apply to one of the However, far from being purely philanthropic, Patsy the schools that have the lowest attainment of Higher GSA courses each and every year,” she adds. contends that the students themselves gain a lot from Education. Patsy says the one common factor is that after There are four main activities under PPP, which schools the experience. a visit to the school, the pupils and the teachers all say can tailor to suit their circumstances. They include a “The fact that the student is learning at the same they benefit from the experience. portfolio information visit, a portfolio clinic, a creative time as the child is a very potent combination. It gives “School evaluations of the course are very interesting,” workshop and an educational workshop. the students the opportunity to work in a real says Patsy. “They say that the children’s concentration Deborah says even if the pupil decides that art school environment where they are taken seriously as an artist or improves following the classes, as well as their self-esteem is not for them, they still benefit from the experience. designer. A third of all our design students choose to take and sense of fun during class.” A typical comment, from “The programme not only encourages pupils who have part in the course. It gives them clear professional skills, teachers at Edinbarnet Primary School, Dunbartonshire, is: not previously thought about studying the visual arts to not only if they decide to enter education as a profession, “The project gave the children an opportunity to express consider this as a career option, but provides insight into but also in other ways: working with a client, negotiating themselves in a way the primary curriculum can’t. It the knowledge, skills and expertise required for entry into skills, even managing a live situation and working on their improved the self-esteem of many pupils.” Further or Higher Education elsewhere.” feet. It’s a CV building experience that employers take One of the most striking examples of pupils One pupil, who benefited from PPP and, in particular notice of. It also allows the students to take a greater flourishing following a GSA student visit was that of the Portfolio Information Visit, commented: “I found the ownership of what they do at art school and see it in a Windlaw Primary School in one of Glasgow’s most visit really useful and I thought the work was really wider social context.” poverty stricken areas, Castlemilk. outstanding and I just can’t wait to develop my folio. Two ceramics students, one who hailed from the area The visit really helped me decide a lot of things. I hope and another from Ireland, participated in the five-week to be attending art school soon.” “THE FACT THAT THE project. Before the students arrived the head teacher had And, likewise, the process equally energises tutors raised concerns about the visit, describing the class as the taking part in the project. “I love it,” exclaims Deborah. “In STUDENT IS LEARNING AT most difficult she had encountered. However, after the last couple of years I’ve had a number of young people connecting with the pupils and enthusing them with their who have graduated from the GSA whom I first met when THE SAME TIME AS THE work, the head teacher described the students’ residency they were in school at 16. I can’t explain how wonderful as one of the most positive experiences she had been that is – to know that our group effort has helped turn CHILD IS A VERY POTENT involved in. these young people into successful practicing artists, COMBINATION. ” Councillors from Glasgow City Council Education designers and architects.” Disciplinary Committee subsequently visited the school PPP is just one example of how the ethos of wider and the head teacher cited the project as having provided access to education has become securely imbedded in the From its inception in 1990 as a pilot scheme a “turn around” for the class, indicating that it had a GSA’s academic structure. commissioned by Strathclyde Regional Council, over powerful effect upon their general behaviour, while The Artists and Designers in Education course operated 1,000 projects have taken place throughout the West improving attendance and homework. from the Historical and Critical Studies Department is an of Scotland. Since January 2000, Artists and Designers illustration of where widening access is part of the GSA’s in Education has become part of the GOALS (Greater

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4 Built Environment Project, Muir Street Primary School 5 Alien Fashion Show, Balornoch Primary School

“TO THE UNTRAINED EYE IT CAN LOOK LIKE CHAOS, BUT IT’S CONTROLLED CHAOS.”

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“That is just one example – just about all GSA it tends to be noisy, but fun. “To the untrained eye it can students provide an effective learning experience. The look like chaos, but it’s controlled chaos. We go in very source of this is the students’ deep motivation and desire well equipped so the schools don’t have to provide to connect with the outside world. They are committed anything but the space and the staff to support discipline. not only because they are being assessed, but it also feeds In terms of widening access it’s brilliant, as we ask the a need for human contact and making something seem fifth and sixth year pupils that are doing art to help real in the world,” says Patsy Forde. mentor the younger children on the day.” Despite the positive feedback from students, pupils, For doubters on the efficacy of the project, one only local education authorities and teachers, Patsy is aware needs to visit the annual exhibition of pupil’s work held in that the programme cannot produce an influx of October. “It’s on in the Newbery, Atrium and Mackintosh applications overnight. “In essence, we are playing galleries – I would recommend everybody to go along and a long game. We are expanding these communities’ experience it. The work is absolutely wonderful. I take out understanding of what art school is; we are often seen top-class teachers from the GSA to these schools and as elitist and not for them. What we’re providing these they are able to draw out amazing natural abilities from communities with is a sense of what the GSA is doing many of these children.” and where our work can lead. A trained secondary school teacher as well as a “We are seeing students coming into the GSA who practicing textiles designer, Mary Ann says that although first experienced art and design through our programme the programme is due to end in July, its legacy should years ago – which is incredibly satisfying.” go on. “I hope that the programme and its effects could Another highly successful programme targeting wider continue in some form or another. I now have 50 schools access issues is the Clydesdale Bank Art for All project. that I have built excellent relationships with – that has to Managed by textiles graduate Mary Ann Chatterton, the be a big bonus for the art school.” three-year project won a prestigious 2004 Arts & Business It is not just schools that widening access at the GSA Scotland Award. “The aim of the Clydesdale Bank Art for targets in its drive to increase diversity. Many young All project is to promote social inclusion and, at the same Scottish people, particularly from poorer communities, 5 time, give 14 year olds an insight into the wide variety of enter Further Education colleges as a first step to Higher creative skills that can lead to career opportunities,” Education. The GSA has developed partnerships and begun explains Mary Ann. a detailed exploration of progression routes of students Funded by the Clydesdale Bank, 5,600 second year from Further Education colleges in Glasgow. high school pupils will have taken part by the time the Due in large part to the above programmes, the GSA project ends in 2005. Similar to the other programmes, was recently ranked third in the Times Higher Educational the schools are identified by education authorities as Supplement’s UK league table of institutions that are being from low attainment areas. “For many children their successfully widening participation, while maintaining choice of career is affected by their limited experience of excellence. However, Eileen Reid says the School will not creative activities due to tight resources in schools. The rest on its laurels. “Sometimes you feel that, no matter programme gives children a unique chance to work with what you do, it’s a drop in the ocean compared to the professional artists and designers, explore a whole range amount of talented young people who are crying out for of materials and processes and gain confidence in their assistance. However, I believe the GSA is making a creativity.” difference and it is the start of something great.” GS≤A Each visit takes a full day and Mary Ann and her team teach approximately 70 children all in one room. She says

WIDENING ACCESS 9 FlOW ISSUE 5

q&A ALLan WaLker

In June, the GSA welcomed > What is your background in the arts and how will Coming from another art school, what do you see as this inform you in your new role? the present strengths and weaknesses of the GSA? Allan Walker as Deputy I started as a landscape architect working for a number I was recently asked the same question by Sam Ainslie, of people before embarking on a project on moorland Head of MFA. I felt then that the question really put me Director and Director conservation for Exmoor National Park Authority in the on the spot! (Laughs). Seriously though, the main strength early 1980s. The work was the preparation for the Wildlife is being a specialist institution with a real sense of of Academic Development. and Countryside Act of 1982. identity and community spirit amongst both students For the last 20 years I’ve been a practicing artist, and staff. Everyone feels it is a privilege to be working Flow caught up with Allan to having a lot of exhibitions in this country and abroad – here. That it is a very good starting point. talk about his new role and in particular Japan and East Asia. My work includes This feeling of identity is not just for the School, landscape design, the integration of drawing, print and but also for its relationship with Glasgow. It is very much what he believes the School digital technology with a strong focus on Japanese part of the city in a way that the London art schools aesthetics. I have work in public collections including the aren’t. At Wimbledon, although we had very good can achieve in the future. Machida City Museum of Graphic Arts, Tokyo, the Victoria relationships with Tate Modern and all the various and Albert Museum, London and the Brooklyn Museum of institutions, in Glasgow it’s different. Here there is a real Art in New York. link to the local community. And there are also the rich international links. There’s What attracted you to the dual role of Deputy hardly a day goes by when I don’t find out about someone Director and Director of Academic Development who’s off to the Continent, Iceland, Japan or the USA. I at the GSA? welcomed our international students a few weeks ago and It was the fact that the GSA has such a fantastic there were over 90 students from 60 different institutions reputation and it being a small specialist institution. The in Asia, Europe, Australia and North America. That was a job here is also comparable to that which I performed at demonstration of the amazing richness of contacts both Wimbledon School of Art, where I was Vice Principal here and abroad. responsible for learning, teaching and research. However, The weaknesses are what I call the School’s ‘levels rather than being the same job in another great city, this of accretion’. The GSA has developed in a piecemeal way role is clearly a step up. over a very long period and each of those areas has its While the GSA’s track-record is illustrious, the School’s own tradition and way of doing things. There are so many development potential is fantastic as well. When I met different practices going on and responding to the colleagues for the first time, from the staff right up to guidelines from SHEFC (Scottish Higher Education Seona Reid, there was a great sense of enthusiasm about Funding Council) and QAA (Quality Assurance Agency) the arts, teaching and research. on improving ways of learning and teaching in a unified manner hasn’t yet been fully achieved. While the School has been successful in the past in adhering to these guidelines, essentially, staff are doing twice as much as they need to. There’s a lot of doubling up at present. For example, there are four systems in place for generic “THE GSA’S MAIN STRENGTH IS BEING A SPECIALIST training for our research degree students when there could INSTITUTION WITH A REAL SENSE OF IDENTITY AND be one. One of my roles will be to have an institutional COMMUNITY SPIRIT AMONGST BOTH STUDENTS perspective, which is there to support staff and students and make life more efficient, freeing up staff to AND STAFF.” concentrate on teaching and research.

10 ALLAN WALKER ISSUE 5 FlOW

1 Allan Walker Photo: Alan McAteer

Does this mean you want to see a move away But, as mentioned earlier, international links are also from studio based teaching and learning? important, aren’t they? No, far from it! I’m completely committed to the studio Yes, another reason for my being interested in the GSA approach. We lead the way in the notion of independent was its commitment to its international focus. The School learning. It’s a central part of creative education and has excellent links with numerous international agencies provides the core for us to achieve a top result when the and institutions. The Central Academy of Fine Art (CAFA) QAA visits us early next year. But there is a fine balance in Beijing identified the GSA as an undergraduate partner with regards to how much teaching support is necessary and The Royal College of Art as a postgraduate partner to be effective. The dialogue with staff has already begun because of this international framework. I’m excited but the power for change is with the different Schools. My about creating a relationship with CAFA and establishing role is to support the Heads of School – for them to share a course taught in Beijing but designed and validated best practice and find new ways of doing things. I think here in Glasgow. With the opportunity for the best CAFA all the Heads are supportive of this. students to complete years two, three and four in Another key role I have is facilitating better Glasgow, it further underlines our international appeal. communication. I believe that many staff feel that management has been a bit top down. Speaking to senior So what are the challenges for the School as it moves management, that certainly hasn’t been their intention. further into the 21st century? However, everyone has been so busy, it is easy for We must strive to provide appropriate learning and consultation to slip. What I’ve done in terms of the teaching opportunities for our students in a fast changing forthcoming QAA Enhancement Led Institutional Review world and to realise our potential and take a leading role is to put in place a system whereby all staff are consulted in the development of research in the creative disciplines. on our preparation for the review. This is the major Fundamental to this is the need for an integrated deadline facing the School this year. We must pass it approach between our research, human resources and and gain a Broad Confidence level of pass. I’m sure we learning and teaching strategies. As well as celebrating can achieve this. the things that we are great at, we are adopting a process that is self-reflective and identifies the things that we’re So what is so important about being a specialist not so good at and which recognises ways of improving establishment? these areas. This has to be at an institutional level – The small specialist institution is a rare breed. Every year giving all staff and students a sense of ownership and there are fewer, but I think the name says it all. Being opportunity to participate. small not only provides a sense of community, but it As a way forward we’ve put in place a programme should enable us to change course in response to of staff development. Our Learning and Teaching government requirements with relative ease. We are able Co-ordinators have designed a forum that helps identify to produce a unique type of practitioner – our alumni best practice and shares it with colleagues throughout the reflect that and are the proof of the pudding! If we were GSA. I believe this is an opportunity for staff at all levels part of a larger university, we would lose a lot of that to influence colleagues, the School’s strategy, policy and identity. However, we can’t remain isolated and must finally, decision making. create good links and connections with other institutions. In conjunction with partner organisations, we’re also Our Product Design Engineering course operated in looking into the idea of creating incubator units that conjunction with the University of Glasgow is a fantastic provide facilities for ex-students to establish their own 1 example of this. design businesses. The next few years will see the GSA realise its fantastic potential in learning and teaching and research. The desire, strategies and people are already in place – we just need to work together to make it happen. GS≤A

ALLAN WALKER 11 FlOW ISSUE 5

1 Work by Aileen Tan, winner of the inaugural Glasgow 1999 Design Medal Photo: Allan Milligan 2 Special Edition Lucienne Day shoes for Converse produced by CAT 3 Work by Hideko Inoue (MFA 2004)

>BRIEFING >BRIEFING

Best of Beijing GS≤A NEWS Peter Trowles Interior Design students the School's Mackintosh exhibited projects at the first Curator, was awarded a grant ‘Architectural Biennial Festival’ from the Scottish Executive to in Beijing from 20 September Major funding application for design and curate a small to 5 October and collaborated Mackintosh Building submitted Charles Rennie Mackintosh with students at the Central At the end of July the School submitted a £6.5million exhibition for the French town Academy of Fine Art on a application to the Heritage Lottery Fund for the of Port Vendres, south of short design project. They Mackintosh Building. Appropriately called The Mackintosh Perpignan, where Mackintosh enjoyed essential linguistic Conservation and Access Project, it aims to: himself lived between 1923 > support and unremitting conserve and protect building fabric and and 1927. The exhibition, hospitality from CAFA staff restore original features which ran through June, July > and students, including a increase access to enhance the visitor experience and August, formed part of a backstage visit to the Beijing and student learning series of Scottish events that > Opera where they were able improve the care of, and access to, archives celebrated the anniversary to observe the performers’ and collections of the Entente Cordiale. > preparation and the meet future visitor demand and manage visitor performance, from the wings. access to a working art school Brave Art 04 > increase studio space for students is an initiative of Standard Centre for Advanced Textiles Funding applications to the Heritage Lottery Fund follow Life and provides a London CAT is collaborating with the a two-stage process. A Stage 1 decision is expected in showcase for 35 art school American shoe company, January 2005 with a final decision in December 2005. graduates. Selected by Philip Converse, to produce a special As soon as the first stage decision has been reached, the Long from the Scottish footwear collection made with School will embark on a major fundraising campaign to National Gallery of Modern Lucienne Day fabrics from the secure the balance of funds, from both public and private Art, the exhibition ran at the 1 Classic Textiles range. They will sources, to complete the project. Atrium Gallery, Whiteleys on be launched early next year Queensway, London. GSA and will be promoted by an Arts and Business Awards 2004 graduates grabbed the lion’s intensive public relations The GSA Clydesdale Bank Art for All project has won an share of the places with three campaign in the US and Arts and Business Scotland Award. Art for All won the Arts photographers, seven fine Europe, highlighting Lucienne’s and Corporate Social Responsibility (CSR) award category, artists and five jewellers. work and design legacy. sponsored by the Royal Mail Group. An associated New Partners award from Arts and Business Scotland also Architecture Dyson visit enabled workshops to be developed for the bank’s staff. In a survey of 100 UK In April, the Product Design The project promotes creativity and introduces second architectural practices by Engineering department year high school students to the diversity of careers, the Architects Journal, the welcomed a team from which a qualification in the arts can bring. Mackintosh School was Dyson UK to the School. voted the best architecture John Churchill and Tom Wind Angel school in Scotland and fourth Jenkins, senior design A pioneering wind turbine designed by Gordon Ross, in the UK after the Bartlett,

engineers, Julia Curry, 2 Technician in the Product Design Engineering department, Architectural Association education officer and Justine is set to transform the lives of millions of drought and Sheffield. Borthwick, Public Relations affected rural communities in Africa. Designed to be Manager gave a lecture and constructed out of old grain sacks, tin cans, timber and Professor Roger Millar student workshops. steel tubes, and made and maintained by local craftsmen, has decided to retire after Gordon is hopeful that the Wind Angel turbine will create twenty one years as Head Master of Fine Art sustainable, rural industries in these areas. of the Department of MFA students have been The design will be officially launched in the New Year Silversmithing and Jewellery. exhibiting work at the Times at the , when the GSA and Gordon Under his leadership, the Square Gallery, New York will gift the rights to the charity, Pumpaid, which provides department has gone from at the invitation of Hunter wells and pumps for poor rural communities in Zimbabwe strength to strength. Roger’s College. The institution invited and Malawi. commitment to teaching and only its major exchange his enthusiasm for being ‘in partners, the GSA, Slade, The Cargill-Thompson Scholarship the studio’ has always been Rotterdam, Berlin and Paris Dr Helen Cargill-Thompson, a lifetime collector and lover his driving force. to exhibit. of silver work and jewellery making, and a committed supporter of the GSA, has kindly agreed to sponsor a Roger Palmer 3 scholarship for a PhD in the Silversmithing and Jewellery Roger Palmer, MFA Senior New governors department. The £3,000 annual course fees will be Lecturer, will leave the GSA The School is pleased to announce the appointment of covered and the recipient will also receive £1,000 a year at the end of November to several new governors. They are Roberta Doyle, previously maintenance support – a total of £12,000 over three years. take up the post of Chair of Director of Public Affairs at the National Galleries of The scholarship will be available from the academic Fine Art in the Department Scotland; Katrina Brown, Deputy Director of year 2005/6 and anyone interested should submit a of Fine Art, History of Art and Contemporary Arts; David Shearer, previously of Deloitte research proposal relating to the field of contemporary Cultural Studies at the and Touche and Afzal Khushi, Director of Trespass, the jewellery and silversmithing to Dr Bill Gillham, PhD Co- University of Leeds. international sportswear designer and manufacturer. ordinator, The Design School, The Glasgow School of Art, 167 Renfrew Street, Glasgow G3 6RQ. Tel: +44 (0)141 353 4589 or email [email protected] You can also contact Jack Cunningham in the Silversmithing and Jewellery department at [email protected]

12 NEWS ISSUE 5 FlOW

1 Flat packed shoes, Marie O’Connor 2 Flat packed shoes, Marie O’Connor 3 Bugs by Debs Norton and Gaylie Runciman, rm*

>BRIEFING

Congratulations to: AlUmNI NEWS > Franz Ferdinand who scooped the 2004 Mercury Award earlier this year, with a >BRIEFING Flat packed shoes! debut album described by Marie O’Connor (Embroidered and Woven Textiles, 1999) judges as a ‘masterpiece’. The Gillian Purvis Trust has achieved a remarkable fusion of 2D principles with 3D Bassist and GSA alumnus Bob Toby Paterson (Drawing & practicality to create a pair of shoes that you can wear and Hardy (Painting, 2003) said, Painting, 1995) has set up hang on the wall. Taking a year to develop, Marie worked “We are just four friends who a Trust in memory of his with Japanese clothing manufacturer Evisu to produce have always hung out together. partner Gillian Purvis who fabulous shoes that not only operate on the body, but are We just happen to be playing died tragically in a fire earlier also beautiful objects. music at the moment and in the year. The funds from “They’re quite simple really. They come completely flat people like listening to it”. the Trust, once in place, will and the zip runs around the outer edge. They’re perfect to support one or two students store and pack because they can be laid flat – it’s a logical 1 > Natalie Scott (Product each year during their final shoe,” explained Marie. Design Engineering, 2004) year at the GSA's Textiles With uppers made of leather, the sole rubber and the who was invited to attend a department. It is a very inner screenprinted satin, Marie has kept the design simple reception to celebrate British generous gesture born out of yet effective – creating a flat, one piece item. Design, held at Buckingham a very sad loss. To find out Using communication as a core theme, Marie has Palace and hosted by The more about the trust or to incorporated Braille as an aid to communication. “It is Queen and The Duke of make a donation, contact function acting as decoration. On the soles it says ‘left’ and Edinburgh. Natalie was Lesley Paterson, Secretary & ‘right’, while the bumps also act as grips.” nominated by the GSA Treasurer, The Gillian Purvis following a request from the Graduates open new gallery in Killearn Trust, 11 Rosslyn Terrace, Scottish Executive and was A gallery for fresh new talent emerging from Glasgow G12 9NA, email one of only 5 recent schools opened in Killearn, near Glasgow, in June. Panik [email protected] or visit graduates/undergraduates www.gillianpurvistrust.org. Gallery is the brainchild of designers Annika Simpson and 2 from Scotland. Payments can be made Paul Brown (Textiles, 2002) and aims to be a launch pad for young artists. online. > Neil Farish and Neil Annika and Paul are already making marks on the Tierney (Product Design design scene with their innovative studio, Panik Designs, BBC Scotland Engineering, 2002) who won creating exclusive hand screen-printed and digitally printed MFA graduate Richard Wright the Shell Livewire Young textiles for a variety of domestic and commercial clients. has been commissioned by Entrepreneurs of Year 2004 for Telephone +44 (0)1360 551166 or email at BBC Scotland to turn its new their work on intensive care [email protected] head quarters at Pacific Quay equipment for premature and in Glasgow into a huge work rm* sick babies. of art. Richard is best known Type rm* into the unix shell of an s.g.i. computer, press for his off-canvas exhibitions return. This removes programmes, operating system, files, > Simon Starling (MFA, 1992) where he paints on the gallery everything... leaving an empty box. rm* is also the name who was nominated for the walls and ceilings, using the chosen by Debs Norton and Gaylie Runciman (2D/3D Hugo Boss Prize 2004. Starling’s room's fixtures and fittings Motion Graphics graduates) for their company. Working projects and objects investigate 3 for inspiration. He plans to together for a year they have completed Bugs,an the intimate relationship use coloured and etched glass animation made in collaboration with Deirdre Nelson Jean Drysdale (Embroidery, 1935) between material and as well as mirrors to (Textiles, 1992). The pair are currently working on an Jean’s eldest daughter, Anna Macleod, is compiling a technique in Modernist design, transform the glass facade of educational project in East Ayrshire and a signature piece record of her mother’s life and would love to hear from traditional crafts and systems the BBC's new 300,000sqft of animation for the Buff Club, Glasgow. any of Jean’s contemporaries. If you can help, please of mass production. building, which is due to open contact Anna on +44 (0)141 942 3993 or write to her in the summer of 2007. Fashion Comes Full Circle at 14 Boclair Crescent, Bearsden, Glasgow G61 2AG. > Iain Aitchison (Textiles, Malcolm Lochhead, Compere Extraordinaire, late sixties 2003) who was named as the early seventies, is hoping to create a retrospective review winner of the Emerging Talent of fashion shows in the form of an exhibition and maybe The book Hannah Frank: A Glasgow Artist – Drawings Design Award 2004 – organised even a Fashion Show itself! and Sculpture, published by the Scottish Jewish Archives by BITA – The British Interior If you are interested in finding out more or have Centre, has been completely revised and updated by the Textiles Association and garments, photographs, posters, programmes or other artist’s niece, Fiona Frank. To accompany this beautiful, sponsored by Boras Cotton. memorabilia please contact Malcolm Lochhead at new edition a major exhibition of the artist’s work will be Named as the best design [email protected] or on 079848 71586. touring nationally until 2005. Hannah, 96, studied at the school graduate in 2003, Iain GSA in the 1920’s and 30’s. The book is available from was selected from 73 entrants www.thelandgallery.com www.hannahfrank.org.uk at £21.50 plus £2.50 p&p and and over 200 designs to win Deborah Tyzack, nee Grice (Visual Communication, 1996), from www.amazon.co.uk. this prestigious national award. and her partner, have set up www.thelandgallery.com which specialises in contemporary work influenced by the landscape and nature. All works can be purchased online, by telephone on 07930 400405 or at [email protected]

ALUMNI NEWS 13 FlOW ISSUE 5

1 Creative Futures Fund telephone calling team 2004. Photo: Alan McAteer

Deve√opment News

>YOUR ALUMNI Development at the GSA has two aims – to further the School’s reputation BENEFITS! as one of the UK’s pre-eminent creative institutions and to develop and enhance the School’s relationships with its alumni and friends worldwide. > Membership of the GSA Library at 50% of the usual annual charge.

Next Generation Fund > Invitation to the This year 27 students from across the School have started their studies Degree Show. with support from the Next Generation Fund. Over the past two years nearly £250,000 has been raised to provide new scholarships for > Copy of Flow twice a year. students at both undergraduate and postgraduate level. Scholarships are essential if the School is to continue to provide access to students > Assistance with locating based on talent, potential and ability. alumni for reunions. Our fundraising target for scholarships is a minimum of £500,000 within 5 years and, while we are well on the way to achieving this, we > 10% discount in the still have a long way to go. Scholarships can make the difference as to Mackintosh Shop and online. whether someone is able to realise their potential and study for a degree GSA Enterprises will donate a or continue their studies at postgraduate level. Your support can make further 10% of the purchase that difference and you are invited to join the many individuals, trusts, value to the Creative Futures

1 foundations and companies who have chosen to show their support Fund (please let Kate Hollands to the School in this way. If you are interested in supporting the Next know if you intend to make Telephone Campaign 2004 Generation Fund, please contact either Scott Parsons or Kate Hollands. a purchase in the shop). In May, the GSA undertook its second telephone fundraising call sessions. This year five students called around 420 alumni and members Remembering the GSA in your Will > Discounts in Millers Art of Friends of GSA and the response was terrific. Around 80 people One of the best ways you can support the School is by remembering Shop. To take advantage pledged in the region of £21,000 – an average donation of £245. A big the GSA in your will. Legacies large and small are very important to its of this offer contact Kate thank you to everyone who took the time to talk to our students and to future, providing funds to create general endowments, scholarships, new Hollands who will provide those who pledged their support to the fund. This year our team of buildings or assist with refurbishments and new initiatives across the you with GSA verification. callers were Scott Kyle (Textiles), Becky Anson and Hannah Hooks School. By leaving a legacy to the GSA you will be making a difference Show this at Millers Art Shop (Painting), Nicole Kenny () and Emily Allan (Textiles). for many years to come. at the GSA or in Stockwell Legacies are a thoughtful way to make a contribution beyond one’s Street, Glasgow to receive Recruitment events dates for 2005 own lifetime and, in doing so, there are some practical benefits for you your discount. In 2005, the GSA will be visiting several countries as part of its overseas and your family. The current threshold for inheritance tax is £263,000 recruitment programme. We do not have definite dates for all of the and with the rise in property prices in recent years, many more people > The Arthouse Hotel in Bath events as yet but GSA staff will, if all goes to plan, be putting in an are finding they are being liable to pay inheritance tax. You can reduce Street, Glasgow, is offering appearance in Singapore (13 – 14 March), Malaysia (various dates this by leaving a bequest to the GSA, which is a registered charity, in special rates until 31 December 16 – 26 March), Beijing, Shanghai, Mumbai, Dehli (dates to be your will. For more information, please contact Scott Parsons. 2004, to anyone affiliated to the confirmed) and Seattle, USA in May. If there are any alumni in these GSA. You can book a standard areas who could offer some of their time to help out with translation or Sponsors find success at the GSA room for £90 and a junior suite talking with prospective students about the GSA we would be extremely The GSA has a number of sponsorship opportunities available each year for £135. Ask for Claire Spence, pleased to hear from you. If you can help, please contact Ivan Hutchins – the Fashion Show, Degree Show and Exhibitions programme. Recent Reservations Manager. on +44 (0)141 353 4487 or at [email protected] sponsors have included McGrigors, Hiscox – specialist art insurers, Highland Spring, Beck’s and Macfarlane Packaging. Sponsoring events Emails please at the GSA, or our widening access programmes, is an excellent way We currently have 5,955 alumni on our database for whom we have no to achieve marketing or corporate social responsibility objectives. The email address! Emailing is free to the GSA so the School could save a benefits of working with the GSA are many, not least supporting one of great deal of money on postage and telephone calls if we could contact the UK’s leading independent art schools. If you would like to work with you by email. You might also get to hear about jobs and commission us please contact Scott Parsons or Kate Hollands. opportunities as well as events at the GSA. If you have an email address would you please send a message to Kate Hollands at Donors [email protected] and she can add it to your record. The School likes to recognise the many alumni, friends, companies, trusts and foundations who have supported it over the past year. We are extremely grateful to them for their support (see opposite page).

For more information contact the Marketing and Development team: > Scott Parsons, Head of Marketing and Development on +44 (0)141 353 4698 or at [email protected] > Kate Hollands, Development Manager – Alumni and Fundraising on +44 (0)141 353 4788 or at [email protected]

14 DEVELOPMENT NEWS Donors and Sponsors

> Individuals Mr George G Parsonage Mr Roger Ackling Mr Scott A Parsons Mr Kenneth R M Adams Mrs Margaret McArthur Mr Malcolm S Allan Mrs Hannah M Paterson Mrs Janette Anderson Ms Elaine Price Mrs Alison Archibald Mr Philip Reeves Mr Robert S W Beaty Mrs Jean F Rennie Miss Freda M Blackwood Mr Robert W K C Rogerson Mrs Ailsa J Blair Mr Samuel A Sankar Mrs Carole R Blair Mrs Maureen Shankland Dr Nan Blair Mrs Christine E Shaw Mr William Bowie Mrs Patricia Sharp Mr Francis D Bowles Mr Fred Shedden Mr Anthony J Brooke Colonel David Sherret Mr & Mrs Donald and Mr Brian Shirley & Ms Jacky Brayton Anthea Brown Mrs Connie Simmers Lady Nancy J Brown Mrs Isabel C Smyth HEIST GOLD Mr John L Bulloch Mr Peter C Warden AWARD WINNER Mrs Lydia M Burnet Mr Richard Weaver Mrs Alice Byrnes Ms Ulrike Wilke Mrs Catriona Campbell Mr Paul Wingate Mr Ian S Campbell Dr Helen Cargill-Thompson Four anonymous donations Mr & Mrs Tom and Rose Carroll Miss Sorcha Dallas > Trusts & Foundations Mrs Martha J Davidson American Friends of Glasgow School of Art Mr Alexander T Dawson Buchanan and Ewing Bequests Ms Winnie De’Ath Cruden Foundation Ltd Mr James T Douglas Incorporation of Bonnetmakers and Dyers, Glasgow Mrs Marla S F Drummond Incorporation of Hammermen, Glasgow Mr Christopher Dyson Incorporation of Skinners, Glasgow Mr John S Forrest Incorporation of Tailors, Glasgow Mr Willie Fulton Incorporation of Weavers, Glasgow Miss Agnes Gillies Friends of Glasgow School of Art Mrs Ellen M Gregory The Alma and Leslie Wolfson Charitable Trust Ms Christine Hamilton The Bellahouston Bequest Fund Mr Douglas Hamilton The DWT Cargill Fund Mrs Valerie A Hamilton The Horace W Goldsmith Foundation Ms Antoinette Harper The John Mather Charitable Trust Mr Harry L Henderson The Monument Trust Miss Lesley Henderson The Robert Hart Trust Mrs Eirene Hunter The Robertson Scholarship Trust Mrs Norah Jardine W M Mann Foundation Mrs Eileen P Johnson Mr Kenneth A Johnston > Companies Mr Frank Kean 999 Design Mrs Anne M Keith Artstore Mrs Dorothy Kelly Beck’s Mrs Eileen Kesson Colour Network Mr Nick Kuenssberg Ceramic Tile Distributors Mr & Mrs Fred and Anne Lang Clydesdale Bank Mr Alisdair M Macdonald Hilton Grosvenor Mr Robert O MacKenna Hiscox Dr Hetty MacKinnon Keppie Design Ltd Mrs Margaret McArthur Mandors Mr & Mrs Malcolm and McGrigors Gail McAulay Millers (The City Art Shop) Ltd Mrs Elise Macrae Oddbins Mr & Mrs Ewen and Rainbow Room International Claire Melling Scottish Courage Dr Ian D Melville Standard Life Bank Mrs Morag S Millar Mrs Daphne C Miller Mrs Joan M Milroy If you would like to advertise in Flow, Mr R Lindlay Nelson please contact Kate Hollands on +44 (0)141 353 4788 or at [email protected]

15 FlOW ISSUE 5

1 Sanguis Gratia Artis, Beagles and Ramsay 2004 Photo: Kat Borishkewich 2 Image from Weldon’s Sixpenny Series No.329

Events

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9 November – 4 December the new Textiles as Fashion Drawing Room and Collection 1 – 24 March 2005 Contact Information: A Thirst for Materials Masters in Design Practice Curator of The Contemporary Narratives Atrium Gallery Atrium Gallery programme at The Society and Tony Godfrey, Atrium Gallery For further information please An assembly of materials School of Art. The programme Director of Sotheby’s Institute A thematic exhibition contact Clare Cannon on compiled in a format to dispels the notion that textile of Art, London. exploring personal +44 (0)141 353 4731 or at inspire and to trigger creative design and are narratives and issues of [email protected] at the connections for new designs. separate activities within the 31 January – wider significance. Design Office, The Glasgow Designed and curated by same industry and celebrates 9 February 2005 School of Art. Please note that designer/writer Chris Lefteri, the high profile role textile Visual Communication Work 5 March – 15 April 2005 opening times differ during author of the successful designers play in in Progress Maker – Wearer – Viewer vacations. Materials for Inspirational contemporary fashion. Newbery Gallery Mackintosh Gallery Design series of books. An exhibition of student An exhibition curated by Jack Mackintosh Gallery and 6 – 29 January 2005 work from the Department of Cunningham, Lecturer in the Newbery Gallery 4 December – Skirtgirl Visual Communication. Department of Silversmithing For press images or further 14 January 2005 Atrium Gallery & Jewellery at The Glasgow information about opening Beagles and Ramsay; Skirts, for Alison Willoughby, 2 – 4 February 2005 School of Art. Jack times please contact Kathy Unrealised and are the canvas on which she Product Design Exhibition Cunningham is a practice Chambers on Unrealisable Dreams works. Although eminently Podium Gallery based studio jeweller whose +44 (0)141 353 4525 or Mackintosh Gallery wearable and flattering, An exhibition of student particular interest is narrative email [email protected] Beagles and Ramsay present a classic and unaffected, her work from the Department of jewellery. or Gráinne Rice on series of new drawings, related pieces are created by hand Product Design. +44 (0)141 353 4538 or maquettes and prototypes of with embroidery and print 4 – 28 April 2005 email [email protected] plans, proposals, diagrams resulting in individual, 3 – 23 February 2005 Mind-for-Hire and projections for future timeless, sculpted work. (Closed Monday 7 February) Atrium Gallery Podium Gallery artworks. These Unrealised Public Stealth, Dark Stories 2002 graduates from The For further information about Dreams cover a wide range 10 – 19 January 2005 Atrium Gallery Glasgow School of Art’s Visual exhibitions and opening times of projects from proposed Architecture Year 1 Exhibition New works by Rachel Clowes Communication course in an (and non term time openings) public to elaborate Podium Gallery and Martin Vowles. One a exhibition of work made with please contact Simon Regency wigmaking, outlines personal examination of key the freedom of material and Chadwick on for movies and theatrical 13 – 26 January 2005 life stages through body subject matter. All work is +44 (0)141 353 4642 or productions and hybrid 3rd Year Painting and markings celebrating exams, un-saleable in order to email [email protected] mongrelised self-portraits. Printmaking Exhibition weddings and getting a proper focus attention on its Newbery Gallery job, the other commenting on communicative potential – 6 – 10 December An exhibition of student work recent wartime events in Iraq thus promoting the idea Textiles Department from the Department of through a domestic space that what they offer is a Exhibition Painting and Printmaking. visually bombarded with mind-for-hire. Newbery Gallery a language of conflict. An exhibition of student 21 – 28 January 2005 15 – 23 April 2005 work from the Department Architecture Year 2 6 – 26 February 2005 4th Year Urban Design of Textiles. Drawing Exhibition C J Lim Exhibition Podium Gallery Invisible Cities Podium Gallery 7 – 23 December Podium Gallery The Redheaded Stepchild 24 January – 25 April – 7 May 2005 Atrium Gallery 18 February 2005 28 February – Interact The title reflects feelings of The Jerwood Drawing 18 March 2005 Podium Gallery dislocation, prejudice and a Prize 2004 Environmental Art sense of the estranged, which Mackintosh Gallery Department Exhibition is the current experience of Now in its ninth year, the Podium Gallery Visual Communications. Jerwood Drawing Prize is the country’s leading award in 13 – 18 December the sector and is the largest Textiles as Fashion annual open drawing Mackintosh Building exhibition in the UK. Selected This exhibition launches the by Basil Beattie, artist; Mary first graduating cohort from Doyle, co-founder of The

16 EVENTS