graduate school directory 2011/12 - Camberwell College of Arts ...

BRIGHT 6 

GRADUATE 

SCHOOL 

DIRECTORY 

2011/12 

CCW 

CAMBERWELL 

CHELSEA 

WIMBLEDON

Bright 6 

GRADUATE 

SCHOOL 

DIRECTORY 

2011/12 

CCW 

CAMBERWELL 

CHELSEA 

WIMBLEDON

CONTENTS 

5 CONSOLIDATING A COMMUNITY 

Of PRACTICE 

7 INTRODUCTION 

9 VISITING SCHOLARS 

10 PREfACE 

11 PROfESSOR HEATHCOTT Joseph, 

fULBRIGHT-UNIVERSITY Of THE ARTS 

LONDON DISTINGUISHED CHAIR 2010/11 

13 ASSOCIATE PROfESSOR BROOKS Ethel, 

fULBRIGHT-UNIVERSITY Of THE ARTS 

LONDON DISTINGUISHED CHAIR 2011/12 

15 SUZUKI Hiraku, ARTIST IN RESIDENCE 

17 PARTNERSHIPS 

18 CAPE fAREWELL 

20 DOCTORAL SCHOOL, ACADEMY Of 

fINE ART, BUDAPEST 

22 MEETING MARGINS 

23 MISTRA fUTURE fASHION 

26 MOVING IMAGE NETWORK 

28 SHARE 

29 TOKYO WONDERSITE 

30 V&A 

33 TAUGHT POSTGRADUATE COURSES 


35 MA fINE ART 

36 MfA 

37 MA BOOK ARTS (VISUAL ARTS) 

38 MA DIGITAL ARTS (VISUAL ARTS) 

39 MA DIGITAL ARTS ONLINE (VISUAL ARTS) 

40 MA PRINTMAKING (VISUAL ARTS) 

41 MA ILLUSTRATION (VISUAL ARTS) 

42 MA DRAWING 

43 MA CURATING 

44 MA ART THEORY 

45 MRES ARTS PRACTICE 

46 MA GRAPHIC DESIGN COMMUNICATION 

47 MA DESIGNER MAKER (VISUAL ARTS) 

48 MA INTERIOR & SPATIAL DESIGN 

49 MA TEXTILE DESIGN 

50 MA VISUAL LANGUAGE Of 

PERfORMANCE 

51 MA CONSERVATION 

52 STUDENT PROfILE: 

fATEHRAD Azadeh (MRes) 

53 fEES & fUNDING 

54 HOW TO APPLY 

55 PG SCHOLARSHIPS, BURSARIES, PRIZES 

AND AWARDS 

56 STUDENT PRIZE WINNER, BRC NUCLEUS 

COMMISSION: ANDERSON Murray 

57 RESEARCH DEGREES 

58 INTRO & HOW TO APPLY 

59 CURRENT RESEARCH DEGREE 

SUPERVISORS 

61 CONfIRMED RESEARCH DEGREE 

STUDENTS 

62 COMPLETED RESEARCH DEGREE 

STUDENTS 

63 RESEARCH DEGREE STUDENT PROfILE: 

LORI Ope 

64 COMPLETED PHD STUDENT PROfILE: 

DR HANDAL Alex 

65 PROfESSORS 

66 BADDELEY Oriana 

68 COLDWELL Paul 

70 COLLINS Jane 

72 CUMMINGS Neil 

74 ELWES Catherine 

76 fARTHING Stephen 

78 GARCIA David 

80 HOGAN Eileen 

82 PICKWOAD Nicholas 

84 POLITOWICZ Kay 

86 SCRIVENER Stephen 

88 WAINWRIGHT Chris 

90 WATANABE Toshio 

CONTENTS 

93 READERS 

94 ASBURY Michael 

96 BASEMAN Jordan 

98 BISWAS Sutapa 

100 CROSS David 

102 EARLEY Rebecca 

104 fAIRNINGTON Mark 

106 fAURE WALKER James 

108 fORTNUM Rebecca 

110 KIKUCHI Yuko 

112 NEWMAN Hayley 

114 PAVELKA Michael 

116 QUINN Malcolm 

118 TULLOCH Carol 

121 RESEARCH CENTRES AND NETWORKS 

122 TRAIN 

124 LIGATUS 

126 CENTRE fOR DRAWING 

129 BRIGHT PUBLICATION SERIES 

130 BRIGHT 1: CCW GRADUATE SCHOOL 

LAUNCH DIRECTORY 2009 

131 BRIGHT 2: PARADE 

132 BRIGHT 3: THE CURRENCY Of ART 

133 BRIGHT 4: GRADUATE SCHOOL DIRECTORY 

2010/11 

134 BRIGHT 5: RELAY

CONSOLIDATING A COMMUNITY 

Of PRACTICE 

PROfESSOR CHRIS WAINWRIGHT, HEAD Of COLLEGES 

CAMBERWELL, CHELSEA, WIMBLEDON 

I would like to introduce you to this publication marking the beginning of 

the third year of the Graduate School here at Camberwell, Chelsea and 

Wimbledon colleges. It is the sixth in our series of Bright publications that 

acts as one of the ways of consolidating the key debates and the diversity 

of work taking place across the Graduate School. 

The academic and structural alliance between Camberwell, Chelsea 

and Wimbledon colleges (CCW) continues to create opportunities for new 

and innovative developments in the University of the Arts London 

and more broadly within the sphere of arts education. The CCW Graduate 

School reflects an academic vision that is predicated on profiling and 

celebrating the conditions and ethos that characterise these three specialist 

art colleges. Its rationale has been founded upon the reputations and 

strong traditions in all three colleges for a well established, high quality, 

under graduate and postgraduate provision and mature research cul- 

tures that are equally comfortable and experienced in supporting practice 

led and theoretical based research in art and design disciplines. 

The Graduate School is the home of our research degree and taught postgraduate 

students, professors, readers and fellows and an equally impressive 

group of full time, part time and visiting tutors and other research 

supervisors, as well as established research centres, and research networks. 

Central to the success of the Graduate School is the quality of its research 

provision, the calibre of staff and students and the existence of real and sustain 

able partnerships and collaborative arrangements with external 

institutions, organisations and key individuals in the cultural sector and 

beyond. 

There are two key aspects of the Graduate School that define its 

distinctiveness: the first is a commitment to create and maintain a direct 

relation ship between research focused activity and teaching with 

a requirement that all research staff, our professors, readers and fellows in 

particular, play an active role in teaching and supervision and that 

their research forms a crucial aspect of our student learning experience. 

The second is the commitment to providing a series of overarching thematic 

reference points that form a catalyst for cross disciplinary exchange 

and collaboration and a means of responding to broader social and cultural 

agendas that transcend subject specific concerns. In this respect we have 

identified the four areas of: Social Engagement, Environment, Identities and 

5

6 CONSOLIDATING A COMMUNITY Of PRACTICE 

Technologies as themes that will be explored through our Graduate School 

events programme and at those points during the year when we will 

be bringing together our research communities and external partners in 

focused projects and activities. 

These two features of the Graduate School form the basis for a commu- 

nity of practice and a means of providing an opportunity for individual and 

group work that is informed by a rigorous critical framework that sets 

creative practice and enquiry in a broader social, cultural and economic context. 

Consequently it is our aim to engender a relationship to urgent 

issues of our time and highlight the need to explore innovative solutions to 

address the way we, and others, enact our futures. 

INTRODUCTION 

PROfESSOR ORIANA BADDELEY, ASSOCIATE DEAN, RESEARCH AND PROfESSOR 

DAVID GARCIA, DEAN, GRADUATE SCHOOL AND ENTERPRISE DEVELOPMENT 

The Graduate School programme, along with the activities of research 

centres and networks, provide a rich calendar of events to inform 

and enhance the broader course and college-based activities hosted by CCW. 

One of the most important functions of the Graduate School is to 

facilitate greater communication, focus and the debate of key issues across 

the communities of the three colleges. Our research activities are wellestablished, 

diverse, specialist and grounded in the broad portfolio of art and 

design subjects represented by our taught course programmes. They 

offer new and challenging ways of thinking about how different disciplines 

can share common concerns and questions. 

Issues surrounding the practice, and the theoretical and historical 

contexts of Fine Art, Design, Conservation, Theatre and Performance are 

developed and interrogated through a focused research approach of 

contemporary relevance. We are particularly interested in research that 

addresses individually, collectively or in tandem the four current 

Graduate School themes of Social Engagement, Environment, Identities 

and Technologies. The identification of a number of key thematic 

lines of enquiry is primarily intended to iden tify a context over and above 

indivi dual research interests, where there may be some common 

ground and a space for cross-disciplinary dialogue. The themes also reflect 

a growing collective awareness amongst our research communities 

regarding some of the more urgent social, political, economic and cultural 

agendas of our time and the need to address these through innovative 

and creative responses. 

In addition to hosting the University of the Arts London research centres, 

TrAIN and Ligatus (described separately in the Directory), CCW supports 

and hosts a number of research groups and networks that form a vital 

part of the research environment. These include, though not exclusively: 

> the generative languages of drawing and the material procedures 

of drawing as a tool for the realization of ideas, supported through the 

Drawing Research Network (http://cfd.wimbledon.ac.uk) 

> textiles research and designer-centred solutions that have a reduced 

impact on the environment (www.tedresearch.net) 

> critical fine art practice and the exploration of new models for creative 

practice (www.criticalpracticechelsea.org). 

A significant and distinctive aspect of the CCW Graduate School is the 

range and quality of its external partnerships and networks with the 

7


cultural industries, organizations 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 research 

projects, staff and student exchanges, and funding opportunities, and we 

remain interested in developing outward-looking research activities with 

relevant partners. 

The University of the Arts London website (www.research.arts.ac.uk) also 

provides information and contact with researchers within the university, 

and has more information on its university-wide research centres and 

networks, as well as on those which are hosted by Camberwell, Chelsea 

and Wimbledon. 

VISITING 

SCHOLARS 

10 PREfACE 

11 PROfESSOR HEATHCOTT Joseph, fULBRIGHT-UNIVERSITY Of THE ARTS LONDON 

DISTINGUISHED CHAIR 2010/11 

13 ASSOCIATE PROfESSOR BROOKS Ethel, fULBRIGHT-UNIVERSITY Of THE ARTS LONDON 

DISTINGUISHED CHAIR 2011/12 

15 SUZUKI Hiraku, ARTIST IN RESIDENCE 

9

10 

PREfACE 

CCW hosts a vibrant community of visiting scholars and artists. For 2011/12 

these include: Fulbright-University of the Arts London Distinguished 

Chair, Gasworks Visiting Artist, Schloss Balmoral Visiting Artist, Tate-CCW 

Artists’ Books Fellow and The Tokyo Wonder Site Artist Exchange. The 

research carried out by our community of external colleagues is an important 

part of our outward-looking programme of activities, and feeds 

into our events exploring the key themes and issues focused on by Graduate 

School researchers. Alongside their contribution, we are also proud to 

have a distinguished group of CCW Visiting Professors who help to enhance 

and develop our key subject areas. For 2011/12, they are: 

> Professor Rosi Braidotti, Chelsea, Feminist Philosophy and Cultural 

Studies 

> Guy Brett, Camberwell, Art Journalism, Publishing, Curation and History 

> Dr Vincent Daniels, Camberwell, Conservation Science 

> Michael Knowles, CCW, Furniture and Interior Accessory Design 

> Catherine Lampert, Camberwell, Publishing 

> Professor Deborah Nadoolman Landis, Wimbledon, Costume Design 

> Deanna Petherbridge CBE, Wimbledon, Drawing 

> Posy Simmonds MBE, Wimbledon, Drawing. 

PROfESSOR HEATHCOTT Joseph 

fULBRIGHT-UNIVERSITY Of THE ARTS LONDON DISTINGUISHED CHAIR 2010/11 

During the academic year 2011/12, Professor Joseph Heathcott served as the first US 

fulbright Distinguished Chair at the University of the Arts London, attached to the Research 

Centre for Transnational Arts Identity and Nation (TrAIN) at CCW Graduate School. Professor 

Heathcott is a writer, curator and educator based in New York City, where he teaches at 

the New School. The fulbright-Distinguished Chair Award is the most prestigious award 

in the fulbright Programme which aims to promote peace and cultural understanding through 

educational exchange. Here he reflects on this experience during his residency. 

As the urban critic Lewis Mumford observed, cities constitute our 

greatest cultural achievements while reflecting our most profound moral 

failures. Cities gather people, concentrate innovation and power the 

global economy. But they also amplify poverty, inequality, racial segregation 

and ecological collapse. The encounter with cities in a global age forces 

us to embrace unsettling (and potentially liberatory) contradictions. 

So if the city is one of our greatest cultural achievements, any attempt 

to redress its failings – what we might call ‘the struggle for the city’ – should 

itself be a creative project. Remaking our cities towards the ends of justice 

requires commitment to an open public culture, the free exchange of ideas 

and a willingness to think through multiple registers beyond our disciplines. 

For six months, I had the rare privilege to live in one of these great 

contradictory cities, and to work alongside an extraordinary group of administrative 

and teaching staff, artists and scholars, graduate students and 

alumni. The experience has had a significant impact on my work and I hope 

it has led to a lasting connection between our universities. 

To say that I gained a lot from the experience is an understatement. 

I had the luxury of observing colleagues in the CCW Graduate School as 

they organized brilliant academic programmes. While giving lectures 

and masterclasses, I met, listened to and learned from dozens of talented 

graduate students. The shared ideas, commitments, and vision among 

faculty members and graduate students demonstrated to me that CCW presents 

a model of how to build an academic community out of multiple, 

often competing strands. 

Beyond rewarding personal connections and programme insights, 

the most important outcome of the residency for me has been a redoubled 

commitment to the role of art and arts research in the interdisciplinary 

study of cities. By this, I do not mean that art provides some reductive methodology 

to complement research generated from the social sciences and 

11

12 HEATHCOTT Joseph 

humanities. Nor do I refer to art as merely an instrument of social change, 

or aesthetics as merely relational. We need art practices that offer space for 

the imaginary, the useless, and the sublime. 

But the superlative work of the faculty and students at CCW Graduate 

School reveals the crucial contributions that art research can make 

to urbanism. Art practices embody epistemological frameworks – ways of 

querying the world – missing from the study of cities today: speculation, 

iteration, affect, moral simulation, modal knowledge, non-discursivity, and 

multiplicity of interpretation. We urbanists need these frameworks to 

abrade our settled notions of the city, its spaces, its temporalities, and its 

conditions. 

So I hope to enrich the study of cities at The New School with the insights 

gained from my residency in London. And I look forward to continuing the 

work of bridge-building between our universities. 

Joseph Heathcott, Memory Practices, n. 5, worked digital image, variable dimensions, London 2010 

ASSOCIATE PROfESSOR 

BROOKS Ethel 

fULBRIGHT-UNIVERSITY Of THE ARTS LONDON DISTINGUISHED CHAIR 2011/12 

Ethel Brooks is an Associate Professor in the Departments of Women’s and Gender Studies 

and Sociology at Rutgers University in the United States. Her fields of interest include gender 

and labor, critical political economy, globalization, social movements, post-colonialism, and 

critical race theory. She has conducted research on a host of sites around the world including 

in London, Istanbul, fall River, San Salvador, Dhaka and York City. 

Do Gypsies have a right to the city? My project, ‘Visual Practices, Cultural 

Production and the Right to the City: Romani Gypsies as Cosmopolitan 

Others,’ will examine the relationship between city planning and the maintenance 

of Romani populations as constitutive outsiders to modern city 

spaces and, by extension, to contemporary citizenship regimes. My research 

will focus on Hackney, where a Romani community was displaced to 

make way for the 2012 Olympic Park. This particular site is one of several 

struggles over land and space that are currently taking place throughout 

the UK and Europe. The complexity of London’s long Romani history, and 

the relations between its various Roma, Gypsy and Traveller subgroups, 

has – as with non-Romani minority and majority populations – been mostly 

erased from historical narratives. My excavation of Romani histories of 

everyday life and the opening up of questions of land tenure practice will 

help us to see Roma not as inherently nomadic or recently migratory, 

but rather as central to the history of London. The residents of Hackney 

– Romani and non-Romani, working class, migrants, former colonial 

subjects from Asia, Africa and the Caribbean, and other marginalized groups 

– have different but interrelated histories and roles within empire and 

colonialism, varied productive formations and development practices, and 

multiple positions within the nation-state and beyond. By connecting 

struggles over land tenure with productivity and visuality, I hope to trouble 

dominant notions of Romani culture and tradition, and to interrogate 

the ways in which the visual works to produce difference. 

For me, being awarded the Fulbright Chair for this project is particularly significant, 

since I am one of a handful of Romani scholars worldwide and, 

for the first time, I am attempting to theorize visual culture, productivity 

and citizenship with regard to my ‘own’ people. I am a first generation 

uni versity graduate and a fifth generation US Romanichal (British Romani); 

my father was a gorgia/gauje, or non-Romani, and my mother was part 

of a large extended Romani family. I grew up in a working class community 

in Rochester, NH; my family members were horse racers and traders, 

pavers, fishermen, peddlers – and my paternal grandmother came to the US 

from England to be a cook in a large household in Maine. I applied for 

the Fulbright Distinguished Chair Award at TrAIN in order to engage with 

13

14 

BROOKS Ethel 

colleagues and graduate students who are immersed in visual cultures, 

while at the same time drawing on ongoing conversations that question 

dom inant notions of tradition and culture, taking movement, bordercrossing 

and transnational formations as the basis for understanding identity, 

cul tural production and the arts. TrAIN and CCW are the perfect 

sites to carry out research that is vital to my project on Romani visual practices, 

the ‘Right to the City’ and reconfigurations of productivity. 

I hope to bring some of these questions into ongoing conversations 

at TrAIN and CCW, and to draw from your rich intellectual and artistic 

milieu. There is so much more that I could say about the vibrancy 

of London, my excitement at the prospect of being part of that vibrancy, 

and the ideas I have for a conceptual remapping of the city through 

a centering of Romani visuality and cultural production. I look forward 

to making many more connections during my time at TrAIN and CCW. 

SUZUKI Hiraku 

ARTIST IN RESIDENCE 

Born in 1978 in Japan. Hiraku Suzuki obtained an MfA from Tokyo National University of 

fine Arts and Music. His recent solo exhibitions include Galerie du Jour, Paris (2010), 

Tokyo Wonder Site Shibuya, Tokyo (2008). Group exhibitions include Roppongi Crossing at 

Mori Art Museum, Tokyo (2010), 100 Stories of Love at The 21st Century Museum of 

Contemporary Art, Kanazawa (2009), Between Site and Space at Artspace, Sydney (2009), 

Redbull House of Art at Hotel Central, São Paulo (2009), and Vision of Contemporary 

Art at The Ueno Royal Museum, Tokyo (2009). His early works have been collected by The 

21st Century Museum of Contemporary Art, Kanazawa. In 2010, his first drawing book 

Genga (which comprised of 1000 pages) was published by Kawade Shobo Shinsha/Agnes b., 

and a second book Looking for Minerals was published by Beams. He is an Asian Cultural 

Council 2011 grant winner, and after this residency program in London he will stay and work 

for 6 months at Location One, New York. www.wordpublic.com/hiraku 

I have been drawing since I was about three. There used to be a lot of 

blue prints in my home because my father was an architect and I used to 

draw something like a Moai (monolithic Easter Island figure) on their 

reverse. I also spent a good chunk of my childhood excavating unknown 

things like earthenware fragments, minerals, and fossils in my neighbourhood. 

When I was ten years old, I saw a small photo of the Rosetta 

Stone and came to understand the pleasure of deciphering stories on 

mysterious glyphs, a pastime which completely fascinated me. At that 

time I wanted to become an archaeologist. 

Now as an artist, my practice, which includes works on paper, on panel, 

murals, installation, frottage, live drawing, and video, references the 

new pos sibilities of drawing in today’s world. The method I have in my mind 

through the act of drawing, however, is still closer to ‘excavating’ things 

that are hidden in the here and now, than to ‘depicting’ objects/scenery/ideas 

in a traditional way. 

Archaeology was an artistic activity until the 19th century, and still now 

there are vast un-interpreted areas in our past. I can not help thinking 

about the genesis of drawing, which is synchronous with the beginning of 

language in human history. There are various hypotheses about it, but 

I think that the most relevant one is the twenty nine lines that the upper 

Paleo lithic people carved on common stones around 35000 years ago – 

which are thought to have been recorded on the days between phases of 

the moon. There were four elements that recur; light, transformation, 

stone and the act of carving. These carved lines might be thought of as the 

most primitive form of glyph or drawing – they function as a record of 

time past and also as a signal of the future. 

15

16 

Hiraku Suzuki, Deciphering 

the Light #01, silver marker 

on paper, 75 × 55 cm, 2011. 

© Hiraku Suzuki 

SUZUKI Hiraku 

Obviously, my country – Japan – is facing an unprecedented crisis right now. 

It is at times like this that one starts to ask questions about the strong 

relationship between art and humanity in a real sense. To do that, we firstly 

need to know that the moment of ‘now’ is not a dot that is separated 

from the past and future. I believe that by the act of drawing and looking 

at signs that have been drawn, we can see the ‘now’ from our own perspective. 

From its beginning, Drawing has always been at the intersection of 

direct human experience and distant cosmic time. 

My exhibition, Glyphs of the Light, at Wimbledon consisted of about 40 pieces 

of new drawing work and some sculptures, which I produced during this 

residency in London. Every piece of work represents the intersection of my 

intimate relationship with phenomena taking place in my current environment 

at CCW, as well as my interest in archaeology and language. Recently, 

I have been greatly inspired by the residual images of the transformation 

of sunbeams streaming through leaves on the road. I hope my works will be 

a creative mediation – linking subtle memories of ‘signs’ and ‘phenomena’ 

with the future. 

PARTNERSHIPS 

18 CAPE fAREWELL 

20 DOCTORAL SCHOOL, ACADEMY Of fINE ART, BUDAPEST 

22 MEETING MARGINS 


26 MOVING IMAGE NETWORK 

28 SHARE 

29 TOKYO WONDERSITE 

30 V&A 

17

18 

CAPE fAREWELL 

Cape Farewell is a charitable arts organisation that pioneers the cultural 

response to climate change. 

It works internationally, bringing artists, scientists and communicators 

together to stimulate the production of art founded in scientific research. 

Using creativity to innovate, they engage artists for their ability to evolve 

and amplify a creative language, communicating on a human scale the 

urgency of the global climate challenge. 

The CCW Graduate School has been working in partnership with Cape 

Farewell to ask the best of our combined creative minds to respond 

to the complex and pressing issues of climate change and to build a vision 

for a sustainable future and promote the vital role cultural practice, 

debate and dialogue plays in this process. The CCW Graduate School has 

also identified climate change and environment as one of its key 

thematic interests which is reflected in a common programme of talks, 

events and cross disciplinary projects. 

For 2011/2012 one of our shared projects will be SHORTCOURSE/UK, 

created together by CCW, Cape Farewell, Liverpool John Moore’s University 

and The University College Falmouth which considers the role of emerging 

artists and art students in designing and communicating a cultural shift 

towards ecological thinking and environment. SHORTCOURSE/UK is 

a surrogate art school of sorts; a place-less cohort comprised of a temporary 

student body and changing staff of artists, writers and climate scientists. 

It offers students a series of short, local, rural and urban expeditions framed 

around issues of ecology and environment and which brings them into 

dialogue with scientists and leading scientific research to provide an opportunity 

for cross-disciplinary learning and to stimulate a creative response. 

In the autumn term of 2011 a number of CCW postgraduate students 

will take part with the focus on the South East. An exhibition of participants’ 

work emanating from the expedition will be held at CCW, with 

an accompanying publication, in 2012. 

During 2009/10 CCW along with The Academy of Applied Arts, Vienna and 

Columbia College, Chicago, supported and contributed to the Cape Farewell 

touring exhibition U-n-f-o-l-d. This exhibition, co curated by Prof Chris 

Wainwright, Head of CCW, has been shown worldwide in Vienna, London, 

Newcastle, Newlyn, Chicago and New York and is planned to tour to Beijing 

and the Far East in 2012. 

CAPE fAREWELL 

The Academy of Applied Arts, Vienna, 2010 

19

20 

DOCTORAL SCHOOL, ACADEMY Of 

fINE ART, BUDAPEST 

Given that the development and growth of doctoral programmes in art and 

design is a worldwide phenomenon, CCW is encouraging cooperative 

endeavours with national and international graduate schools. Following an 

invitation from Balàzs Kicsiny of the Doctoral School, Academy of Fine 

Art, Budapest, Hungary, Stephen Scrivener and Hayley Newman, together 

with CCW doctoral students Maria Isabel Arango, Marsha Bradfield and 

Ana Laura Lopez de la Torre have been collaborating with doctoral students 

and staff in Budapest on subjects of shared interest. 

In October 2010, the CCW team together with Balàzs Kicsiny, Szabolcs 

Süli-Zakar, Laura Somogyi, Kata Soós and Nemere Kerezsi spent a week in 

Budapest researching the Csepel industrial region of Budapest, which 

up until the late 1980s was the city’s industrial powerhouse, but which has 

since experienced a period of decline and renewal. This included a visit 

to a 1940s bunker that was used up until the 1980s for a range of purposes, 

including preparation and training for survival in the event of nuclear 

attack. This visit resulted in an exhibition entitled Csepel Works at the Labor 

Gallery in Budapest, and images of the exhibition can be found at: 

www.flickr.com/photos/csepelproject 

The collaboration will continue with a return visit by the Hungary 

team to Chelsea in July 2011, when the topic of focus will be the history of 

Millbank as an institutional site. 

The ambition is to maintain an ongoing cooperation between the two 

graduate schools through the addition of new participants on both sides in 

anticipation of future inter-college events that further the theory and 

practice of practice-based research. 

Image from the digital 

invitation card for the 

Csepel Works exhibition, 

Labor Gallery, Budapest, 

2011. Designer: Szabolcs 

Süli-Zakar 

DOCTORAL SCHOOL, ACADEMY Of fINE ART, BUDAPEST 

21

22 

fred forest (Mascara, 

Algeria, 1933; lives and 

works in Paris, france), 

White Invades the City, São 

Paulo, October 1973; 

demonstration with blank 

placards; one of a series of 

public experiments forming 

part of his participation in 

the XII Bienal de São Paulo. 

© fred forest 

MEETING MARGINS 

TRANSNATIONAL ART IN EUROPE & LATIN AMERICA 1950–78 

This AHRC-funded project concentrates on events, practices and processes 

forming critical links across different Latin American countries and 

between Latin America and Europe. Incorporating a deliberate shift from 

the habitual reliance on New York as the pole of critical art in the post- 

war years, we have aimed to research and write away from the centres and 

languages more often relied on to narrate post-war art. Our case studies 

include peripatetic ideas, artworks and individuals, and temporary formations 

– such as critical meetings, exhibitions or projects of political solidarity. 

Meeting Margins is an instance of an increasingly prevalent focus on 

border-crossing encounter – where exchanges are recovered as a means 

to dismantle nationally determined historiographies and schools of art. 

The terms according to which this turn is articulated are often pacific 

(‘productive dialogue’, ‘meaningful influence’, ‘breaking down of borders’) 

and an impetus for the project was observing its benign emergence 

within the field of Latin American Art. We wanted to contribute to but also 

to question a marked turn from nation to relation. A vital part of this 

process has been the creation of critical platforms where emerging research 

from across Europe and the Americas can be openly debated, including 

the First International Research Forum for Graduate Students and Emerging 

Scholars, held in collaboration with the University of Texas at Austin in 

2009. Research provoked by Meeting Margins has been disseminated by individual 

essays and articles and will be published as a book edited by the 

project’s core members, Michael Asbury and Isobel Whitelegg (TrAIN, UAL), 

and Valerie Fraser and Maria Iñigo Clavo (University of Essex). 

MISTRA fUTURE fASHION 

PRINCIPAL INVESTIGATOR: REBECCA EARLEY 

GUEST PROfESSOR AT KONSTfACK AND CO-INVESTIGATOR: 

PROf. KAY POLITOWICZ 

The research programme ‘Mistra Future Fashion’ is funded by the Swedish 

Government via Mistra, the Foundation for Strategic Environmental 

Research, to bring about a significant change in the Swedish fashion industry 

leading to sustainable development both in the industry and in wider 

society. The scale of the project marked it as one of the most comprehensive 

studies of market and business models in the fashion industry. Changes 

to the key stages in the lifecycle of a product – changes in the supply chain to 

the design of clothing, to the materials used, to consumer behaviour 

and the influence exerted by government are the subject of multidisciplinary 

focus. 

The consortium structure integrates eight cross-disciplinary research 

projects, including natural, social and political sciences and design, creating 

a common research platform. The consortium represents insights from different 

theoretical perspectives that will be used to develop new knowledge 

concerning systemic change in the Swedish fashion indus try, providing 

insights into comparable markets worldwide. This will include how textiles 

and garments are designed and produced, how the industry interacts with 

consumers and how a sustainable lifecycle is evaluated. 

Fashion has a significant environmental impact on climate change and 

water. The massive and increasing clothing and textile volumes in society 

have become an environmental burden, especially since very little of 

the used items are reused or fibre recycled. The fashion industry – and particularly 

Sweden-based fashion companies – have a huge potential to contribute 

to effective and economic shifts towards more sustainable practice. 

In March 2011, TED (Textiles Environment Design research group at CCW) 

was awarded £500 000 to address the question, ‘How can sustainable 

design processes be created and embedded within companies and gain the 

participation of consumers?’. The research will be led by Rebecca Earley 

and is designed to contribute to the existing body of knowledge by focusing 

on practical changes that will influence the environment for sustainable 

fashion. To date there is little scientific knowledge of how coalitions of stakeholders 

can induce institutional changes to promote sustainability. The 

work will be comprised of close cooperation between TED’s TEN strate gies 

for sustainable design and research into synthetic fibres from cellulosic 

compounds. The design task is to employ interconnected design thinking in 

textiles and fashion to innovate at all stages of the cradle-to-cradle 

‘environment’. 

23


MISTRA fUTURE fASHION 

Emma Cowlam, New York, 2010 

www.illustratedlife.co.uk 

emmacowlam@hotmail.com 

Textile and fashion designers need to be trained to think and create in 

a full range of sustainable design concepts, and be able to combine complex 

technical techniques together with new materials and processes, along 

with product design ideas that improve the use and disposal potential of 

the product. To embed these design strategies into companies, sophisti- 

cated professional training programmes are needed, which are both highly 

creative, encouraging new connected thinking that leads to sustainable 

design innovations; and which enables the company to evaluate the design 

thinking, finding ways to make use of the innovative ideas quickly and 

economically. 

An emphasis on the inclusion of consumer behaviour as part of the 

extended supply chain all points to the circle of design, production, use and 

disposal as equally important areas for innovation. At the Konstfack Art 

School in Stockholm, Guest Professor Kay Politowicz will explore a range of 

these ideas, from an Experience Design perspective. 

In May 2012, TED’s report ‘Sustainable Textile Design Now’, will include 

research conducted with designers in companies and universities within 

the stakeholder network and beyond. During year two of the project, 

workshops will be designed to interact with the design community, manufacturers 

and consumers to test theories developed through collabo- 

ration with the range of projects represented in the consortium. An online 

exhibition of prototypes and concepts is planned for the end of year 

three, and a final web platform at the end of year four will offer the international 

design community a toolbox for sustainable making and action. 

A full time PhD studentship is linked to the project, which will contribute 

research on the social relationship of fashion to consumption. 

www.mistrafuturefashion.se 

www.tedresearch.net 

www.textiletoolbox.com 

25

26 

MOVING IMAGE NETWORK 

When avant-garde artists first explored film and video, theirs was a marginal 

and profoundly counter-cultural practice born of the iconoclasm of their 

day. Today the moving image is everywhere in contemporary art. Some commentators 

have even identified 1998 as the signal year when this pervasiveness 

became apparent. A raft of new books on artists’ moving image has 

been published, consolidating the history of the medium as a distinct 

tradition. Museums have appointed dedicated curators of ‘artists’ cinema’. 

Distribution and delivery formats have diversified, and artists’ work has 

found new audiences at film festivals, in public spaces, at alternative venues 

and online. 

In response to this new proliferation, the AHRC (Arts and Humanities 

Research Council) Artists’ Moving Image Research Network brings together 

a distinguished international group of historians, theorists, critics, cura- 

tors and practitioners, who, in various groupings, are meeting in London 

four times over two years (2011/12). They are considering issues of contemporary 

relevance to the theory and practice of artists’ film and video. 

These debates will help shape the mission and establish the intellectual 

terrain of the related initiative, the forthcoming Moving Image Review & Art 

Journal (MIRAJ) to be published by Intellect Books. 

The Network is directed by Professor Catherine Elwes (CCW Graduate 

School) with co-investigator Pratap Rughani (LCC). European participants 

in the network include Anne Marie Duguet, Director of the Centre de 

Recherches d’Esthétique du Cinéma et des Arts Audiovisuels (CRECA) at 

Université Paris and Thomas Elsaesser, Professor Emeritus of Film and 

Television Studies at the University of Amsterdam and since 2006, Visiting 

Professor at Yale University. 

For further information: www.movingimagenetwork.co.uk 

MOVING IMAGE NETWORK 

Delegates at the AHRC International Artists’ Moving Image Network seminar at CCW 

Graduate School, Chelsea College of Art and Design, January 2010 

27

28 

SHARE TOKYO WONDERSITE 

In a new initiative, CCW has taken a leading role in an EU-funded Research 

Network – SHARE (Step-change for Higher Arts Research and Education), 

which aims to develop EU-level policy and support for Arts and Design 

research at doctoral level and beyond. 

Engaging 33 partner institutions from across Europe, the SHARE Network 

brings together arts educators, supervisors, researchers, cultural practitioners, 

research centres and graduate schools. It works across a spectrum of 

creative cultural practices including: visual arts, performing arts, music, 

design, architecture and media. 

SHARE shall: 

> create a network for enhancing doctoral and post-doctoral education, 

providing information, support and a collaboration base for institutions 

with doctoral programmes in a developmental phase 

> support a network of existing graduate schools to develop innovative, 

cross-disciplinary approaches and programmes of world-class excellence 

> build a broader forum for exchange between artists, PhD researchers 

and supervisors. 

A series of events will be hosted between now and the end of 2013, including 

a conference in Helsinki, 2011; a summer school in Lithuania, 2012; 

conferences in London and Vienna, 2012. Outside of such meetings, the work 

of SHARE continues through working group meetings held across Europe. 

SHARE is co-funded by the EU through the Education, Audiovisual 

and Culture Executive Agency through the ERASMUS Lifelong Learning 

Programme. 

Tokyo WonderSite is an arts centre in Tokyo, Japan dedicated to the generation 

and promotion of new art and culture from Japan. It also runs an 

extensive international exchange programme, workshops, residencies and 

exhibitions across three sites in the city. 

CCW has been working with Tokyo WonderSite for the last 5 years with 

BA and MA students from across CCW visiting Tokyo WonderSite to 

participate in masterclasses and workshops. 

Their Creator-in-Residence programme, run since 2006, provides a venue 

for creative and to foster international and intercultural dialogue. 

This year has seen the first staff exchange between the two organisations. 

From May-September 2011 Hiraku Suzuki from Japan visited CCW. During 

his residency he produced numerous new drawing works and sculpture 

which were exhibited in Glyphs of the Light (August – September 2011) at 

Wimbledon Space. 

The reciprocal leg of the exchange will see two members of staff from CCW 

taking up a residency at Tokyo WonderSite from October to November. 

Jordan Baseman (CCW Reader in Time Based Media ) will make a series of 

films derived from experimental filmmaking across the physical, futuristic 

urban landscape of Tokyo and Karen Richmond (Course Director BA 3D 

Design at Camberwell) will bring people of all ages together around objects 

to talk, think and ‘open up’ what makes an object special to them. 

29

30 

V&A 

CCW/ V&A ORAL HISTORY RESEARCH COLLABORATION 

In September 2009, Dr Linda Sandino, in association with CCW and 

the Victoria & Albert Museum (V&A), initiated the CCW/V&A Oral History 

of Curating at the V&A. As an historian of the applied arts familiar 

with the V&A, Linda chose to base her research in the museum because it 

encompasses diverse areas of expertise across the arts and design. The 

interviews also cover key shifts in the museum’s identity: from a Department 

of Education and Science museum to Trustee status in 1983, as well as 

subsequent restructurings that have led to its transformation from its postwar 

days when ‘it was a bit like the army’, to its current incarnation in 

the 21st century. 

The detailed interviews cover all aspects of curatorial responsibilities 

and experience in order to provide a substantial resource for scholars studying 

the history of museums, their collections and exhibitions, and 

the impact of government strategies, as well as for museum personnel. 

Curators’ narratives also reflect on issues of gender, class and other 

subject identity formations. The advantage of using a life history method 

is that it dem onstrates how narrative functions to create, foster and 

sustain communities, and enables us to grasp the V&A, in Pierre Nora’s 

terms, as both ‘milieu [and] lieu de mémoire’. 

The recordings and related documents will come under the responsibility 

of the V&A Archive for staff and researchers to access, as well as being 

disseminated through publications, V&A events and its Online Museum. 

Future projects include documenting the role that artists and art-collegeeducated 

staff have played in the culture of the museum. 

V&A 

V&A Oral History: interview at the home of a retired curator, 2009. Photo: Linda Sandino 

31

TAUGHT 

Running headlines 

POSTGRADUATE 

COURSES 


35 MA fINE ART 

36 MfA 

37 MA BOOK ARTS (VISUAL ARTS) 

38 MA DIGITAL ARTS (VISUAL ARTS) 

39 MA DIGITAL ARTS ONLINE (VISUAL ARTS) 

40 MA PRINTMAKING (VISUAL ARTS) 

41 MA ILLUSTRATION (VISUAL ARTS) 

42 MA DRAWING 

43 MA CURATING 

44 MA ART THEORY 

45 MRES ARTS PRACTICE 

46 MA GRAPHIC DESIGN COMMUNICATION 

47 MA DESIGNER MAKER (VISUAL ARTS) 

48 MA INTERIOR & SPATIAL DESIGN 

49 MA TEXTILE DESIGN 

50 MA VISUAL LANGUAGE Of PERfORMANCE 

51 MA CONSERVATION 

52 STUDENT PROfILE: fATEHRAD Azadeh (MRes) 

53 fEES & fUNDING 

54 HOW TO APPLY 

55 PG SCHOLARSHIPS, BURSARIES, PRIZES AND AWARDS 

56 STUDENT PRIZE WINNER, BRC NUCLEUS COMMISSION: ANDERSON Murray 

33

34 

INTRODUCTION 

The taught postgraduate courses in CCW form an important aspect 

of the Graduate School. They are all located and delivered in one or more 

of the three colleges and represent the core disciplines of CCW. Since 

the development of the Graduate School there is now an opportunity to 

establish cross course links based around the key thematic concerns 

of the Graduate School. Students from our taught postgraduate courses are 

also encouraged to participate in a wide range of dialogues and events 

along with research degree students. In addition they also benefit from the 

experience and teaching contributions from our prominent professors, 

readers and fellows. 

Further information on all our taught postgraduate programmes and 

courses at CCW is available on the college’s websites: 

> www.camberwell.arts.ac.uk/ccwgraduateschool 

> www.chelsea.arts.ac.uk/ccwgraduateschool 

> www.wimbledon.arts.ac.uk/ccwgraduateschool 

LOCAtiON: CHELSEA 

DUrAtiON: fULL-TIME 1 YEAR 

PART-TIME OVER 2 YEARS 

APPLY tO: CCW GRADUATE SCHOOL 

DEADLiNE: 1 JULY 2012 

AhrC DEADLiNE: 1 MARCH 2012 

StArt DAtE: OCTOBER 2012 

MA fINE ART 

CHELSEA COLLEGE Of ART AND DESIGN 

BriAN ChALKLEY, COUrSE DirECtOr: ‘At Chelsea 

we create a tough, challenging and stimulating 

environment within which to re-evaluate and contextualize 

your practice. You will be equipped to 

sustain and develop your practice within a highly 

professional context.’ 

COUrSE CONtENt On the MA Fine Art at Chelsea, 

one of the longest-running and most 

widely recognized postgraduate fine art courses 

in the UK, we are committed to developing 

dialogue across the whole spectrum of fine art 

practice. It is a distinct feature of this inten- 

sively taught course, which will provide you with 

a valuable bridge between study and profes- 

sional practice. You will learn in a stimulating, 

challenging environment, in which we will 

encourage you to generate discourse and to 

reevaluate practice with each other. You will 

need to be committed to producing a high level 

of independent work, underpinned by a challenging 

theoretical curriculum and instruction 

in approaches to research methodology. 

The course is aimed at Fine Art graduates 

keen to progress their practice to a professional 

level within a studio-based setting. We also 

welcome applications from students who see the 

practice of fine art as central to their profes- 

sional aspirations and individual development. 

It is possible to study the course full-time for one 

year and part-time over two years. 

35 

KEY FACtS Supported by a strong postgraduate 

community, you will be encouraged to re-evaluate 

and contextualize your work by peers as well 

as your tutors. This will enable you to place your 

work in the context of contemporary fine art 

practice, and develop your potential to work as 

a professional artist or conduct further research 

at PhD level. 

The reputation of this course attracts high 

profile awards and bursaries that are available to 

students throughout the year. These include 

the Patrick and Kelly Lynch, the Cecil Lewis and 

the Patrick Caulfield scholarships which support 

students with tuition fee and maintenance 

costs, and the prestigious Red Mansion and GAM 

Gilbert de Botton Art Prizes which celebrate 

student achievement. 

NExt StEPS Many students go on to set up their 

own studio practices, developing strong professional 

links with galleries and curators at national 

and international levels. Graduates from 

MA Fine Art at Chelsea include world-renowned 

art ists and Turner Prize nominees and winners, 

including Anish Kapoor, Mike Nelson, Peter Doig, 

Stephen Pippin, Rebecca Warren, Kimio Tsuchiya, 

Mariele Neudecker and Andreas Oelhert.

36 

LOCAtiON: WIMBLEDON 

DUrAtiON: EXTENDED fULL-TIME 

OVER 2 YEARS (60 WEEKS) 





MfA* 

gEOrgE BLACKLOCK, DEAN OF WiMBLEDON: 

‘Most people underestimate how long it takes to 

become proficient in their making practice, 

their methodology, and how much this influences 

the communication of their ideas. The MFA at 

Wimbledon is designed to ensure stu dents focus 

on this essential requirement.’ 

COUrSE CONtENt The newly created MFA 

will focus primarily on the role of making within 

the creative process and its contribution to the 

meaning of an artwork. To persist with familiar 

art making practices when negotiating new 

ideas at MA level can result in making artworks 

that contain awkward and unhelpful juxtapositions 

of meaning and method. 

This wholly practice-based MFA will allow students 

the time and space to examine the effectiveness 

of their chosen methods of making and to 

reconstruct a methodology more appropriate and 

specific to the onward development of their ideas. 

KEY FACtS The course is designed to be delivered 

and experienced in three stages. The 

first stage of the course (‘orientation’) is specifically 

designed to prompt you to reconsider 

how you make your ideas ‘real’; and to examine 

whether the processes within your studio 

practice that have been successful in the past are 

still relevant, or whether they have simply 

degenerated into familiar habit. 

WIMBLEDON COLLEGE Of ART (NEW COURSE STARTING IN 2012) 

The second stage (‘navigation’) will allow you 

to test the effectiveness of your making processes 

through discursive critical reflection on your 

work within the studio culture of the MFA course, 

the wider learning environment of the college 

and CCW Graduate School, leading ultimately to 

the public arena. The object of this critical reflection 

is to further test the ‘roadworthiness’ of your 

artworks in order to provoke further innovation. 

The third stage (‘presentation’) will prepare you 

to deliver a body of work that will attest to the 

collision of new making processes with your ideas 

and artworks in the MFA final exhibition. 

NExt StEPS The MFA course is committed to 

supporting you with the skills, knowledge and 

understanding necessary to continue your creative 

practice in the professional world, but can also 

act as an important stepping stone to practice-led 

PhD study. 

* subject to validation 

LOCAtiON: CAMBERWELL 


PART-TIME 2 YEARS 





SUSAN JOhANKNECht, PAthWAY LEADEr: 

MA BOOK ARTS 

(VISUAL ARTS) 

CAMBERWELL COLLEGE Of ARTS 

‘Camberwell’s MA Book Arts students are at the 

cutting edge of defining book arts. They push 

the boundaries of what a book is and can be.’ 

COUrSE CONtENt Fuelled by advances in electronic 

information media and online publishing, 

the book has been freed from its traditional role 

as a container of information. Camberwell was 

the first college in the UK to offer specialist postgraduate 

study to students in the emerging field 

of Book Arts. 

Ongoing debates about the cultural, individual 

and creative functions of the book underpin our 

course discussions. And your studies are complemented 

by lectures, seminars and workshops. 

These are designed to support you in developing 

your research skills, professional practice and 

understanding of the wider context of book arts 

as an area of fine art and design practice. 

You will benefit from a shared lecture programme 

across the visual arts courses, which draws 

upon the richness of college research across the 

CCW Graduate School. 

KEY FACtS On this course, we’re also able to 

present you with a number of exciting opportunities 

outside the college. For example, you can 

help out on course stands at artists’ book fairs and 

make visits to special collections including 

37 

those at the Tate, John Latham’s Flat Time House 

and the National Art Library at the V&A. You 

will also enjoy the chance to explore the expanded 

book in a display or installation by showing 

your work in public exhibitions. 

NExt StEPS The skills and knowledge you will 

develop on this course could lead you to follow 

in the footsteps of graduates before you. Many of 

these have gone into careers as book artists, 

curators, freelance designers, workshop leaders 

and teachers. Others have moved on to further 

study at doctorate level. 

Our graduates have won many prizes including 

the Sovereign Asian Art Prize, Crafts Council 

Development Awards, the Seoul Book Fair Prize 

and the London Book Fair Prize.

38 








MA DIGITAL ARTS 

(VISUAL ARTS) 


JONAthAN KEArNEY, PAthWAY LEADEr: ‘This 

course is an invitation to students to join a 

research project that’s exploring and defining 

what art is in the digital age. And at Camberwell 

you will do this by being involved in a wide 

range of creative activities and opportunities.’ 

COUrSE CONtENt MA Digital Arts concerns art 

which uses, engages with and is impacted by 

the digital. But we don’t define the digital environment 

in any narrow sense on this course; we 

explore the breadth of this, as yet, undefined 

medium. Fine art is traditionally painting, sculpture, 

printmaking and the performance arts. 

Digital arts, however, make connections which 

weren’t previously possible – they blur and 

break the boundaries between disciplines. The 

course is an invitation to students to join a 

research project that is exploring and defining 

what art is in a digital age. 

Investigating art in a digital environment is 

all about possibilities. So a unique final exhibition 

combining work from our students in London 

with that of our students online around the world 

completes the course. 

KEY FACtS Being part of the wider post - 

graduate community at Camberwell, with the 

opportunity to interact with other subjects, will 

significantly enrich your experience. It will 

help you to develop your research skills and offer 

enhanced opportunities for career development. 

You will also be exposed to the shared visual 

arts lecture programme, featuring prominent 

guest speakers, as well as being able to draw 

upon the wide variety of research across the university. 

You will enjoy opportunities to get 

involved in projects across the university and at 

other institutions. Our MA Digital Arts 

students have worked on projects, seminars and 

symposiums with the V&A, the Institute 

of Contemporary Arts, Peckham Space, FACT in 

Liverpool, Goldsmiths College, University 

of London, onedotzero and galleries from China 

to Brazil. Recently, some of our students contributed 

to joint symposiums with the University 

of Greenwich and Shanghai University. 

Seve ral students have been awarded AHRC 

funding for their studies. 

NExt StEPS Our graduates have gone on to work 

as artists and creative practitioners in a variety 

of professional settings. Many former students 

progress to MPhil and PhD research. 


DUrAtiON: PART-TIME 2 YEARS 





JONAthAN KEArNEY, PAthWAY LEADEr: ‘This 

Camberwell course is an invitation to students to 

join a research project that’s exploring and 

defining what art is in the digital age. And you will 

do this online wherever you are in the world, 

taking advantage of a wide range of creative activities 

and opportunities.’ 

COUrSE CONtENt This award-winning course 

follows the same ethos as the MA Digital Arts 

course pathway based in London. The single difference 

is that you will be able to study from 

wherever you are in the world. Students from 

countries across North and South America, 

Europe, the Middle East and Asia have studied 

on this course. 

Our focus is art that uses, engages with and is 

impacted by the digital. And our definition of the 

digital environment is far from narrow as we 

explore the breadth of this, as yet, undefined 

medium. Fine art is traditionally painting, sculpture, 

printmaking and performance arts. But 

digital technologies make connections that were 

not previously possible – they blur and break 

the boundaries between disciplines. We invite 

you to join a research project that is exploring and 

defining what art is in a digital age. 

KEY FACtS You will engage with the university 

though weekly chat sessions, which will also 

allow opportunities for collaborative presentations 

between the Camberwell-based and online 

MA DIGITAL ARTS ONLINE 

(VISUAL ARTS) 


MA Digital Arts courses. We also encourage the 

use of blogs so that you can supply regular 

updates on the progress of your project. These 

form the basis of chat, tutorials and assess- 

ment. We also encourage staff and students to 

make use of blogs and wikis. It makes for 

a supportive student community, encouraging 

collaboration and learn ing across the globe. 

39 

Just as with the face-to-face pathway, online 

students can engage with research across 

the university by interacting with prominent 

researchers, watching lectures and taking 

part in online seminars. Many students contribute 

to exhibitions and events in their own cities 

and countries. The diversity of both the online 

and face-to-face pathways add significantly 

to the richness of the course. 

Exploring art in a digital environment is all 

about possibilities. So a unique final exhibition, 

combining work from our students in London 

with that of our online students around the world 

completes the course. 

NExt StEPS Our graduates go on to work as 

artists and creative practitioners in a variety 

of professional settings. Many progress to MPhil 

and PhD research.

40 








MA PRINTMAKING 

(VISUAL ARTS) 


FiN tAYLOr, PAthWAY LEADEr: ‘Innovation is the 

watchword on MA Printmaking at Camberwell. 

We will encourage you to be experi mental and to 

reflect on printmaking in its many contexts. 

Above all, you will develop your practice and be 

ready to choose from a variety of creative career 

pathways.’ 

COUrSE CONtENt Camberwell College of 

Arts is widely regarded as the place to study printmaking, 

and our teaching and work are internationally 

renowned. On the course, we explore 

printmaking not only as a medium in its own 

right, but in respect to its relationship with wider 

contempo rary practices. We respond to current 

debates about the role of skill and authorship 

in the crea tion of artworks, and the notion of the 

unique work of art. 

Artists are using printmaking technologies in 

more varied and experimental approaches than 

ever before. So we’ve invested in both tradi- 

tional and digital methods at Camberwell to help 

you develop your ideas through print media. 

And we also promote an innovative approach, 

introducing you to all forms of autographic 

print making. These include intaglio, lithographic 

(plate and stone), relief print, screen printing, 

letterpress and computer-generated processes. 

Your time with us will be a chance for you to 

develop your ideas and practice in new directions, 

defined by your research projects. 

KEY FACtS You will be encouraged to develop 

technical skills, sharpen your critical and 

contextual thinking, and widen your professional 

knowledge, as well as exhibit work across the 

CCW Graduate School and London. In recent 

years, students have participated in symposiums 

at the V&A and in talks with curators and 

international artists. In addition, each year we 

make visits to important print collections. 

NExt StEPS When you finish the MA Printmaking 

course, you will have a wide range of creative 

career options open to you, for example 

as a practising artist and freelance designer, or 

perhaps in research. 

Many of our graduates go on to teach in higher 

education or establish successful print workshops, 

such as Artichoke Printmaking and East London 

Printmakers. Others work in editioning prints and 

exhibit internationally and in the UK. 

Recent graduates were selected for the International 

Northern Print Biennale in Newcastle, and 

showed work and won awards in the Postgrad- 

uate Printmaking in London at Clifford Chance. 

Others exhibited at Compton Verney and had 

work purchased for the V&A Museum collection. 








MA ILLUSTRATION 

(VISUAL ARTS) 


JANEt WOOLLEY, PAthWAY LEADEr: ‘Illustration 

in the 21st century demands strong voices, 

entrepreneurial image makers who can tell their 

own stories. This Camberwell course will take the 

skills you already have and build upon them, 

through your own personally ambitious project 

and wider interaction with your artistic 

community.’ 

COUrSE CONtENt Camberwell College of Arts 

has a long tradition of imaginative illustrative art, 

and MA Illustration builds on this strength. 

Through a series of workshops, discussion groups 

and group and one-on-one tutorials, you will 

develop a proposal for an ambitious, engaging 

project that will last the length of the course. 

It will be a time to test out and implement your 

critical and practical skills, as well as to con- 

sider how your practice should develop and the 

new directions you may choose to take. 

Many of our students decide to participate 

in external ventures, competitions or exhibitions, 

and form their own discussion groups while 

on the course. Students on MA Illustration also 

find that they benefit from interaction with 

other subjects. The course will help to you build 

your research skills and offers enhanced 

opportunities for networking and career development. 

You will also be exposed to the shared 

lecture programme and cross-course seminars 

which draw upon the richness of the research 

within the college and across the CCW Graduate 

School. 

KEY FACtS You will gain an insight into your 

personal artistic ambitions and build knowledge 

of professional practice on this course. This 

will be helped by the discussions that you will 

have with visiting practitioners, as well as by 

the rich artistic environment you will experience 

both within the college and across London. 

You will have the chance for independent activities 

too, including trips to illustration conventions 

and Bologna Book Fair. On MA Illustration, 

we also encourage you to take part in group 

exhibitions, competitions and commissions. 

41 

NExt StEPS When you leave us, your range of 

creative destinations will be wide. Former students 

have had a number of successes including 

book contracts, and work on comic strips, 

children’s books, and display windows for retail 

outlets and offices. In recent years, graduates 

have won awards in the Macmillan book competition 

and have even created murals for the 

Google headquarters.

42 


DUrAtiON: fULL-TIME 






MA DRAWING* 

WIMBLEDON COLLEGE Of ART 

SiMON BEttS, ASSOCiAtE DEAN, WiMBLEDON: 

‘At Wimbledon, MA Drawing will encourage an 

investigation of process, and an exploration 

of cross-disciplinary territories. This course will 

interrogate drawing for a purpose.’ 

COUrSE CONtENt MA Drawing at Wimbledon 

is aimed at students from diverse practices 

who have a strong belief in drawing and who 

want to explore drawing for a purpose. It’s 

a unique opportunity for you to interrogate and 

re-orientate your practice through drawing. 

And you will focus on processes, techniques and 

cross-disciplinary dialogues that centre on 

communicating ideas to an audience, client or 

user. 

Divergent practices is the course’s starting point, 

and we will stimulate connections and collaborations 

between different subjects and disciplines 

through drawing. These may include design, 

fine art, writing, architecture, the sciences, performance 

and dance. 

The course structure will encourage you to 

develop external collaborations, placements or 

links, and you will work directly with key art, 

design and drawing archives. Studying the 

drawings and sketchbooks of artists, designers 

and architects will allow you to explore how 

an archive can be used for research, and how 

people use sketchbooks. 

KEY FACtS The course is project-led to begin 

with, and to support this process, you will engage 

with a number of workshops led by a range 

of practitioners from across the CCW Graduate 

School. You will also have the chance to lead 

a drawing workshop for your peers illuminating 

your own practice. During this part of the 

course, you will critically test cross-disciplinary 

drawing and explore a range of media and 

materials through technical inductions and instruction. 

The research folio will support 

criti cal practice talks, and enable you to make 

connections with your studio practice. 

We will also make visits to outside studios, theatres 

and other venues to establish broader 

perspectives and collaborations. Through making 

and studio practice, underpinned with crit- 

ical practice, you will develop and examine your 

individual approach to drawing. 

As part of the wider CCW Graduate School, 

and working alongside Wimbledon’s MA student 

community, you will have access to a range of 

research staff, talks and lectures. All will support 

you as you define the shape, context and con- 

tent of your final project. Mid- and end-of-course 

exhibitions will give you the chance to site 

your work in a wider public forum. 

NExt StEPS The MA Drawing course will 

support your practice with the skills, knowledge 

and cross-disciplinary understanding necessary 

to work as a creative individual in the professional 

world. It will also act as preparation for practiceled 

PhD study. 

* subject to validation 



APPLY tO: DIRECT TO THE CCW 




MA CURATING 

Dr iSOBEL WhitELEgg, COUrSE DirECtOr: 


‘At Chelsea, we consider curating to be a method 

which cuts across different practices and spaces, 

including physical and virtual, and is not applied 

exclusively to the production of gallery or 

museum exhibitions.’ 

COUrSE CONtENt On this course, we consider 

curating as a method which cuts across 

different practices and spaces, including physical 

and virtual, and is not applied exclusively to 

the production of gallery or museum exhibitions. 

Curating’s areas of specialist focus draw 

on specific areas of expertise represented by staff, 

research centres, public programmes, special 

collections and key external partners across 

the three Graduate School colleges. You will learn 

about curating events and public programmes, 

the archives of artists, exhibitions and institutions, 

and situated and socially engaged practices. 

Workshops, seminars and guest lectures will 

introduce and explore the changing definitions 

of curating in relation to a dynamic landscape 

of institutions, social policies and technologies. 

They will also address the responsibility of 

curating in respect of local-situated and transnational 

contexts. 

These seminars and discussions will be held at 

Chelsea and you will benefit from access to 

a range of learning resources across Camberwell 

and Wimbledon Colleges. You will also enjoy 

43 

opportunities to engage with the gallery spaces 

and public programmes located within all 

three colleges, and Peckham Space, an arts organization 

dedicated to commissioning and developing 

local and socially engaged art practices. 

KEY FACtS When you finish the course, you 

will be well placed to work within the current art 

institutional sector, particularly in institutions 

with an interdisciplinary ethos or those interested 

in developing critical and engaged public programming 

and generating, keeping and reflecting 

on their archives. You will gain not only knowledge 

and experience, but the confidence and contacts 

needed to build up your portfolio as an 

independent curator. 

NExt StEPS Many of our graduates go on to 

work as curators, either independently or within 

an arts organization, gallery or museum. 

Others become exhibition organizers or curate or 

develop public programmes and exhibitions. 

Some students choose to continue their studies at 

PhD level, focused on exhibition history and 

curatorial practice. MA Curating at Chelsea will 

provide you with the critical, historical and 

contextual studies to encourage and prepare you.

44 







MA ART THEORY 


DAViD DiBOSA, COUrSE DirECtOr: ‘Chelsea’s MA 

Art Theory is like engineering – we help you 

design the theoretical engine to drive your ideas 

forward.’ 

COUrSE CONtENt On this course, we place 

emphasis on the importance of practice in the 

development of theory. Contemporary art 

practices often integrate theory, so our MA in Art 

Theory course makes practice the starting 

point in learning new analytical and interpretative 

tools. We reflect this focus in the project-led 

nature of the course, and our tutors work with 

each student to develop individual projects based 

on individual interests, needs and talents. 

Theory draws on textual, performance, poetic, philosophical, 

political and scientific approaches. 

You will also become familiar with fundamental 

historical trends in art theory as well as key 

moments in art practice. It will mean being able 

to discuss and shed new light on aspects of 

your work in relation to contemporary theoretical 

debates. 

The course is aimed at people with an active 

interest in the visual arts. You could be an established 

practitioner keen to use theoretical 

reflection and exploration to enhance your practice. 

But it’s just as likely that you’re someone 

with an emerging curiosity about art practice, art 

criticism, exhibitions, education, policy or 

curating. 

KEY FACtS We work closely with Chelsea’s 

MA Curating programme, and draw on the 

resources of the three Graduate School colleges, 

including the libraries, archives and special 

collections, as well as the college galleries, especially 

Chelsea and Peckham Space galleries. 

In addition, you will learn ways of expanding the 

scope of your research to include a full range 

of theoretical and visual materials. We’re keen for 

you to immerse yourself in London’s networks 

and encourage regular visits to archives, galleries, 

museums and fairs. Throughout the course, 

you will meet potential collaborators and employers, 

as well as many leading practitioners. 

Our visiting lecture series is a great way to make 

established links with UK and international 

academic and cultural institutions. 

NExt StEPS Studying on the MA Art Theory 

course will increase your chances of finding work 

by making you fluent in the debates affecting 

all areas of the cultural sector – from art practice 

and criticism to curating and independent theoretical 

production. You will have the edge when 

applying for grants and residencies. And the 

course will certainly put you at an advan tage if 

you are inter ested in graduating to research-based 

projects, including further study at PhD level. 







Dr MALCOLM QUiNN, COUrSE DirECtOr: ‘This 

is a one year Chelsea course in which you will conduct 

an individual programme of art and design 

research within the CCW Graduate School.’ 

COUrSE CONtENt MRes Arts Practice is an 

MA course, which provides a structured introduction 

to research in the fields of art and design 

for anyone wishing to progress to MPhil/PhD. 

It will suit those working within art and design 

fields who may wish to enhance their research 

skills or the research element of their practice. 

MRES ARTS PRACTICE 


The MRes Arts Practice offers you the chance to 

develop a major individual research project 

within the research environment of the CCW 

(Camberwell, Chelsea, Wimbledon Colleges 

of Art) Graduate School, directed at further study 

at MPhil/PhD level. The course is closely integrated 

with CCW research centres, and is run by 

professors and readers working in the Graduate 

School who have substantial expertise in practical 

and theoretical research into art and design 

and the supervision of research students. We hold 

joint seminars with the MA Curating and MA 

Art Theory programmes at Chelsea and there is 

also an MPhil/PhD reading group. 

KEY FACtS Dr Malcolm Quinn, the course 

direc tor, is Reader in Critical Practice at CCW. 

Dr Quinn has also written extensively on art and 

design research, the development of art and design 

language, and pedagogy. The campus location 

next door to Tate Britain provides students with 

easy access to the gallery’s permanent collection 

and archive, and the opportunity to attend and 

partici pate in the Tate’s programme of events and 

special projects. 

NExt StEPS You may well go on to study for an 

MPhil/PhD after completing the course. Or you 

may wish to use your developed research skills to 

enhance your own practice, or use or apply them 

in the museum or gallery sectors or other art and 

design organizations and fields. 

45

46 







MA GRAPHIC DESIGN 

COMMUNICATION 


COUrSE CONtENt The course is aimed at those 

looking to be authors of their own practice. We 

are open to different voices, individual definitions 

of authorship, and new ideas and approaches. So 

we are supportive of students who want to look at 

innovative ways of generating, presenting and 

disseminating work. This could mean new uses of 

processes or technology, the development of a 

signature style or an investigation into new models 

of working. 

Your goal will be to independently develop work 

of integrity. But we will also ask you to chal- 

lenge and redefine existing boundaries by examining 

your practice within a broader cultural 

context. It will see you considering the designer’s 

role and responsibilities in societal, environmental 

and ethical issues. 

The course is studio-based and practice-led. It’s 

also underpinned by a theoretical framework 

which will help you evolve your own position on 

contemporary debates. To this end, you will 

participate in individual and group tutorials, and 

workshops led by writers, designers and artists 

from outside the college. Visiting speakers will 

give postgraduate talks and practitioners will discuss 

their work in the in-house Graphic Design 

Communication lecture series. 

KEY FACtS We have been involved in collaborative 

projects and workshops with the Design 

Museum and E4. We have also held workshops 

with Billy Bragg of Le Gun magazine; Lizzie Finn, 

ex-Assistant Editor of Frieze magazine; Jonathan 

Griffin; Nick Roberts of Wordsalad; and the writer, 

Anna Gerber. 

Former professional lecture series speakers 

include leading graphic designers; Nina 

Chakrabarti; Andy Altman from Why Not Associates; 

Andy Stevens from Graphic Thought 

Facility; and Emma Thomas from APFEL. Then 

there have been award-winning video direc- 

tors; Dawn Shadforth and Nick Goffey from Dom 

and Nick; musicians like Barry7 from Add N to 

(X); and Stephen Mallinder from Cabaret Voltaire. 

NExt StEPS We are committed to supporting 

you in developing the skills and knowledge necessary 

to continue your creative practice, and 

for future study or employment. Recent graduates 

have exhibited work at the Courtauld Institute 

of Art and been awarded fellowships by the Royal 

Society for the Encouragement of the Arts. Our 

course focus on practice means that we encourage 

you to go into professional practice or to pursue 

PhD-level research. 




APPLY tO: CCW GRAUATE SCHOOL 




MAiKO tSUtSUMi, PAthWAY LEADEr: ‘Making 

and learning are intertwined on this Camberwell 

MA. The wide range of works you will create 

will be underpinned by a programme of thought, 

discussion and lectures.’ 

COUrSE CONtENt The contextual programme 

of the MA Designer Maker course will enable 

you to engage with the contemporary debates in 

applied arts, design and object-based art. And 

to explore the position of the makers within different 

cultures and contemporary societies. 

Our course seminars and discussions touch on 

a wide range of subjects; everything from material 

culture studies, anthropology, philosophy and 

sustainability to consumerism, museum studies, 

psychology and literature. You will also be 

encouraged to attend the MA lecture pro gramme 

and cross-course seminars, which draw upon 

the richness of the research within the college 

and across the CCW Graduate School. 

We welcome applicants from applied arts, design 

and fine art backgrounds, including ceramics, 

furniture, jewellery design, metalwork and architecture. 

The course is aimed at practitioners 

with well-developed workshop skills, so you will 

be used to getting hands-on. You will also be 

keen to develop your critical skills so that you can 

engage with a wide range of social and cultural 

issues around the production and consumption of 

MA DESIGNER MAKER 

(VISUAL ARTS) 


47 

objects. By the course’s end, you will have made 

a wide range of works, including installations 

of small-scale sculptures, lighting designs, ceramic 

works, furniture designs and jewellery. These 

will vary from batch productions to one-offs and 

limited editions. 

KEY FACtS You will be exposed to an 

exciting round of tutorials, group critiques and 

discus sions. And our series of lectures, workshops 

and seminars will feature many visiting 

practitioners, including designers, makers, 

artists and curators. In addition, you will make 

visits to collections, makers’ studios, galleries 

and museums. Showing your work at public exhibitions 

and following a personal development 

programme will ensure that you leave with your 

practical skills well-honed. 

NExt StEPS Many of our graduates go on to 

pursue interesting careers. These include as independent 

applied arts and design practitioners, 

creative industry professionals, curators, freelance 

designers, workshop leaders and teachers. Others 

go on to study at doctorate level.

48 







Dr KEN WiLDEr, COUrSE DirECtOr: ‘Space 

making is an important focus on this course. At 

Chelsea you can expect to explore conceptual 

spatial concerns and notions of how we inhabit 

space in an area of study that is distinct from 

but complementary to architecture.’ 

COUrSE CONtENt We have a unique identity 

on MA Interior and Spatial Design, being part of 

an arts school tradition rather than linked to 

an architectural school. We are internationally renowned 

for our culturally diverse course, and 

for encouraging experimentation, along with the 

questioning of disciplinary boundaries and 

conventional definitions about what constitutes 

spatial practice. 

We are also committed to the notion of ‘spacemaking’ 

as a design activity distinct from architecture. 

You will address issues about how 

we inhabit space and develop sensibilities about 

intervening into existing architectural structures 

or situations. While we engage with the language 

of architecture, our expertise is the experien- 

tial aspects of what it is to inhabit and interact 

with our spatial environment. This can encompass 

interior and exterior situations, with outcomes 

ranging from the functional design of built 

structures, fine art installations and fur niture, to 

film and computer animation. We welcome 

applications from graduates in interior design, 

interior architecture and architecture graduates, 

as well as fine art or three-dimensional design 

MA INTERIOR & SPATIAL DESIGN 


graduates who wish to pursue a more spa tial 

aspect of their practice. Whatever your 

background, you will be eager to push the boundaries 

between disciplines and develop a deeper 

theoretical understanding of your work. In 

turn, you will find the course a useful stepping 

stone into professional practice. 

KEY FACtS The course offers the possibility to 

pursue two areas of concern: 

> RESEARCH ORIENTATED Here you will develop 

your own research proposal, evolving projects 

that have a strong specialist agenda, or which 

question the boundaries between archi tecture, 

design and fine art. This mode is par ticularly 

appropriate for students coming from a fine 

art or architectural background wishing to 

explore more conceptual spatial concerns that 

fall outside of conventional notions of interior 

design. 

> PROfESSIONAL PRACTICE ORIENTATED This area 

of study emphasizes site investigation 

and spatial resolution, where you bring your 

research concerns to a site condition that 

is negotiated with staff. Here the outcomes are 

focused on the detailed design resolution 

of interventions into existing architectural or 

built conditions, and on the developing of 

challenging social programmes that engage 

with a wide cultural environment. 

NExt StEPS Many of our former students work 

in architectural and design practices, while others 

continue their practice as fine artists and have 

exhibited internationally. Some graduates have 

established design companies, written architectural 

books, and made films and furniture. 

Others continue their studies at doctorate level. 







MA TEXTILE DESIGN 


LOrNA BirChAM, COUrSE DirECtOr: ‘The opportunities 

you will encounter on this course are 

second-to-none. At Chelsea you will inspire and 

be inspired as you explore creative approaches to 

sustainable design, supported by a unique and 

vibrant community of fellow students, teaching 

staff and visiting practitioners.’ 

COUrSE CONtENt On this studio-based, 

practice-led course, we will expect you to show 

high levels of commitment and motivation, 

as well as confidence in your abilities. You will 

find numerous opportunities for developing and 

col laborating on pioneering work within the 

textile industry and your study will be underpinned 

by a supportive theoretical framework, 

as well as instruction in professional contemporary 

practice. 

A key course focus is concern and debate about 

the designer’s role in and responsibility for 

environmental issues. We will encourage you to 

respond to the growing awareness of selecting 

raw materials, and working out the impact of 

production and the ultimate life cycle of the product, 

especially concerning its disposal or re-use. 

Through investigation and innovation, we will 

encourage you to create solutions which challenge 

convention and merge design with function. 

Throughout the course, you will participate in 

and develop your skills through individual and 

group tutorials, workshops, online resources 

and postgraduate talks designed to introduce you 

to a range of visiting artists, designers and other 

practitioners. 

We welcome applications from students with 

a high level of practical textile skills, knowledge 

of design development methodologies and ambitions 

in different aspects of the textile industry. 

KEY FACtS Our Textile Environment Design 

(TED) project at Chelsea is a unique research 

unit investigating the roles that designers play in 

the field of eco design. It’s a resource that students, 

researchers and designers benefit from and 

contribute to. One of our students used TED’s 

extensive library of contacts to establish a unique 

sustainable craft-design project in Thailand. 

We encourage MA students to attend conferences 

in this growing area and report their findings 

to the college. 

NExt StEPS Graduates on this course have 

gone on to pursue careers as textiles practitioners 

and designer-makers, working with or establishing 

their own major and independent fashion 

labels. Recent graduates have found jobs such 

as a print designer for Ralph Lauren in New York 

and in-house designer for Heritage Cashmere. 

Another works on sustainable craft-design projects 

in India. You are likely to find opportunities 

in free lance design work or interior product 

design too. You will also find yourself well placed 

to apply to undertake further research. 

49

50 


StUDY MODE: fULL-TIME 

DUrAtiON: 1 YEAR 





DOUgLAS O’CONNELL, COUrSE DirECtOr: ‘Visual 

Language of Performance at Wimbledon engages 

in contemporary ideas, innovations and transformations, 

in the devising and development of 

cutting edge performance practices.’ 

COUrSE CONtENt On MA Visual Language of 

Performance, you will enjoy an innovative 

environment, and a unique opportunity to define 

contemporary performance practice through 

investigating, incorporating and fusing a range of 

art practices. 

You will learn to work across conventional boundaries 

to gain a broader vision and experience 

of contemporary artistic practices. It will see you 

developing a critical awareness of the creative 

processes vital to world cultures and traditions, as 

well as examining space, action and the role of 

spectator. 

You will aim to unravel innovative ways of realizing 

ideas and expressing a unique point of 

view, using a variety of performance models, mate- 

rials and influences. Above all, you will develop 

the tools you need to create your own work. 

By identifying, developing and strengthening your 

particular area of specialism, you will not only 

prepare yourself for working independently, but 

for lending a confident, informed and inventive 

perspective to any creative team. 

MA VISUAL LANGUAGE Of 

PERfORMANCE 

WIMBLEDON COLLEGE Of ART 

KEY FACtS The course is project-led and the 

curriculum’s designed to support your individual 

practice and research through a series of selfinitiated 

projects. Much of the course will involve 

your participation in debates. These will concern 

a range of artistic media, including video art, film, 

digital design, painting, sculpture, installation, 

live art, and site-specific and cyber perfor mance. 

You will use innovative technologies and networking 

tools such as blogs, broadband streaming 

and mobile technology to forge new connec- 

tions, facilitate debates, share ideas and network 

with a universal community of diverse practitioners. 

Our course tutors work in a range of art practices, 

and you will receive not only their support 

but that of staff in a range of disciplines across the 

CCW Graduate School. 

NExt StEPS The MA Visual Language of Performance 

programme will prepare you for work as 

an independent creative artist in the increasingly 

interdisciplinary and intercultural world of 

performance. 


DUrAtiON: EXTENDED fULL-TIME 

OVER 2 YEARS 

APPLY tO: CCW GRAUATE SCHOOL 




MA CONSERVATION 


MArK SANDY, COUrSE DirECtOr: ‘This course, 

building on 40 years of experience at Camberwell, 

will teach you specialist skills and knowledge 

and prepare you to work within specific fields of 

the conservation world.’ 

COUrSE CONtENt Conservators are skilled 

professionals who undertake a wide range of activities 

including developing preservation strategies, 

undertaking interventive conservation of 

cultural artefacts (such as repair or chemical 

treatments), liaising with other museum professionals 

and being advocates for conservation to 

the wider community. Camberwell’s new 2 Year 

MA Conservation course will offer students the 

chance to focus on one of 2 pathways: 

> MA CONSERVATION: ART ON PAPER This pathway 

will focus on the analysis, conservation and 

preservation management of images executed 

on paper covering a wide range of materials 

including prints, drawings and watercolours, 

with an emphasis on both conservation practice 

and theory. 

> MA CONSERVATION: BOOKS AND ARCHIVAL 

MATERIALS This pathway will cover the broad 

international and historical spectrum of 

book binding and book structures. Studio practice 

will include preservation management 

as well as related conservation techniques and 

related theory. The strong connections with 

industry partners and the Ligatus research centre 

will support your Personal and Professional 

51 

Devel opment (PPD). This combination of 

path ways builds on areas of research and practice 

already established at Camberwell, and 

responds to developing industry requirements. 

The course will feature specialist taught 

elements for the two pathways running alongside 

a common taught programme and key 

work shops. This will allow for both the degree 

of specialization required in this subject 

at post graduate level and a fruitful interaction 

between students with opportunities for 

peer learning and an expanded critical discourse. 

The course culminates in the completion 

of an individual conservation project. 

KEY FACtS The course has strong links with 

external partners both in the London area 

and further afield. These links facilitate project 

sourcing and voluntary activities for students. 

Students will have the opportunity to work with 

the ‘Camberwell Collection’ archive and other 

archives within the UAL. This will provide the 

opportunity for a range of specialist projects and 

direct engagement with issues involving the care 

and use of collections. Students will have access 

to Camberwell’s technical resource centres alongside 

the specialist conservation studios and 

conservation science laboratory. 

NExt StEPS Graduates can progress into 

employment within the conservation profession 

or funded internships. Graduates are employed 

as conservators in many institutions including the 

National Archives, the British Museum, the 

British Library, the V&A, the Bodleian Library and 

various county and regional archives. Grad- 

uates have also gone on to careers in other sectors 

of the heritage industry.

52 

STUDENT PROfILE 

fATEHRAD Azadeh (MRes) 

Azadeh fatehrad, Greeting the Sun Series, photography, 

c-type print, 84 × 118.9 cm, 2011 

I was born and grew up in Tehran, Iran. I graduated 

in BA Fine Art at the Azad University 

in Tehran 2008. During the final year of my BA 

course I had reached a stage where felt that I 

wanted to enhance my artistic practice in a more 

critical and professional manner, prompting 

me to explore the possibilities of studying abroad. 

I chose London for its dynamic contemporary 

art scene and its cosmopolitan lifestyle, feeling it 

would offer me the possibilities I was looking 

for. In 2009, I started the MA Fine Art at Chelsea 

College of Art and Design in London. I chose 

Chelsea amongst all the other art schools because 

of its well-known reputation in Fine Art study. 

This course marked a turning point in my life 

as the engagement of practice with critical 

research challenged my previous experiences and 

extended my knowledge significantly. My 

work is focused on video installation and photography 

in the con text of gender identity, which 

I developed considerably through my MAFA 

course; for instance, tutorial sessions and 

feedback with contemporary and established artists 

pushed my practice into new territory. 

Also, one of the most interesting aspects was the 

involvement in group work; the dynamics and 

support within the group was most stimulating 

for setting up ex hibitions and seminars in and 

outside the college. I found myself in the middle 

of a professional environment that transmitted 

a strong sense of being an artist and academic. 

After completing the course, I decided to continue 

my study embarking on the MRes Art Practice in 

2010 that will lead me to complete a practicebased 

PhD degree. In fact, witnessing the research 

of experts, aca demics and fellow students has 

been extremely beneficial for my own research 

and practice; also, this academic exchange 

has encouraged me to continue my study further. 

www.azadehfatehrad.com 

fEES & fUNDING 

tUitiON FEES 

Due to government funding reductions, fees for 2012 entry may change 

significantly. Further information will be provided on the college and 

university websites when available. 

Please note that fees for 2012 have not yet been set. The fees below are 

for 2011 and are for guidance only: 

> Fine Art/Interior & Spatial Design (Chelsea) 

> UK/EU MA £/Year £7000 

> International £/Year £15900 

All other MA degrees: 

> UK/EU MA £/Year £7000 

> International £/Year £12700 

FUNDiNg YOUr StUDiES 

Studentships and research grants are often available, but there are no 

subsidized loans for postgraduate students. However, UK/EU MA applicants 

to the CCW Graduate School may be eligible for funding from the Arts and 

Humanities Research Council (AHRC). 

ArtS AND hUMANitiES rESEArCh COUNCiL FUNDiNg 

The AHRC has awarded the university a limited sum of money to fund 

studentships for MA and research students. The arrangements for 2012 entry 

are not yet known. For further information, please visit: www.ahrc.ac.uk or 

www.arts.ac.uk/student/money 

PrOFESSiONAL AND CArEEr DEVELOPMENt LOAN 

This bank loan is designed to help you pay for work-related learning. 

You don’t have to start paying the loan back until at least one month after 

you stop your training. For further information, visit: www.direct.gov.uk/pcdl 

53

54 

HOW TO APPLY 

ENtrY rEQUirEMENtS 

> An Honours degree or equivalent academic/professional qualifications. 

> Postgraduate diploma applicants who do not have English as a first 

language must show proof of IELTS 6.0 (with a minimum of 5.0 in each 

skill), or equivalent, in English upon enrolment. 

> MA and MRes applicants who do not have English as a first language must 

show proof of IELTS 6.5 (with a minimum of 5.5 in each skill), or 

equivalent, in English upon enrolment. 

> The university takes into consideration prior learning, alternative 

qualifications and experience. 

POrtFOLiO AND StUDY PrOPOSAL 

Along with your application form, we ask you to submit a portfolio of work 

(usually in CD or DVD format or possibly using flickr), as well as a study 

proposal. Applicants will be shortlisted at this stage and may be invited for 

an interview. Some courses do not require a portfolio submission – please 

see the website for details. 

APPLiCAtiON FOrMS 

Download the application form by clicking the ‘Apply’ tab on the relevant 

course information page. 

APPLiCAtiON DEADLiNES 

If applying for AHRC funding (UK/EU Masters degree applicants only): 

1 March 2012. All other UK and EU applicants: 1 July 2012. International: 

no official deadline, but you are advised to apply as soon as possible. 

PG SCHOLARSHIPS, 

BURSARIES, PRIZES AND AWARDS 

At CCW Graduate School and across the University of the Arts London 

(UAL), we are committed to supporting our students with financial help 

through scholarships, bursaries, prizes and awards. 

CCW Graduate School has a range of scholarships and bursaries, many 

specific to MA study subject areas. Past and current scholarships and 

bursaries include AHRC (Arts and Humanities Research Council) Masters 

Funding, UAL International Office Postgraduate/MA Scholarships, Arts 

for India Scholarship, The Cecil Lewis Sculpture Scholarships, the Artists’ 

and Collectors’ Exchange Bursaries, The Laura Ashley Scholarship, 

The Patrick Caulfield Bursary, The Patrick & Kelly Lynch Scholarship and 

The Stanley Picker Trust Bursaries. Prizes such as the Red Mansion and 

GAM Gilbert de Botton Art Award are also given annually. 

For further information on all our current scholarships, bursaries, prizes 

and awards, including details on how to apply, please go to: www.arts.ac.uk/ 

scholarships-bursaries 

55

56 

STUDENT PRIZE WINNER, 

BRC NUCLEUS COMMISSION 

ANDERSON Murray 

Murray Anderson, On Not Having a Head, mixed media, variable dimensions, 2011 

I specifically chose to apply to and study on the 

MA Fine Art at Camberwell because of its individ- 

ual character, location, size, philosophy and 

success within both the CCW Graduate School 

and the broader postgraduate provision in 

the capital. My expectation of the course has been 

ex ceeded and I have experienced a supportive, 

challenging and dynamic environment, where 

uniquely the part-time students are fully embedded 

and integrated into the programme. The 

comparatively small class sizes enable open internal 

communication, high levels of staff-student 

contact and peer networking. The dedicated and 

respected course team is both pro active and 

flexibly reactive towards indi vidual research interests. 

Geographi cally, the course is located in the 

middle of the emerging and vibrant South London 

arts scene and during my first year of study, the 

course has facilitated student projects and 

links with Beaconsfield, Gas works and the South 

London Gallery to name a few. 

The BRC Nucleus commission, which was open 

to all students within the Graduate School, 

has provided a unique opportunity. It has allowed 

me to consider a number of concerns including 

audience, the practicalities of a public commission 

and the role of art in joining up subjective 

experience. Furthermore, the Nucleus’ location in 

South London relates to the Camberwell MA Fine 

Art programme’s focus on community and local 

context. The commission, along with the external 

projects on the course, has played a large role in 

my continuing personal and professional creative 

development. 

RESEARCH 

DEGREES 

58 INTRO & HOW TO APPLY 

59 CURRENT RESEARCH DEGREE SUPERVISORS 

61 CONfIRMED RESEARCH DEGREE STUDENTS 

62 COMPLETED RESEARCH DEGREE STUDENTS 

63 RESEARCH DEGREE STUDENT PROfILE: LORI Ope 

64 COMPLETED PHD STUDENT PROfILE: DR HANDAL Alex 

57

58 

Through the combined work of the many 

talented and dedicated Professors, Readers and 

Researchers within our CCW Graduate School, 

we are able to offer an exciting and rigorous experience 

for our research degree students. Our 

research activities are frequently grounded in 

the portfolio of art and design subjects represented 

by our taught Masters programmes. They 

offer new and challenging ways of thinking 

about how specific disciplines can share common 

concerns and questions. Issues surrounding 

the practice, and the theoretical and historical contexts 

of Fine Art, Design, Conservation and 

Theatre are developed and interrogated through 

a focused re search approach of contemporary 

relevance. At MPhil and PhD level, we are particularly 

interested in research proposals that 

address individually, collectively or in tandem 

the four current Gradu ate School themes of 

Social Engagement, Envi ronment, Identities and 

Technologies. The themes reflect a growing 

collective awareness amongst our research communities 

for identifying some of the more 

urgent social, political, economic and cultural 

agendas of our time and the need to address 

them through innovative and creative responses. 

We are also particularly interested in PhD 

research proposals relating to our growing work 

in the area of theatre, particu larly the investigation 

and redefinition of the limits of performance, 

costume design and scenographic practice. 

ENtrY rEQUirEMENtS 

We consider a Masters degree in an appropriate 

subject to be particularly valuable in preparing 

candidates for a research degree. However, in 

certain circumstances where there is evidence of 

professional standing, the minimum requirement 

is an upper second-class Honours degree or 

equivalent academic professional qualification. 

INTRO & HOW TO APPLY 

RESEARCH STUDY AT CCW: MPHIL/PHD 

Appli cants who do not have English as a first 

lang uage must show proof of IELTS 7.0 (with 

a 7.0 in writing) or equivalent. The university 

takes prior learning, experience and alternative 

qualifications into consideration. 

PrOPOSAL AND POrtFOLiO 

With your application, we ask you to submit a 

research proposal following the guidelines in the 

application form. If your proposal is practicebased 

you may also wish to submit a portfolio of 

work (usually in CD or DVD format) in support 

of your application. Applications will be reviewed 

by a team of relevant academic staff and shortlisted 

for interview at this stage. 

iNtErViEW 

If you have been shortlisted, you will be invited to 

attend an interview at the CCW Graduate School 

with a small panel of academic staff. 

APPLiCAtiON FOrM 

Download an application form from the UAL 

Research Degrees web page at: www.arts.ac.uk/ 

research 

APPLiCAtiON DEADLiNES 

Deadlines for 2012 entry will be published on the 

university’s website: www.arts.ac.uk/research 

ADDISON GILL, fine Art and Expanded Documentary 

Practices. 

ASBURY MICHAEL, Art History and Theory, and 

Modernism and Contemporary Art in Brazil. 

BADDELEY ORIANA, Art History and Theory, 

Transnational Art, Mexican Art, Cultural Identity, 

Latin American Art and Cultural Hybridity. 

BASEMAN JORDAN, fine Art: Practice, Theory, History 

of Video, film, Painting, Sculpture, Digital Arts, Drawing 

and Sound. 

BAXTER HILARY, Costume and Theatre Design. 

BEECH DAVID, Contemporary Art Practices and Debates, 

the Public Sphere and Politically Engaged Practices. 

BIRCHAM LORNA, Textile Design, New Materials and 

Environmental Impact. 

BISWAS SUTAPA, Studio Practice, fine Art: film, Video, 

Drawing, Painting, Historical and Cultural Studies. 

BLACKLOCK GEORGE, fine Art, Painting and Abstract 

Pictorial Space. 

CHESHER ANDREW, fine Art, Documentary Practice, 

Avant-garde Music, Structures and Practices. 

COBBING WILL, fine Art, Sculpture and Critical Practice. 

COLDWELL PAUL, Printmaking, Sculpture, Digital Art, 

Installation, Memory and the Work of Morandi. 

COLLINS JANE, Performance, Identity, Theatre Design, 

Scenography. 

CROSS DAVID, fine Art, Context-Specific Sculptural 

Installation and Photography. 

CUMING JOCELYN, Environmental Issues Within 

Museums, Book Conservation. 

CUMMINGS NEIL, Critical Practice, Contemporary 

Creative Practice, Art and Social Process, Critical 

Practice and Digital Technology. 

CUSSANS JOHN, fine Art, New Media, Psychological 

Models and the Evolution of Media Technologies. 

DENNIS JEffREY, fine Art, Painting, Drawing, Meaning 

and Process in Contemporary Painting. 

DIBOSA DAVID, Spectatorship, Exhibitions, Museums 

and Curating, Migration Cultures. 

DONSZELMANN BERNICE, fine Art Theory and Practice, 

Architectural Space and Wall Installation. 

EARLEY REBECCA, Eco-design, fashion, Textiles, New 

Textile Technologies and Contemporary Craft Practice. 

ELWES CATHERINE, Artists’ film and Video, feminist 

Art, Wartime SAS. 

fAIRNINGTON MARK, fine Art Painting. 

fARTHING STEPHEN, Drawing, Pedagogy and Cross 

Disciplinarity. 

CURRENT RESEARCH DEGREE 

SUPERVISORS 

The following is a list of current CCW academic staff engaged in research 

degree supervision in CCW. This list is updated on an annual basis in relation 

to the matching of supervisory expertise to enrolled research students. 

59 

fAURE WALKER JAMES, Painting, Digital Arts, Drawing 

and Criticism. 

fORTNUM REBECCA, Painting, Documentation, Visual 

Intelligence and feminism. 

GARCIA DAVID, Tactical Media – the Impact of the Rise of 

Small-Scale DIY Media and Tools and Networks in Art, 

Social and Political Activism, and the Rise of New Social 

Movements. 

HOGAN EILEEN, fine Art, Painting, Portraits, Book Arts, 

Archives, Jocelyn Herbert. 

JOHANKNECHT SUSAN, Artists’ Books, Book Art, Contemporary 

Poetics, Small Press Publishing, The Artists’ Book 

as a Site for Poetic and Collaborative Practice. 

KIKUCHI YUKO, Art, Design and Craft History in Britain, 

Japan and Taiwan, Modernity and National Identity in 

Non-Western Visual Cultures. 

MALONEY PETER, Parallel Spaces, Virtual Reality and 

Simulation, Media Arts, Models and Visual Thought/Idea 

Visualization. 

NEWMAN HAYLEY, Performance and ‘Liveness’, Relationship 

Between Performance and Its Documentation. 

O’BRIEN TAMIKO, fine Art, Sculpture, Site-based Art 

Practice and Collaborative Art Practice. 

PICKWOAD NICHOLAS, Book and Library Conservation, 

Devising New Techniques and Methods to Document 

Material. 

POLITOWICZ KAY, Development of Textiles Within 

Interiors, Textile Design and Production With an Environmental 

Agenda, and Addressing Design Problems. 

QUINN MALCOLM, Critical Practice. 

SANDINO LINDA, History and Theory of the Applied Arts, 

the Role of Narrated Life Stories, and Identity formation 

of Practitioners in Creative Industries. 

SANDY MARK, Haptic Technologies Within Conservation 

Training, Properties of Cellulose and Paper in Relation to 

Deterioration and Conservation. 

SCRIVENER STEPHEN, Collaborative Design, Computermediated 

Design, User-centred Participatory Design, 

Practice-based Research. 

SMITH DAN, fine Art Theory, Notions of Archive, Memory 

and the Utopian Impulse Within Cultural forms. 

STURGIS DAN, Contemporary Painting, Abstract Painting, 

fine Art, Curating. 

THROP MO, fine Art, Curating, Practitioner, Researcher, 

Teacher Identity, Subjectivity, feminism, Psychoanalysis. 

TULLOCH CAROL, Dress and Textiles Associated With the 

African Diaspora, Material and Visual Culture, Writing 

and Curating.

60 

CURRENT RESEARCH DEGREE SUPERVISORS 

VELIOS ATHANASIOS, Computer Applications to 

Conservation, Digitization, Digital Preservation, the 

Concept of Ethics in Digital Conservation and 

Preservation. 

WAINWRIGHT CHRIS, Photography, fine Art, Light 

forms, Video, Curating, Climate Change and Cultural 

Responses to the Environment. 

WALSH MARIA, Artists’ film and Video, Installation, film 

Narrative and Theory, Spectatorship, Phenomenology, 

Performative Writing, Subjectivity and feminisms. 

WATANABE TOSHIO, Transnational Art, Art, Architecture 

and Design of Victorian and Edwardian Britain and 

Japan 1850–1950, Japonisme and Orientalism. 

WHITELEGG ISOBEL, Modern and Contemporary Latin 

American Art, Curatorship. 

WILDER KEN, Projective Space, Installation Art, Video 

Sculpture, Spatial Practice, Philosophy of Art. 

AHMED OSMAN, Wimbledon, Documenting the Kurdish 

Genocide. (Quinn Malcolm) 

ANDERSDOTTER SARA, Wimbledon, Recollection and the 

Personal Snapshot: Replacing Aristotle’s Eikon and 

Memory Image. (Ingham Mark) 

BAILEY CATHERINE, Camberwell, The Reeves Collection: 

an Inquiry into Chinese Botanical Drawings, Their 

Identification and Conservation. (Sandy Mark) 

BALLIE JENNIfER, Chelsea, Considerate Clothing: an 

Exploration of Co-design Methods to Design a Digital 

Platform for Consumer Collaboration to facilitate the 

Co-creation of Clothing. (Earley Rebecca) 

BRADfIELD MARSHA, Chelsea, Verbal Utterance and 

Audience Response in Web-based Installations. 

(Cummings Neil) 

BREW ANGELA, Camberwell, The Role of ‘De-objectification’ 

in Drawing from Life: How and Why Do Artists 

Drawing from Visual Observation Attempt to ‘De-objectify’ 

What They See? (Tchalenko John) 

CAPKOVA HELENA, Chelsea, Interpreting Japan: Central 

European Architecture and Design 1920–40. (Watanabe 

Toshio) 

DOUGAL SARAH-JANE, Wimbledon, Exploring a 

Performative Approach to Drawing: Using Drawing to 

Investigate the Limits of the Experience of the Material 

Body. (Baseman Jordan) 

DOVER ANNABEL, Wimbledon, Bodhan Litnianski and the 

Souvenir: A Study of Nostalgia in the Jardin du 

Coquillage. (Calu Mark) 

EDWARDES CHRISTIAN, Chelsea, Making Space. Towards 

a Cartography of Imagined Spaces Through fine Art 

Practice. (O’Riley Tim) 

GOLDSWORTHY KATE, Chelsea, Material Re-creation: 

forward Recycling of Synthetic Waste for the Luxury 

Textile Market. (Scrivener Stephen) 

GUERRERO RIPPBERGER SARA ANGEL, Camberwell, 

Parallels in the Identity Politics of Latin American and 

Middle Eastern Art, 1960s–Present. (Baddeley Oriana) 

HEWITT ANDY, Chelsea, Socially Engaged Art Practices 

and funding Agencies in Culture-led Regeneration. 


HJELDE KATRINE, Chelsea, Constructing a Reflective Site: 

Making Knowledge/Teaching Knowledge in fine Art. 

(Drew Linda) 

HOOLAHAN fAY, Camberwell, Creative Geographies: 

Mappings of ‘Place’ Via Time in Moving Image Art. 

(Elwes Catherine) 

KASSIANIDOU MARINA, Chelsea, In-between Marks 

and Surfaces: Approaching from the feminine. 

(Dennis Jeffrey) 

KEMBER PAMELA, Chelsea, Perfectly at Home 

Nowhere: Artists from Hong Kong’s Visual Diaspora. 

(Kikuchi Yuko) 

CONfIRMED RESEARCH DEGREE 

STUDENTS 

61 

LORI OPE SARAH, Chelsea, Signifiers of Blackness and 

Whiteness in the female Body: Representations and 

Tropes of Meaning in Britain, 1970–90. (Tulloch Carol) 

LOUREIRO LEONOR, Camberwell, European Decorative and 

Printing Coated Papers 1850–1975: Their Classification 

for Conservation Purposes. (Sandy Mark) 

LOVE JOHANNA, Chelsea, How Have New Technologies in 

Digital Printing Affected Our Perception of the Surface 

Within Printmaking and the Way in Which Artists 

Explore the Convergence of Calligraphic and Photographic 

Languages Held On This Surface? (Coldwell Paul) 

MACKAY JEM, Camberwell, Swarm TV: Constructing 

Effective Structures for Creative Collaboration by 

Analyzing Open Source filmmaking’. (Stiff Andrew) 

MAffIOLETTI CATHERINE, Chelsea, Can the Object Ever 

Truly Reflect the Body Without Merely Being a 

Representation, or Producing a Lack of Body/Self? Does 

the Object Only Exist in the Absence of the Body/Self? 

Or Can it Speak the Body/Self Via a Different Mirror? 

(Walsh Maria) 

MCPEAKE AARON, Chelsea, Nibbling at Clouds – the Blind 

Visual Artist is not a Paradox. (Newman Hayley) 

MORGANA CORRADO, Chelsea, Ludic Interventions in 

Dialogic Space; Socialised Activity, Play and ‘the Game’. 


REID IMOGEN, Chelsea, Between the Viewer and the 

Screen. (Walsh Maria) 

RICKETTS MICHAEL, Chelsea, (Post-)Conceptualism / 

Urbanism. (Cummings Neil) 

ROMERO RAMIREZ MARTHA ELENA, Camberwell, 

Mestizaje in the Bookbindings of New Spain. (Pickwoad 

Nicholas) 

ROSS MICHAELA, Chelsea, The Role and Status of the 

Artist-Educator in Institutional Contexts. (Scrivener 

Stephen) 

SPLAWSKI PIOTR, Chelsea, A penchant for Japan: British 

and Polish Japonisme in the Pictorial Arts of the 

Interwar Period (1918–39). (Watanabe Toshio) 

STYLIANOU NICOLA, Chelsea, Producing and Collecting 

for Imperial Britain: The African Textiles in the Victoria 

and Albert Museum 1850–1950. (Watanabe Toshio) 

TAN ERIKA, Camberwell, Circumventing Closure: 

Transnational Manoeuvre(ing)s. (Baddeley Oriana) 

TREMLETT SARAH, Chelsea, Maternal Philosophy: Can 

Text in Women’s Art be Considered New Philosophical 

Practice? (Throp Mo)

62 

ADJANI RAPHAEL, Chelsea, The Being of a Space: an 

Ontological Investigation With Reference to the Rock Cut 

Edifices of Ellora, and Tadao Ando’s Water Temple. 

(Watanabe Toshio) 

ALfIER DINO, Wimbledon, The Semethics of Simone Weil: 

Attention as Geometric Mean Between the Existent and 

the Real. (Quinn Malcolm) 

fEIRRERA DA ROCHA E SILVA ANA BEATRIZ, 

Camberwell, Shifts in the Identities of Modern Art 

Museums and Artworks Enhanced by Iconoclastic 

Architectures and Cultural Tourism. (Asbury Malcolm) 

GRENNAN SIMON, Wimbledon, Drawing on ‘Ghost World’: 

in Experiencing the Contemporary Comic Book, What is 

the Nature of the Relationship Between Drawn Gesture 

and Emotion? (farthing Stephen) 

LISICA CINDY, Chelsea, Superflat Art: Meaning and 

Merchandise for the 21st Century. (Baddeley Oriana) 

SARRIS NIKOLAS, Camberwell, Classification of finishing 

Tools in Byzantine/Greek Bookbinding: Establishing Links 

for Manuscripts from the Library of the St. Catherine’s 

Monastery in Sinai, Egypt. (Pickwoad Nicholas) 

SULLIVAN LAWRENCE, Chelsea, Ethical Reading. 

(Newman Hayley) 

COMPLETED RESEARCH DEGREE 

STUDENTS 10/11 

RESEARCH DEGREE STUDENT 

PROfILE 

LORI Ope 

Ope Lori, moving image, video and performance, video projection, 2008 

Studying MA Fine Art, after completing a Postgraduate 

Diploma at Chelsea, was one of the 

turning points of my artistic practice. The emphasis 

was really on making work as an artist and 

getting it out there through exhibiting and collaborating 

with fellow students. The course 

brought together many different students, from 

all backgrounds, na tionalities and ages, under 

the rubric that we wanted to establish ourselves 

as art practitioners. 

As a video and performance artist, where my 

interests were and still are is in black identity politics, 

what it means to be ‘Black’ and British, 

or ‘Black’ and English. What it means to be Black, 

female and lesbian and how those aspects of my 

subjecti vity merged or diverged, were all important 

issues for me. I found that the tutors on 

the course were challenging me to push my ideas 

to another level, especially through my chosen 

medium of vi deo and performance. It was important 

for me to have access to well-established 

artists, cura tors and theoreticians, diverse in their 

practice, who were very knowledgeable and 

able to give ad vice about both the content and 

context of my work. 

63 

Through doing an MA in Fine Art, it propelled 

me to take the studies further and I am now in the 

second year of a PhD at CCW. The MA is a great 

stepping stone for this research course and gave 

me great confidence in believing I could take on 

such a challenge.

64 

COMPLETED PHD STUDENT 

PROfILE 

DR HANDAL Alexandra 

My decision to embark on a combined practice/ 

theory PhD came from the desire to shake-up my 

artistic practice and travel in my thinking 

beyond the parameters of Fine Arts. I sought an 

opportunity to channel my curiosity towards 

other fields of knowledge in order to explore new 

creative areas for reflecting and questioning. 

Undertaking a PhD at the University of the Arts 

London provided me with the guidance, sup- 

port and environment necessary to conduct such 

cross-disciplinary research. From the very moment 

I was interviewed by three members of staff 

– who eventually became my supervisory team 

– I knew that this was exactly where I wanted to 

be. Their involvement with the research centre, 

TrAIN (Transnational Art, Identity and Nation) in 

which I became an active member, added a 

Alexandra Handal, No 

Parking Without Permission, 

Jerusalem, Greek Colony, 

03.05.08, 10:53, giclée 

print on Hahnemühle etch ing 

paper, 40.6 × 30.5 cm, 

edition 5, 2008 

further component to my education. The 

conversations that transpired from the TrAIN 

seminars and lectures were particularly 

important to me as an artist whose visual cultural 

context has been informed by a number of 

national territories, cities, cultures, histories and 

languages. In this frenzied world we live in, 

where one is expected to produce art under great 

pressure with little space for experimentation, 

I found this period of working on my PhD 

extremely vital for my evo lution as an artist and 

intellectual. This extended and concentrated 

pause for learning has allowed me the necessary 

time to read profusely, immerse myself in 

thought, experiment, create, conduct field work 

and develop ideas that bear the seeds for 

future projects. 

PROfESSORS 




72 CUMMINGS Neil 

74 ELWES Catherine 

76 fARTHING Stephen 





86 SCRIVENER Stephen 

88 WAINWRIGHT Chris 

90 WATANABE Toshio 

65

BADDELEY Oriana 


PROfESSOR 

BiOgrAPhY Professor Baddeley is Associate 

Dean of Research at CCW and Deputy Director 

of the research centre for Transnational Art, 

Identity and Nation (TrAIN). She studied History 

and Theory of Art at the University of Essex. Her 

doctoral subject, researching the historiography 

of definitions of ‘art’ in relation to Ancient 

Mexico, formed the basis for work on the 1992 

Hayward exhibition, The Art of Ancient Mexico. 

She has written extensively on contemporary 

Latin American art, including Drawing the Line: 

Art and Cultural Identity in Contemporary Latin 

America (Verso 1989, co-author Valerie Fraser) and 

collaborated with Gerardo Mosquera to produce 

Beyond the Fantastic: Art Criticism from Contemporary 

Latin America (inIVA/MIT 1996). With Toshio 

Watanabe and Partha Mitter, (2001–04), she 

worked on a major AHRC funded project, Nation, 

Identity and Modernity: Visual Culture of India, 

Japan and Mexico, 1860s–1940. She is on the International 

Advisory Committee of the University 

of Essex Collection of Latin American Art, and the 

edi torial board of Art History; and is a Trustee 

of the St Catherine Foundation and the Ashley 

Family Foundation. 

rESEArCh StAtEMENt As a co-founder of the 

UAL research centre for Transnational Art, Identity 

and Nation (TrAIN: www.transnational.org. 

uk); my research is undertaken within the context 

of globalization, identity studies and contemporary 

art practice. My earlier doctoral research grew 

out of attempting to understand the values and 

meanings of the ancient cultures of the Americas 

and the ways in which colonization and the discourses 

of post-colonialism had impacted on the 

interpre tation of those cultures. With a focus 

on Mexico and Latin America, I have also worked 

in detail on the histories of ‘exhibiting’ the art 

of these regions and explored how traditions of 

display and catego rization have been responded 

to within the global structures of contemporary 

art expositions. Running throughout much of 

my writing has been a fascination with the ways 

in which different geogra phic contexts impact 

on definitions of creative practice and how 

such definitions are then inter preted. In recent 

years, my publications have included a comparative 

discussion of the work of Ernesto Neto 

and Gabriel Orozco, and an explo ration of the 

work of Teresa Margolles in relation to stereotypes 

of Mexican identity. In 2011, working 

with a previously unknown archive of his work, 

I curated an exhibition of Swiss pho tographer 

Fred Boissonnas that explored themes of identity 

and myth in the area of travel photo graphy. 

I am continuing to research around issues of cultural 

stereotype and ideas of authenticity, 

particularly looking at the associations of death, 

gender and danger with cultural otherness. 

SELECtED OUtPUtS AND AChiEVEMENtS 

SELECTED PUBLICATIONS 

2011 fred Boissonnas: the Sinai Expeditions 1929–33, 

Patriarcat œcuménique, Musée d’art chrétien, Chambésy, 

Genève. 

2007 ‘Teresa Margolles and the Pathology of Everyday 

Death’ in: Dardo Magazine #5, Santiago de Compostela, 

Rio de Janeiro. 

2007 ‘The Relocation of Authenticity and Transnational 

Dilemmas, Rio de Janeiro’ in: Asbury, M. & ferreira, G. 

(eds), Transnational Correspondence, Special Edition 

of Arte and Ensaios #14, Universidade federal do Rio 

de Janeiro. 

2005 ‘Reflecting on Kahlo: Mirrors, Masquerade and the 

Politics of Identification’, in: frida Kahlo, exhibition 

catalogue, Tate Modern, London. 

SELECTED CONfERENCES / PRESENTATIONS 

2010 ‘A People United – Latin America and the Visualizing of 

the Political in 1970s Britain’ in: Meeting Margins: 

Transnational Art in Latin America and Europe 1950–78 

conference, University of Essex. 

2010 Authored visual essay ‘… a fair calculation, if not a 

certain operation’ in: re:SEARCHING – Playing in the 

Archive, exhibition at the ING Bank. 

2010 ‘from Kahlo to Margolles: Visualizing the politics of 

Victimhood’ in: Ghosts of the Mexican Revolution in 

Literature and Visual Culture (Art, film, Photography), 

an international symposium to commemorate the 

centenary of the Mexican Revolution, Trinity College / 

Centre for Latin American Studies, University of 

Cambridge. 

Photograph (B.cat: 6666) Saint Catherine Library Stairway, 20.04.1929 

67 

2009 28th Bienal de São Paulo ‘The Contemporary Bienal’ 

panel for the 28BSP convened by the Transnational Art, 

Identity & Nation (TrAIN) Research Centre, University of 

the Arts London. 

2009 Co-organizer and Chair / panellist with Charles Esche, 

Exhibitions and the World at Large, Tate Britain, London. 

2005 Co-organiz 

er and speaker, The Many faces of frida, Tate Modern, 

London.


COLDWELL Paul 

PROfESSOR 

BiOgrAPhY Professor Paul Coldwell is a practising 

artist and researcher. His art practice 

includes prints, book works, sculptures and installations. 

He has exhibited widely, and his 

work is included in numerous public collections, 

including Tate, Victoria & Albert Museum 

(V&A), the British Museum and the Arts Coun cil 

of England. He was selected to represent the 

UK at the Ljubljana Print Biennial in 2005 and 

1997; for the International Print Triennial, 

Cracow in 2000, 2003, 2006 and 2009; and the 

Northern Print Biennial in 2009. His most 

recent solo exhibition was I Called While You Were 

Out at Kettle’s Yard, Cambridge, 2008/09. 

He has curated a number of exhibitions, including 

Computers & Printmaking, Birmingham Museum 

& Art Galleries; Digital Responses, V&A; and most 

recently, Morandi’s Legacy; Influences On British 

Art at the Estorick Collection, London, accompanied 

by a book published by Philip Wilson. 

His work is featured in the recent book, Prints 

Now (Saunders & Miles) and he published a 

major survey of print making, Printmaking: a Contempo 

rary Perspective (Black Dog Publishers) 

in 2010. He was appointed to the editorial board 

of the international journal Print Quarterly in 

2009, has been a member of the AHRC Peer Review 

College and was chairman of the selection jury 

for the Imprint International Graphic Art Triennial 

in Warsaw, Poland, in 2011. 

rESEArCh StAtEMENt My research is focused 

on a practice-based approach and located within 

fine art. Through printmaking, sculpture, 

installation and writing, I explore issues around 

absence and loss, with ideas crossing between 

media. A recurring question for me is how new 

technologies impact on previous processes, 

in particular within printmaking; and how digital 

technologies can inform and rejuvenate older 

technologies, such as etching and screen- 

print. This fits in to my broader commitment 

to printmaking, both as a practitioner but 

also through raising awareness of the value and 

quality of print over and beyond its role as 

are pro ducible media. I am currently developing 

a project to involve a number of print collec- 

tions throughout the UK in a coordinated series 

of exhibitions. www.paulcoldwell.org 


PEER ESTEEM 

2011 (June) Selector for BITE Mall Galleries, London. 

2011 (May) International jury: Imprint Kulisiewicz Graphics 

Arts Triennial, Warsaw, Poland. 

2011 Impact 7 Printmaking Conference – peer review panel. 

2010–11 AHRC panel member. 

2010 Impact 6 Printmaking Conference – peer review panel. 

2010 (30 Oct – 6 Nov) Guest artist: Art Institute of Chicago. 

2007–11 AHRC Peer Review College. 

SELECTED PUBLISHED WRITING 

2011 (May) ‘Christiane Baumgartner Between States’, in: 

Art in Print. www.artinprint.org 

2010–11 Regular reviews in peer review journal, Print 

Quarterly. 

2010 (Autumn) ‘In Exciting Times’, in: Printmaking Today. 

2010 Guest writer, ‘The Impact of New Technology On 

Printmaking’, in: Imprint, Australia. 

2010 Drawing Translation/Interpretation, catalogue notes, 

Hui Gallery, Hong Kong. 

SELECTED EXHIBITIONS 

2011 (28 May 2011 – 2 Jan 2012) War Correspondent: 

Reporting Under fire Since 1914, Imperial War Museum 

North. 

2011 (9 Sep – 17 Oct) 40 Artists 80 Drawings, Burton Art 

Gallery And Museum, Bideford, Devon. 

2011 Drawing Interpretation/Translation, Hui Gallery, Hong 

Kong; The Drawing Gallery, Shropshire. 

2010 (Dec) Afterlife New Acquisitions, fitzwilliam Museum. 

2010 (Sep) Lost & found, Chelsea Cookhouse Space. 

2010 (Aug – Sep) Drawing Colour, Tone & Tint RMIT. 

SELECTED EXTERNAL LECTURES / TALKS 

2011 (Sep) Keynote Speaker, Impact 7 International 

Printmaking Conference, Melbourne, Australia. 

Points of Reference I, screenprint, 62 × 76 cm, 2011 

2011 (May) Printmaking: a Contemporary Perspective, 

Pallant House. 

2011 (Apr) Keynote speaker, Wrexham Print Symposium. 

2011 (Mar) Printmaking: a Contemporary Perspective, 

Lighthouse Arts Centre / Ochre Print Studio, Guildford. 

2011 (feb) In Conversation With Christiane Baumgartner, 

Chelsea. 

2011 (feb) Chair/Panel Convenor, Series & Sequence CAA 

Conference, New York. 

2010 (Nov) Keynote speaker, Curwen Printmaking 

Symposium. 

2010 (2 Sep) Paula Rego: Printmaker, University of Bradford. 

2010 Keynote Talk, Christies Multiplied Print fair. 

69


COLLINS Jane 

PROfESSOR 

BiOgrAPhY Jane Collins is Professor of 

Theatre and Performance at Wimbledon. She is a 

writer, director and theatre-maker who works 

all over the UK and internationally. She has a long 

association with the continent of Africa; and 

for The Royal Court, with the National Theatre of 

Uganda, she co-directed Maama Nalukalala 

N_dezze Lye (‘Mother Courage and her Children’) 

by Bertolt Brecht, with a Ugandan cast in 

Kampala. This production, which was the first 

official trans l ation of a play by Brecht into 

an African language, toured internationally. Her 

AHRC-funded research into ‘performing identities’ 

resulted in a new work for the stage, The Story 

of the African Choir, which was developed in 

conjunction containing the Market Theatre Labora 

tory in Johannesburg and performed at 

the Grahamstown International Festival in 2007. 

She co-edited Theatre and Performance Design: 

a Reader in Scenography, published by Routledge in 

March 2010. This book, with over 52 texts, 

is the first of its kind in this field. In 2009, Collins 

restaged the award-winning Ten Thousand 

Several Doors for the Brighton International Festival 

and her essay on this production will be 

included in the forthcoming collection, Performing 

Site-Specific: Politics, Place, Practice, edited by 

Anna Birch and Joanne Tompkins, to be published 

by Palgrave in 2012. She was one of a group 

of artists who participated in re:SeARCHING – 

Playing in the Ar chive, an exhibition at the 

ING Bank in the city of London in May 2010, 

in response to the Baring Archive. In 2010, 

she also created the soundscape to accompany 

the Space and Light: edward Gordon Craig 

exhibition which opened at the V&A in London in 

September that year. Edward Gordon Craig is 

credited with being the founder of modern stage 

design and to coincide with the exhibition, 

Collins convened edward Gordon Craig: His Legacy, 

a multidisciplinary conference at the Sackler 

Centre. An edited version of this is now available 

on http://ualresearchonline.arts.ac.uk. Space and Light 

transferred to Galerie Jaroslava Fragnera in Prague 

in May 2011 as part of the Prague Quadrennial of 

Performance Design and Space 2011. 

rESEArCh StAtEMENt My research continues 

to focus on performance and practice-based 

research methodologies which re-engage the ‘theatrical’ 

as a means of interrogating contem porary 

society. In 2007, I wrote an article for Studies 

in Theatre and Performance which examined the 

efficacy of perfor mance as a means of investigating 

the construction of post-colonial identi ties 

through the ‘staging’ of an African ‘past’. One 

aspect of this research was an analysis of the scenographic 

framing of African performance 

for western audiences. Among the many outcomes 

of this process was the identification of a dearth 

of material with which to critically interrogate the 

visual aspects of performance and scenography 

in general. Theatre and Performance Design, a reader 

in scenography aims to fulfil this need and 

continues to be the main focus of my research as 

a practitioner and in my critical writing. 


SELECTED PERfORMANCES 

2007 The Story of the African Choir, Grahamstown 

International festival, South Africa. 

2007 Devised and directed Ten Thousand Several Doors, 

Brighton International festival. Best Production of 

the festival joint winner. 

2005–06 Wrote and directed The Voyages of Harriet 

Herring, ING Bank. 

2005–06 Wrote and directed workshop performance 

The Story of the African Choir, The Market Theatre, 

Johannesburg, South Africa. 

2005–06 Bright Angel Point, selected finalist, The Croydon 

Warehouse International Playwriting festival. 

2003–04 Completed draft Bright Angel Point. Reading at 

the Royal Shakespeare Company, ‘The Other Place’, 

Lawrence Boswell, (dir.). 

SELECTED CONfERENCE PRESENTATIONS 

2011 Guest Speaker, Prague Quadrennial Performance Design 

and Space. 

2011 Indian Society of Theatre Research, Hyderabad. 

2010 International federation of Theatre Research, Munich. 

2009 International federation of Theatre Research, Lisbon. 

2007 Guest Speaker, Rhodes University Summer School. 

2007 Royal National Theatre ‘Agendas’ seminar with 

John Carni. 

2007 National Maritime Museum / Tate Gallery, Travel 

and Narrative (paper). 

2006 Theatre and Performance Research Association TAPRA 

(paper). 

2006 International federation of Theatre Research, Helsinki 

(paper). 

SELECTED AWARDS 

2007 AHRC Practice-led and Applied Research grant. 

2005 AHRB Small grant in the Creative and Performing 

Arts. 


2010 Co-editor, Theatre and Performance Design: a Reader 

in Scenography, London: Routledge. 

2007 ‘“Umuntu, Ngumuntu, Ngabantu”: The Story of the 

African Choir’, in: Studies in Theatre and Performance, 

27.2. 


2007 ‘Stages Calling’ Ruphin Coudyzer, Thirty Years of Stage 

Photography, The Market Theatre, Johannesburg; 

Royal National Theatre (co-curated by Michael Pavelka). 

Poster for V&A Exhibition and Day of Lectures 

71

72 

CUMMINGS Neil 

PROfESSOR 

BiOgrAPhY Neil Cummings is Professor of 

Theory and Practice at Chelsea. He was born in 

Wales, and lives in London. 

www.neilcummings.com 

rESEArCh StAtEMENt I have evolved a multidis 

ciplinary art practice that often requires 

an intense period of research within the specific 

contexts in which art is produced, distributed 

and encounters its audiences. Principally, this has 

meant working directly with museums, galleries, 

archives and art schools. 

I often work collaboratively with other artists, 

curators, academics, researchers or producers to 

create artworks, exhibitions and events from 

existing collections or contexts. Each artwork or 

event finds an appropriate form, and these 

are as varied as creating exhibitions; enthusiasm 

at the Whitechapel Gallery, curating film 

programmes; Social Cinema at several temporary 

locations in cen tral London, writing and 

editing films; Museum Futures; Distributed, books; 

The Val ue of Things, and convening partici- 

patory events; Parade in the Rootstein Hopkins 

Parade Ground. 

Currently I am interested in the political economy 

of creativity, and how art is instituted. While at 

Chelsea, I contribute to the research cluster Critical 

Practice. www.criticalpracticechelsea.org 


SELECTED EXHIBITIONS AND PROJECTS 

2011 Self Portrait; Arnolfini, year-long residency and 

exhibition, Arnolfini, Bristol. 

2010 Parade (with Critical Practice), Rootstein Hopkins 

Parade Ground, Chelsea, London. 

2010 ArchivalProcess, ongoing since february 2009, 

a research project with Intermediae, in Madrid. 

2009 Lapdogs, installed at the Arnolfini, Bristol and 

Townhouse Gallery, Cairo, Egypt as part of Lapdogs 

of the Bourgeoisie. 

2008 Post Production, a special programme curated from 

The Enthusiasts Archive for Manifesta 7, Bolzano, Italy. 

2008 Museum futures: Live, Recorded, Distributed, 

project commissioned by Moderna Museet, Stockholm, 

Sweden, as part of their Jubilee celebrations. 

2006 Launch of The Enthusiasts Archive. 

www.enthusiastsarchive.net 

2006 Social Cinema consists of a series of temporary 

cinemas, each installed for one night only into London’s 

urban fabric. Commissioned by the London Archi- 

tecture Biennale, and in collaboration with architects, 

51% studios. 

2005–06 Screen Test 1/4, exhibited as part of The British Art 

Show Six, touring exhibition. 

2005–06 Enthusiasm, at the Whitechapel Art Gallery, 

London and touring to Kunst Werke, Berlin and the Tapies 

foundation, Barcelona. 

SELECTED TEXTS 

2010 ‘financialization’, in: Colin, A. & Einarsson, K. (eds), 

A Prior, Belgium: Ghent. 

2009 ‘Circulation’, in: Sander, K. (ed.), Circulation, Dublin: 

Printed Projects. 

2008 Selection of texts, The History Book: On Moderna 

Museet 1958–2008, Germany: Moderna Museet and 

Steidl Verlag. 

2007 ‘from Capital to Enthusiasm’, in: Macdonald, S. & 

Basu, P. (eds), Exhibition Experiments, Oxford: Blackwell 

Publishing. 

2006 ‘A shadow of Marx’, in: Jones, A. (ed.), A Companion to 

Art Since 1945, Oxford: Blackwell Publishing. 

PLACES ON COMMITTEES AND SELECTION PANELS 

2009–ongoing Peer review college member, AHRC. 

2007–ongoing Trustee, Nottingham Contemporary. 

2006–ongoing Member of Editorial Board, Documents in 

Contemporary Art, Whitechapel and MIT Press. 

CUMMINGS Neil 

Neil Cummings, Self Portrait; Arnolfini 2011; year-long residency and installation at the Arnolfini, Bristol 

73

74 

ELWES Catherine 

PROfESSOR 

BiOgrAPhY Catherine Elwes studied at the 

Slade School of Art and the Royal College of Art. 

She co-curated two landmark feminist exhibitions, 

Women’s Images of Men and About Time, 

(ICA, London, 1980). From the 1980s, she specialized 

in video and installation exploring gender 

and identity. She has participated in many 

international festivals, including the British Art 

Show in Australia; Video Brazil in São Paulo, 

Bra zil; and Recent British Video in New York, USA. 

Her tapes have been shown on Channel 4 

as well as on Spanish, Canadian and French television 

networks. Her work is archived at 

Luxonline and Rewind. 

Elwes is the author of Video Loupe (KT Press, 2000) 

and Video Art – A Guided Tour (I.B. Tauris, 2005), 

and she has written for publications such as Filmwaves, 

Vertigo, Third Text, Contempo rary Magazine, 

and Art Monthly. She has written monographs 

on individual artists, and numerous book chapters 

and catalogue essays. She is currently writing 

Instal lation and the Moving Image and Landscape and 

the Moving Image for Wallflower Press. 

From 1998 until 2003, she was Director of the 

UK/Canadian Video Exchange, a biennial festival 

that featured video from across Canada and 

the UK; and in 2006, she co-curated Analogue, an 

international exhibition of early video art 

from the UK, Canada and Poland. Her most recent 

curatorial projects have been Figuring Landscapes, 

a collection of 55 works on the theme of 

landscape from the UK and Australia, which 

toured to 11 venues in both countries between 

2008–10; and Sea Fever, Finis Terrae Festival, 

Ouessant, Brittany, France. 

rESEArCh StAtEMENt In collaboration with 

Intellect Books, she is founding the international 

journal Moving Image Review and Art Journal 

(MIRAJ). With associate editors in Australia, New 

Zealand and Canada, the journal will map and 

debate moving image art practices from across the 

world. The first issue of MIRAJ is due for 

publication in 2011/12. 

The journal is supported by the AHRC Artists’ 

Moving Image Research Network, of which Elwes 

is Principal Investigator. The Network brings 

together a distinguished international group of 

historians, theorists, critics, curators and 

practitioners to consider issues of contemporary 

relevance to the theory and practice of artists’ 

film and video. www.movingimagenetwork.co.uk 

SELECtED rECENt rELEVANt OUtPUtS 


2011 ‘The Domestic Spaces of Video Installation – Television, 

the Gallery and Online’, in: Expanded Cinema: film Art 

Performance, Tate Publishing. 

2008 Elwes, C., Ball, S. & Chua, E. J. (eds), figuring 

Landscapes, Catherine Elwes/UAL/ACESE. 

2006 Elwes, C. & Meigh-Andrews, C. (eds), Analogue; 

Pioneering Video from the UK, Canada & Poland: British 

Council/ACE. 

2006 ‘Tamara Krikorian, Defending the frontier’ and ‘War 

Stories’, in: Hatfield, J. (ed.), film & Video Anthology, 

London: John Libbey Publishing. 


2011 Kensington Gore, in: ‘Video Zone’, Centre for 

Contemporary Art, Tel Aviv. 

2010 Kensington Gore and The Gunfighters, in: ‘Rewind & 

Play’, Lightbox, Tate Britain; Camden Arts Centre; Raven 

Row, London. 

2010 Travelling Shots: Haiti, in: ‘One Minute Volume 4’, 

touring to the BBC Big Screen, Manchester and 

Liverpool; Contemporary Media & Art festival, Meinblau, 

Berlin; etc. 

2008–10 Pam’s War, in: ‘figuring Landscapes’, Tate Modern 

and touring UK and Australia. 

2008 Re-Reading Pam, in: ‘One Minute Volume 2’, touring to 

Contemporary Art fair, Essen, Germany; Proxy NoD, 

Prague, Czech Republic; The Marseille Project Gallery, 

france. 

ELWES Catherine 

2004 Out of Conflict, Catherine Elwes and Cornford & Cross, 

ArtSway Centre, New forest; Lethaby Gallery, London; 

and Hat factory, Luton. 

2003 A Century of Artists’ film, Tate Britain, London. 

SELECTED ESSAYS AND ARTICLES 

2011 ‘Peter Campus; Opticks’ in: MIRAJ vol.1. 

2009 ‘Catherine Elwes: Questions and Answers’ in: Guarda, 

D. (ed.), Video Art and Art and Essay films in Portugal. 

2008 ‘Kate Adams: feeling and Knowing’ in: Vertigo 

Magazine, vol.4. 

2005 ‘A Meeting of Minds’ in: Talking Back to Science, Art, 

Science and the Personal, Wellcome foundation, UK. 

2005 ‘A Polemical History of Video, In Brief’ in: 

Contemporary Magazine. 

2005 ‘The Blood Red Heart of Johanna Darke’ in: Gunilla 

Josephson, exhibition catalogue, Centre Culturel 

Canadien, Paris. 

2004 ‘On Performance and Performativity’ in: Third Text, 

vol.18. 

Catherine Elwes, 

Passing Shots 

Haiti, singlescreen 

video, 2010 

75

76 

fARTHING Stephen 

PROfESSOR 

BiOgrAPhY Professor Stephen Farthing is 

the Rootstein Hopkins Chair of Drawing at the 

University of the Arts London. He studied at 

St Martins School of Art, then the Royal College 

of Art. From 1990–2000 he was the Ruskin Master 

of Drawing at the University of Oxford; from 

2000–04 he was director of the New York Academy 

of Art. He is currently writing Living Color 

for Yale University Press with David Kastan and 

editing The Sketchbooks of Jocelyn Herbert for Royal 

Academy Publications. Farthing is involved 

with a number of projects with overseas institu- 

tions, which include: RMIT and Monash Universities 

in Melbourne, The University of 

Auckland and the National Art School, Sydney. 

rESEArCh StAtEMENt All Farthing’s research 

is geared towards establishing firstly a definition 

or taxonomy of drawing, then a more complete 

understanding of drawing as an aspect of general 

literacy, and finally effective ways of teaching 

drawing today. 

In the first instance, most of Farthing’s research is 

collections – and archive – based. For the most 

part, this involves visiting collections then trying 

to make sense of what he sees; this is done 

by a mix of drawing and writing. Currently, he is 

focusing on two primary areas; modern American 

drawing and the drawings made after first 

contact by prelit erate societies. At a more physical 

level, he has been working with Aston Villa FC 

exploring links between sports skills and drawing 

skill acqui sition. In two projects developed 

with the British Museum and Tate Gallery, London, 

Farthing is using historical drawing collections 

as a means of assessing the value of redrawing fine 

examples as a part of the process of improving 

participants’ drawing skills. 

All projects are based on a process of working 

with professional artists, students and schoolchildren 

in qualitative assessment studies. 

Finally, there is no strong separation between 

Farthing’s activities as a painter and his research 

as a Professor of Drawing; one feeds the other, 

archival work on drawing informs his painting 

just as practical research projects in drawing 

serve to inform his painting. 


SELECTED SOLO EXHIBITIONS 

2011 Laboratory II, The Back Story, The Royal Academy, 

London. 

2010 The fourth Wall, Royal West of England Academy, 

Bristol. 

2010 The Drawn History of Painting, The Drawing Gallery, 

Wales. 

SELECTED GROUP EXHIBITIONS 

2011 Drawing: Interpretation/Translation, Chinese University, 

Hong Kong. 

2011 British Art – Royal Academicians, Seongnam Art 

Centre, Korea. 

2010 Royal Academy Summer Exhibition, Royal Academy of 

Art, London. 

SELECTED PUBLISHED BOOKS 

2010 Editor, ART: the Whole Story, Thames & Hudson. 

2008 Editor, 501 Great Artists, UK: Barron’s Educational 

Series; New Zealand: Penguin. 

2007 Editor, 1001 Paintings You Must See Before You Die, 

UK: Cassel; Australia: ABC Books; USA: Rizzoli. 

SELECTED CONfERENCE PRESENTATIONS 

2011 Keynote Speaker, V&A Sackler Conference, on Artists 

in Residence. 

2011 Museum Art Schools: a paper delivered at the 

Association of Art Historians’ Annual Conference, 

University of Warwick. 

2010 Keynote speaker, Drawing Out, 2010, RMIT, Melbourne, 

Australia. 

2008 ‘Performing Marks’, at Radcliffe Institute for Advanced 

Research, University of Harvard, Cambridge MA. 

fARTHING Stephen 

Stephen farthing, The Knowledge: Mapping Cities, pen and ink on paper, 80 × 100 cm, 2010 

77

GARCIA David 


PROfESSOR 

BiOgrAPhY Professor David Garcia is Dean – 

Graduate School and Enterprise Development 

at CCW and was previously Professor of Design 

for Digital Cultures, a research programme based 

at Hogeschool voor de Kunsten, Utrecht and 

the University of Portsmouth. 

In 1983, he co-founded Time Based Arts, which 

went on to become one of the premier venues for 

international media arts in the Netherlands. 

From this basis, he went on to develop a series of 

high profile international media arts events – 

the most significant being The Next 5 Minutes 

(1994–2003) a series of international conferences 

and exhibitions on electronic communications 

and political culture. Recently (since 2006, as part 

of the Digital Cultures programme) he initi- 

ated (Un)common Ground, a research programme 

consisting of structured expert meetings and 

publications, investigating the new role of art and 

design as a catalyst for collaboration across 

sectors and disciplines. In 2007, he edited and contributed 

to the book (Un)common Ground, 

Creative encounters Across Sectors and Disciplines, 

which was launched in spring 2007 at the 

Enter Festival, Cambridge. 

In 2010 at Chelsea, with Eric Kluitenburg of 

De Balie in Amsterdam, he launched the Tactical 

Media Files, an online web-based archive of 

Tactical Media content. This archive forms the 

basis of the first centralized information 

resource for Tactical Media art scholarship and 

action. It will form the basis of a two-year 

public research programme into the Tactical 

Media legacies and futures. 

In 2011, we have greatly increased the range 

of sources and content of the Tactical Media Files 

Repository in all areas, including the moving 

image. We have also upgraded the site infrastructure 

and have included a search function and 

the blog being linked from the site. The blog and 

the RSS feeds and share tools should all help 

create greater visibility of the resource over time. 

The blog has been launched with a new essay 

co-written for the blog, which reframes tactical 

media for today. As well as its home on the 

blog, we are already disseminating and publishing 

the text beyond the site. Additionally, the 

Tactical Media Files video blog can be found at 

TMF featuring a number of high profile 

contributions: www.tacticalmediafiles.net/video.jsp? 

objectnumber=52467 (also the interview with 

Camille Otrakji: www.tacticalmediafiles.net/article. 

jsp?objectnumber=52440). 

rESEArCh StAtEMENt The focus of my 

work is what I call tactical media – the impact of 

the rise of small-scale DIY media, tools and 

net works in art, social and political activism, and 

the rise of new social movements. The research 

involves making personal installations, videotapes 

and TV programmes, and curating exhibitions 

along with an extensive output of published theoretical 

writing on critical media and internet 

culture. In June 2010, we launched a centralized 

web archive of Tactical Media content. This 

will form the basic reference point for a two-year 

programme of public research in the form of 

events, exhibitions and conferences. 

David Garcia, The Tactical Media files; a web-based archive and blog. 

A living archive for the worldwide tactical media movement. 



2010 CAT 2010: Ideas Before Their Time, CAT symposium 

procceedings. 

2009 ‘Proud to be flesh’, essay selected for Mute Anthology. 

2008 ‘(Un)realtime Media’, in: Lovink, G. & Niederer, S. 

(eds), Video Vortex Reader: Responses to YouTube, 

Amsterdam: Institute of Network Cultures. 

2008 ‘Alternative TV Platforms and Breakout Section on 

Tactical Media’, in: Alternative Media Handbook, 

Routledge. 

SELECTED CURATORIAL PROJECTS 

2010 ElectroSmog, established Chelsea College as a node in 

an experimental communications experiment. 

SELECTED SCREENINGS 

2010 Screening and performance (with Kevin Atherton), 

Glasgow International Art festival. 

2009 Screenings and cable TV transmission, Nederlands 

Instituut voor Media Kunst. 


2007 Arts Council UK + Virtuel Platform: funding for 

(Un)common Ground. 

SELECTED PAPERS AND PRESENTATIONS 

2010 Keynote Paper, Duncan of Jordonstone College of Art 

Annual Research Symposium. 

2010 ‘CAT 2010: Ideas before their time’, paper delivered 

at CAT symposium. 

2009 Keynote Art and Science conference, Leuven. 

2009 Keynote Speaker, LCASE Conference for English Arts 

Council Officers. 

79

HOGAN Eileen 


PROfESSOR 

BiOgrAPhY Eileen Hogan is a practising 

artist and researcher who has exhibited extensively 

in the UK and America. Her practice 

includes painting, book works and printmaking. 

Since 1980, she has been represented by and 

had regular solo shows at The Fine Art Society, 

London. Other recent exhibitions include, 

with Romilly Saumarez Smith, at the Yale Center 

for British Art, which she co-curated with 

Elisabeth Fairman (Senior Curator at YCBA); the 

Victoria and Albert Museum, 2010; BP Portrait 

Awards at the National Portrait Gallery, 2009, and 

eileen Hogan’s Poetry Box, San Francisco Center 

for the Book, 2008 (research for The Poetry Box was 

funded by the Arts and Humanities Research 

Coun cil and Muji. The archive of images and letters 

was purchased by the YCBA). Commis- 

sions and awards include recording the Women’s 

Royal Naval Services for the Artistic Records 

Committee of the Imperial War Museum; and a 

Churchill Traveling Fellowship for research 

in America, Australia and Japan. Public collections 

in which her work is represented include 

the British Library; Government Art Collection; 

Stadsbibliotheek Haarlem; Houghton Library, 

Harvard; Imperial War Museum, London; Library 

of Congress, Washington, DC; National Library 

of Australia; Victoria and Albert Museum; and Yale 

Center for British Art. 

rESEArCh StAtEMENt My research is located 

across fine art and theatre. An important 

strand concerns the various ways that artists, 

practitioners and students engage with 

and ‘play’ in archives, the concomitant impact 

that collections and archives can have on 

practice and what the educational benefits of 

‘archive’-based study in the visual arts 

might be. Examples include The Jocelyn Herbert 

Archive. Herbert (1917–2003) was one of 

the most influential designers of the period 

and her approach altered the way that directors 

and audiences came to view stage design, 

and contributed to a fundamental shift in the 

relationship between playwright, director 

and designer. Her extensive archive, which consists 

of drawings, production photographs, 

notebooks, sketchbooks, diaries, models, masks 

and correspondence, is housed at Wimbledon 

College of Art. Its positioning within CCW’s Graduate 

School represents a unique opportunity 

to explore the potential integration of a worldclass 

archive into the life of a practice-based 

university. A collaboration with the National 

Theatre was initiated in 2010 with a lecture 

by Richard Eyre in the Olivier Theatre, the first 

of ten. The 2011 lecture will be part of the 

Linbury Awards and will contribute to the debate 

about the role of the scenogra pher and how 

authorship is revealed in their relation ship with 

directors and writers. 

The Baring Archive is one of the finest archives 

of a financial institution anywhere in the 

world. Most recent research in this seven-year 

collaboration focuses on new work being 

created in response to the collection by research 

staff from CCW’s Graduate School. This has 

raised questions about uncovering hidden narratives 

in archives, the construction of archives 

and the fluctuating notion of ‘value’ relating to 

banking and to the arts themselves. Conversations 

between artists, financiers and collectors 

are underway as part of the continuing 

project, which is seen as a catalyst provoking 

debate across the arts, curatorial practice, 

finance and banking. Each of these projects is 

supported by a PhD student. 



2010 Yale Center for British Art USA (with Romilly 

Saumarez Smith). 

2010 Romilly Saumarez Smith: Bookbindings for Eileen 

Hogan, Victoria and Albert Museum. 

2009 Artist-In-Residence: Wimbledon Championships, 

All England Lawn Tennis Club. 

2009 BP Portrait Award, National Portrait Gallery; 

Southampton City Art Gallery; the Dean Gallery, 

Edinburgh (3 portraits of Anya Sainsbury included). 

2008 The fine Art Society London. 

2007 Eileen Hogan’s Poetry Box, San francisco Center for 

the Book USA. 

2007 BP Portrait Award, National Portrait Gallery; 

Laing Gallery; National Portrait Gallery of Scotland 

(3 portraits of Ian Hamilton finlay included). 

SELECTED PUBLICATION 

2011 3 portraits of Ian Hamilton finlay in 500 Portraits: 

BP Portrait Award, published by the National Portrait 

Gallery. 

Drawing by Jocelyn Herbert for If … (directed by Lindsay Anderson): pen, ink and 

watercolour, 1968. © The Estate of Jocelyn Herbert 

Herbert and Lindsay Anderson had a long working relationship, producing seminal works 

in British film and theatre, including If … in 1968. CCW Graduate School is building 

a relationship with the University of Stirling, which holds Anderson’s Archive, a chance to 

compare two extensive collections of private papers and drawings. 


2011 Editor and participant, The Currency of Art. 

2010 Co-curator, Yale Center for British Art. 

2009 Curator and participant, Re:SEARCHING: Playing in 

the Archive, The Baring Archive, ING Bank London. 

81 

SELECTED PRESENTATIONS AND CONfERENCE 

CONTRIBUTIONS 

2011 Conference presentation, Geographies of Collections: 

Archival Insights, Royal Geographical Society. 

2010 Chair, The Value of the Open Drawing Exhibition, to 

mark 10th anniversary of the Jerwood Charitable 

foundation’s involvement with the Jerwood Drawing 

Prize, Jerwood Space. 

2010 The Contemporary Thomas Lawrence, National Portrait 

Gallery (part of the Inside Out festival sponsored by 

New Statesman). 

2008 Coordination of two research conferences with Tate 

Britain and speaker, The Art of Giving: the Artist 

in Public and Private funding and Creative Scholars.

PICKWOAD Nicholas 


PROfESSOR 

BiOgrAPhY Nicholas Pickwoad is a Professor 

at CCW. He has a doctorate in English Literature 

from Oxford University. He trained with Roger 

Powell, and ran his own workshop from 1977 to 

1989. He has been Adviser on book conserva- 

tion to the National Trust of Great Britain from 

1978, and was Editor of the Paper Conservator. 

He taught book conservation at Columbia University 

Library School in New York from 1989 

to 1992 and was Chief Conservator in the Harvard 

University Library from 1992 to 1995. He is 

now project leader of the St Catherine’s Monastery 

Library Project based at the University of 

the Arts London and is Director of the Ligatus 

research cen tre, which is dedicated to the 

history of bookbinding. He gave the 2008 Panizzi 

Lectures at the British Library, was awarded 

the 2009 Plowden medal for Conservation and is 

a Fellow of the IIC and of the Society of 

Antiquaries. He is a member of the Archbishop 

of Canterbury’s Advisory Panel for Libraries 

and Archives and also of the Derry and Raphoe 

Diocesan Library Conservation Project. 

He also teaches courses in the UK, Europe and 

America on the history of European book- 

binding in the era of the handprinting press, and 

has published widely on the subject. 

rESEArCh StAtEMENt My major current 

research centres on the construction of a multilingual 

glossary of bookbinding terms, to 

be illustrated with photographs, drawings and 

diagrams. My colleague Athanasios Velios 

and I have used an XML database to hold the terms 

and their definitions, in which the hierarchies 

are based on the structure of a book, allowing the 

user to navigate the structure to find terms 

which are not known to them. The glossary will 

also serve as the basis for a descriptive process 

which will allow consistent records of historic 

bindings to be compiled by different researchers 

in different languages, which can then contrib- 

ute to an international database to provide source 

material for further analytical research into 

the development of bookbinding. The translation 

of the glossary into as many as 15 European 

languages is the subject of a multi-annual EU bid 

to be submitted later this year. 

I am also continuing in my research into the 

history of bookbinding, with particular reference 

to structure and materials and how a more 

complete understanding of bookbinding can 

contribute to a better understanding of the 

culture of the book. 

Ligatus recently collaborated with the Centre for 

the Study of the Book at the Bodleian Library and 

CERL (the Consortium of European Research 

Libraries) to put on the conference ‘The Place of 

Bindings’ to investigate and discuss current 

resources for the history of bookbinding and its 

incorporation into the wider bibliographical 

field. The conclusions of the seminar discussions 

were presented at the CERL/LIBER (Ligue 

des Bibliothèques Européennes de Recherche, the 

main research libraries network in Europe) 

Conference in Barcelona in June 2011. 



2011 ‘Library or Museum? The future of Rare Book 

Collections and Its Consequences for Conservation and 

Access’, in: New Approaches to Book and Paper 

Conservation, Austria: Horn. 

2010 Andrew Honey and Nicholas Pickwoad, ‘Learning from 

the Past: Using Original Techniques to Conserve a 

Twelfth-century Illuminated Manuscript and Its 

Sixteenth-century Greek-style Binding at the Monastery 

of St Catherine, Sinai’ in: Rozeik, C., Roy, A. & Saunders 

D. (eds), Conservation and the Eastern Mediterranean: 

Contributions to the Istanbul Congress 20–24 September 

2010, London: International Institute for Conservation of 

Historic and Artistic Works. 

2009 Chapter on Bookbinding in: Michael, f., Suarez, S.J. & 

Turner, M. L. (eds), The Cambridge History of the Book in 

Britain, vol.5, 1695–1830. 

2008 ‘How Greek is Greek: Western European Imitations of 

Greek-style Bindings’, in: Tsironis, N. (ed.), 

Vivlioamphiastis 3, Athens: Hellenic Society for 

Bookbinding & the Instititute for Byzantine Research. 

2005 ‘Research Projects on Historic Bookbindings’, 

in Atti della Conferanza Internazionale: Scelte e 

Strategie per la Conservazione della Memoria, Dobbiaco, 

Bolzano: Archivio di Stato. 

2004 ‘Recording Medieval Bindings – The Role of the 

Conservation Survey, with Reference to Work Currently 

Underway in the Library of the Monastery of St 

Catherine on Mount Sinai’, in: Colloque Reliure, Paris: 

CNRS. 

The Book of Common Prayer, and 

Administration of the Sacraments, 

Oxford: printed by the University 

Printers, 1709. An English binding 

covered in black shagreen (sharkskin) 

with silver furniture 

2004 ‘The History of the false Raised Band’, in: Myers, 

Harris & Mandelbrote (eds), Against the Law, London: 

British Library and Oak Knoll Books. 

2004 ‘The Condition Survey of the Manuscripts in the 

Monastery of St Catherine on Mount Sinai’, in: Paper 

Conservator, vol.28. 


2005 Principal Investigator, an English/Greek terminology 

for the structures and materials of Byzantine and Greek 

bookbinding, AHRC Research Standard Grant. 

SELECTED KEY PROfESSIONAL POSITIONS 

2009 Council Member, the Bibliographical Society of Great 

Britain. 

1978 Advisor, the National Trust on Book Conservation. 

1977 Member, the IIC (fellow since 1988). 

83


POLITOWICZ Kay 

PROfESSOR 

BiOgrAPhY Kay Politowicz is Professor of 

Tex tile Design, co-founder and Project Director for 

the Textiles Environment Design (TED) research 

group, which has developed strategies for 

designers to address the environmental, social 

and economic impact of the life cycle of textile 

products. She has been instrumental in establishing 

the post of Research Fellow and the TED 

Resource at Chelsea. TED research has contributed 

significantly to the successful designation 

of the Textile Futures Research Centre (TFRC) 

at UAL. She is an active member of the UK Association 

of Fashion and Textiles Courses (FTC). 

Previously, as Course Director for BA (Hons) 

Textile Design at Chelsea, Politowicz developed a 

course known for a high level of achievement 

in specialist material processes and for an environmental 

focus to curriculum developments 

within the subject. In her current role, she devises 

strategies to connect the taught curriculum 

at BA and MA level, and to develop opportunities 

for partcipation in practice-based research 

projects. Politowicz’s practice has evolved into colla 

borative projects with design partners to 

test theories of sustainable design for innovation 

in the production, use and disposal of textiles. 

CUrrENt rESEArCh In leading the TED research 

platform, I have encouraged staff, students and 

graduate designers to collaborate in the development 

of projects and events, which explore the 

potential for fabrics to change or define an environment. 

I explore materials and processes, 

from principles inherent in life cycle analysis of 

a product for interior and fashion contexts. 

I locate, develop and promote practical opportunities 

in which students and graduates can 

work together in research teams to investigate 

theories of sustainable design. 

I am currently co-curating the ‘Sustainability/ 

Responsible Living’ section of the corporate summit 

exhibition for US company Odyssey Vanity 

Fair Corporation, to demonstrate interconnected 

design for the development of sustainable 

approaches in their worldwide textile and fashion 

brands. In May 2011, the TED platform in 

TFRC made a successful project proposal as part 

of a research consortium, ‘MISTRA Future 

Fashion’ (2011–15/19), funded by the Swedish government 

through Mistra, The Foundation 

for Strategic Environmental Research. As a consequence, 

I have been invited to become Visiting 

Professor at Konstfack University College of Art, 

Craft and Design, Stockholm, Sweden, for 

the duration of the project. www.tedresearch.net 


SELECTED CONfERENCE CONTRIBUTIONS 

2011/12 Co-curator, Vf Corp Summit event, USA – prepared 

workshops, lectures and exhibition based on TED’s ‘TEN’ 

strategies for sustainability. 

2011 Juried conference presentation, ‘We Cannot Afford 

Cheap Things: Teaching, Research and Enterprise’. 

Conference: ‘Towards Sustainability in the fashion & 

Textile Industry’, KEA (Copenhagen School of Design and 

Technology) & CRD (Center for Responsible Design) & 

Dansk, Copenhagen, Denmark. 

2011 Paper for foresight publication, ‘Shared Strategies: 

Mapping the Territory.’ fashion Textiles Association 

Conference, foresight Centre, Liverpool. 

2010 Proposed and organized a project for BA and MA 

students in conjunction with Burberry Plc. investigating 

slow design and craft techniques in sustainable production 

as a practical outcome of the application of TED 

research strategies. 

2010–12 External Examiner, MA Textile Design, Royal 

College of Art. 

2010 Conference presentation / keynote speaker, Prato 

Textile Museum, Italy. Conference: ‘Making The future 

Materialize – from Training to Industry’. Eurotex ID 

final Conference, heritage@work, Museo del Tessuto, 

Prato, Italy. 

2010 Contributor, ‘Electrosmog International festival for 

Sustainable Mobility’, international online conference, 

chaired from Amsterdam by John Thackera. Kay Politowicz, Durability Day, pigment-printed recycled garment, 2010 

85

86 

SCRIVENER Stephen 

PROfESSOR 

BiOgrAPhY Professor Stephen Scrivener studied 

Fine Art at undergraduate and master levels, 

the latter at the Slade School of Fine Art, University 

College London, where he began to use the 

computer as a means of art production. Subsequent 

to the Slade, Scrivener completed his PhD 

in a computer science department and, thereafter, 

worked as a lecturer and researcher in various 

university computer science departments. Up to 

1992, his research focused on the design and 

development of interactive systems for artists and 

designers and on how such systems are used. 

During this period he undertook many funded 

design-focused research projects (sup ported by 

grants in excess of £2 million) almost all of which 

involved academic, commer cial and industrial 

collaboration. Scrivener moved back into an 

art and design department in 1992, and since then 

his research has focused on the theory and 

practice of what is often called practice-based 

research. During his research career, he has 

completed funded research projects; produced 

over 175 research outcomes; supervised more 

than 30 research degree students to completion 

and examined over 40. Scrivener has partici- 

pated in the research context in a range of functions; 

he is the founding editor of the Inter- 

national Journal of Co-Design, published by Taylor 

and Francis, and is an elected fellow of the 

Design Research Society. 

CUrrENt rESEArCh My primary research is 

concerned with the theory and practice of 

practice-based research, which has been reported 

in a series of journal papers and book chapters. 

My thinking on this topic progresses from 

the proposition that the activities of art, design, 

etc., already contain the activity of research, 

understood as that function that expands each 

field’s potential and relevance. I have now begun 

to produce artworks as a means of complementing 

what has been a theoretical inquiry. 



2010 ‘Transformational Practice: On the Place of Material 

Novelty in Artistic Change,’ in: The Routledge Companion 

to Research in the Arts, Abingdon, Oxford: Routledge. 

2010 ‘Triangulating Artworlds: Gallery, New Media and 

Academy,’ in: Art Practice in a Digital Culture, Aldershot, 

Hants: Ashgate Publishing Ltd. 

2010 ‘The Roles of Art and Design Process and Object in 

Research’, in: Reflections and Connections: on the 

Relationship Between Creative Production and Academic 

Research, Helsinki: University of Art and Design, Helsinki 

[e-book]. 

2009 ‘Connections: a Personal History of Computer Art 

Making from 1971 to 1981’, in: White Heat Cold Logic: 

British Computer Art 1960–80, Massachusetts, USA; 

London: MIT Press. 

2007 ‘Visual Art Practice Reconsidered: Transformational 

Practice and the Academy’, in: The Art of Research, 

Helsinki: Helsinki University of Art and Design. 


2011 Csepel Works, Labor Gallery, Budapest, Hungary. 

SELECTED KEY POSITIONS 

2011 International Expert, Research Assessment Exercise, 

Romania. 

2010 Invited to review practice-based research grant 

proposals for the Austrian Research Council. 

2009 Invited to review practice-based research grant 

proposals for the Danish Research Council. 

2009 Panel B Chair, AHRC. 

2009 Member, the Research Committee, Kunsthogskolen: 

Bergen National Academy of the Arts. 

SELECTED ACQUISTIONS 

2011 Eighteen computer-generated drawings, V&A, London. 

SCRIVENER Stephen 

Stephen Scrivener, Csepel Works, mixed media installation, 2011 

87

88 

WAINWRIGHT Chris 

PROfESSOR 

BiOgrAPhY Professor Chris Wainwright is 

the Head of Camberwell, Chelsea and Wimbledon 

Colleges. He is also Past President of The European 

League of Institutes of the Arts (ELIA), an organisation 

representing over 350 European Higher 

Arts Institutions. He is currently a member of The 

Tate Britain Council and a Trustee of Cape 

Farewell, an artist run organisation that promotes 

a cultural response to climate change. 

Chris Wainwright is also an active professional 

artist and curator working in photography 

and video whose recent exhibitions include Rise, 

a video installation for the Heijo-kyo temple 

as part of the 1300 year celebrations of the city of 

Nara, Japan and What Has To Be Done, a photo/ 

performance event for Aldeburgh Arts 2011. His 

work is currently being shown as part of the 

UK touring exhibition Fleeting Arcadias – Thirty 

Years of British Landscape Photography from 

the Arts Council Collection. He is currently 

cocurating Unfold, a Cape Farewell international 

touring exhibition of work by artists addressing 

climate change. Unfold has been shown in 

Vienna, London, Newcastle, Chicago and New 

York and is planned to continue its world 

tour to Beijing and Seoul. 

His time based work Capital has been shown at 

File 2002 and Channel 14 at File 2005 in São 

Paulo, Brazil and video projections at the Champ 

Libre Festival of Electronic Arts, Montreal, 

Canada, 2004 and 2005. Channel 14 was also 

selected for the Media and Architecture Biennial, 

Graz, Austria, 2005. 

Chris Wainwright’s photographic work is held in 

many major collections including the Victoria 

& Albert Museum, London; The Arts Council of 

England; Bibliotheque Nationale, Paris; the 

Polaroid Corporation, Boston, USA, and Unilever, 

London. 

rESEArCh StAtEMENt I work primarily 

through photography and video as a means of addressing 

issues related to the effects of light, 

both natural and artificial, in urban and remote 

environments. The work is informed by a 

direct response to place and is often the result of 

an intervention, a temporary action or construction 

made for the camera as a unique form of 

witness for recording light. I am interested 

in the cause and effect relationship between urban 

and unpopulated spaces and the way light 

is deployed as a form of illumination, communication, 

invasion and pollution. Overall I have 

a concern for representing the issues and effects 

of environmental change though my direct 

presence, actions and journeys, always undertaken 

in darkness, and the way this can be part of 

a strategy of image making that does not rely on 

journalistic or didactic approaches but has its 

roots more in the pictorial traditions of painting. 



2011 What Has To Be Done, photo/performance, Aldeburgh 

Arts 2011, Aldeburgh, UK 

2010 Rise, site specific video installation for 1300 year 

anniversary of Nara Heijo-kyo Capital Nara, Japan 

2009 Cape farewell Exhibition: Art and Climate Change, 

as part of the Salisbury festival (group exhibition) 

2008 The Moons of Higashiyama, Kodai-ji temple, Kyoto, 

Japan (group exhibition, with catalogue) 

2007 Between Land and Sea, Box 38, Ostende, Belgium 

2007 T/raum(a)68, Hallen van de het Belfort, Brugge, 

Belgium (group exhibition, with catalogue) 

2005 Channel 14, video screening, Biennale of Media and 

Architecture, Graz, Austria (catalogue) 

2005 Channel 14, video external site projection, National 

Library, Montréal, Canada (catalogue) 

2005 Channel 14, video screening, file 2005, Media Arts 

festival, Sao Paulo, Brazil 

WAINWRIGHT Chris 

Chris Wainwright, What Has To Be Done, photo/performance, Aldeburgh, 2011 

2004 Strange Things, the Aine Art Museum, 

Tornio, Lapland, finland (group exhibition 

with catalogue) 

2004 Wainwright + Bickerstaff, The Drawing Room, 

London (catalogue) 

2004 Channel 14, 6th Manifestation Internationale 

Vidéo et Art Électronique, Montréal, Canada 


2010 Unfold, Cape farewell exhibition on climate change, 

Co-curator, exhibition to touring UK, Europe and 

worldwide 


2011 In Light, monograph publication, published by Castrum 

Peregrini, Amsterdam 

2010 Unfold, co-editor with David Buckland, Cape farewell 

2009 Universities for Modern Renaissance, co-editor with 

Professor James Powell OBE, University of Salford 

2008 Strategy Paper on Research in Art and Design, 

European League of Institutes of the Arts 

89 

SELECTED KEY POSITIONS AND MEMBERSHIPS 

2009–11 Jury Member for Global Design Cities Organization, 

Seoul, South Korea 

2009–11 Board Member, Cape farewell 

2009 Chair of Jury, European Commission photography 

competition for The Year of Culture and Creativity 

2008–10 President, The European League of Institutes 

of the Arts (ELIA) 

2008–10 Member, Tate Britain Council 

2008–09 Member of the Sensuous Knowledge Editorial 

Board for research publications, National Academy of 

Art, Bergen, Norway

90 

WATANABE Toshio 

PROfESSOR 

BiOgrAPhY Professor Toshio Watanabe is 

Director of the Transnational Art, Identity and 

Nation (TrAIN) research centre. He studied at 

the Universities of Sophia, Tokyo, Courtauld Institute 

of Art, London and in Basel, where he 

completed his PhD. He has taught at the City of 

Birmingham Pol ytechnic, where he ran the 

MA in History of Art and Design course. He has 

been at Chelsea since 1986, initially as the 

Head of Art History and later as Head of Research. 

Professor Watanabe is an art historian, studying 

mostly the period 1850–1950, who is interested 

in exploring how art of different places and cultures 

intermingle and affect each other. Current 

external roles include acting as Vice President 

of CIHA (Comité International d’Histoire de l’Art) 

and as Chair of International Jury of Künstlerhaus 

Schloss Balmoral, Bad Ems, Germany. 

rESEArCh StAtEMENt The main focus of my 

research is transnational interactions of art 

with an emphasis on the issue of modernity and 

identity. I am particularly interested in exploring 

this, not just in bilateral, but in multilateral 

relationships, such as those between Japan, China, 

Taiwan, India, Britain or the USA within the 

time span between 1850 and 1950. My interest in 

transnational relationships covers all media, 

but particularly architecture, garden design, watercolour 

painting, photography and popular 

graphics. Particular emphasis is put on the consumption 

of these art forms locally and globally. 

Projects being undertaken include the following 

themes: the theory of modern landscape and 

imperial architecture in Japan, 1880s–1940s; the 

history and reception of the modern Japanese 

garden; the construction of Japanese Art History; 

British Japonisme. 



2010 ‘Why Censor a Nude Painting? Kuroda Seiki and the 

Nude Painting Controversy’, in: Sakae Murakami-Giroux 

et al (eds), Censure, Autocensure et Tabous, Arles: 

Philippe Picquier. 

2010 ‘The Modern Japanese Garden in a Transnational 

Context’, in: Lieselotte E. Saurma-Jeltsch & Anja 

Eisenbeiss (eds), The Power of Things and the flow of 

Cultural Transformations, Berlin: Deutsche Kunst Verlag. 

2010 ‘The Establishment of the Concept of Nature in Modern 

Japan’, in: Sensing Nature: Rethinking of the Japanese 

Perception of Nature, exhibition catalogue, Mori Museum 

of Art, Tokyo. 

2008 ‘Modernism: Self and Other Represented In (Or By 

Incorporating) Other’s Style’, in: Self and Other: Portraits 

from Asia and Europe, exhibition catalogue, National 

Museum of Ethnology, Osaka. 

SELECTED PRESENTATIONS AND CONfERENCE 

PAPERS 

2011 ‘British View of the Japanese Landscape: from 

Wirgman to Conder’, lecture at Kanagawa Prefectural 

History Museum, Yokohama. 

2011 ‘Mizue: an Alternative Art Magazine Promoting 

Anglophilia, Modern Landscape and Watercolor 

Movement’, AAS/ICAS conference at Honolulu. 

2010 ‘What is Japonisme: Terminology and Interpretation’, 

International Conference at the Manggha Museum of 

Japanese Art and Technology, Krakow. 

2010 Keynote, ‘20th Century Japonisme: Its Story between 

1920s and 1950s’, International Conference on 

Orientalism/Occidentalism at Russian Academy of State 

Service under the President of the Russian federation, 

Moscow. 

2010 Convenor, forgotten Japonisme Conference, 

V&A, and paper ‘Transnational Identity of a Garden: 

Gardens of Manzanar Internment Camp, 

California and Queen Lili’uokalani Garden at Hilo, 

Hawaii’. 

2009 ‘The Historiography of the Study of American and 

British Japonisme’, symposium on American and British 

Japonisme, Bunka Women’s College, Tokyo. Organized 

jointly by the Society for the Study of Japonisme and 

TrAIN research centre. 


2008–09 Anglo-Japanese Daiwa foundation, Sensing Cities 

project with Aoyama Gakuin University (PI) and Bartlett 

School of Architecture, UCL. 

2007–10 AHRC grant, ‘forgotten Japonisme’, major threeyear 

research project. 

WATANABE Toshio 

Queen Lili’uokalani Garden at Hilo, Hawaii. Photo: Toshio Watanabe 

91

READERS 






102 EARLEY Rebecca 


106 fAURE WALKER James 

108 fORTNUM Rebecca 

110 KIKUCHI Yuko 

112 NEWMAN Hayley 

114 PAVELKA Michael 

116 QUINN Malcolm 

118 TULLOCH Carol 

93


BiOgrAPhY Dr Michael Asbury is Reader in the 

History and Theory of Art and a core member of 

the research centre for Transnational Art, Identity 

and Nation (TrAIN). An internationally recognized 

specialist in modern and contemporary art 

in Brazil, he has published extensively and has 

curated numerous exhibitions in the UK, Europe 

and Latin America. 

rESEArCh StAtEMENt The geopolitical 

expansion of the canons of art beyond the traditional 

hegemonic Euro-American axis – a fact 

corroborated by the proliferation of international 

biennials and art fairs, as well as the revised and 

enlarged scope of interests expressed by auction 

houses – raises the question as to whether art 

historical precedents, imbued by radicalism and 

the rhetoric of postcolonial and/or cultural 

studies, have not in fact become mere means of 

legitimizing certain forms of contemporary 

practices. My practice, both as writer and curator, 

is founded on the rigour of art historical research 

and a critical engagement with contemporary 

art that traverses commercial, academic and 

museo logical domains. 


ASBURY Michael 

READER 


2010 Julio Villani: It’s a Game, Paris: Archibooks & 

Sautereau Éditeur. 

2010 Shirley Paes Leme: Heteropias Cotidianas, São Paulo: 

Editora Alfaiatar. 

SELECTED ARTICLES AND CHAPTERS 

2011 ‘The Oruboru Effect’, in: Third Text Journal, London 

(expected). 

2011 ‘flans, Urnas Quentes and the Radicalism of a Cordial 

Man’, in: Antonio Manuel, Americas Society, New York 

(expected). 

2011 ‘Viver é muito perigoso’ (To Live is Very Dangerous), 

in: Shirley Paes Leme, São Paulo (expected). 

2011 ‘Miguel Palma: Man, Machine and Motion: Night, 

Night, Mr Tenjag’, Mead Gallery, Warwick Arts Centre, 

Coventry (expected). 

2011 ‘Ocupações/Descobrimentos’, in: Vaz-Pinheiro, G. (ed.), 

(Des)locações: Exílio, Topologia, Deslocalização, 

faculdade de Belas Artes, Universidade do Porto, 

O Porto. 

2011 ‘Miguel Palma’s State of the Art’, in: Miguel Palma: 

Assembly Line, fundação Caloste Gulbenkian 

foundation, Lisbon. 

2010 ‘Barbarela Cravo e Canela’, in: Ernesto Neto, 

Intimacy, exhibition catalogue, Astrup fearnely 

Museum of Modern Art. 

SELECTED EDITORSHIPS 

2012 Co-editor, ‘Contemporary Art and the Black Atlantic’ 

(working title) in: Critical forum Series, Tate Liverpool 

and Liverpool University Press (predicted). 

2012 Co-editor, ‘Meeting Margins: Transnational Art’ in: 

Latin America and Europe 1950–78, AHRC project 

outcome (predicted). 

2011 Dossier Meeting Margins including authored article 

‘A Popularisação do Pensamento Científico’, Rio de 

Janeiro: Revista Concinnitas, UERJ (expected). 

2009 Anna Maria Maiolino: Order and Subjectivity, Nicosia: 

Pharos Publishers. 

SELECTED CURATORSHIP 

2010 Guest curator, Galeria Millan, São Paulo. 

2009 Guest curator, Camden Arts Centre, London. 

2009 Guest curator, Museum of Contemporary Art, fortaleza. 

2008 Guest curator, Municipal Museum, Nicosia. 

2008 Guest curator, Nara Roesler Gallery, São Paulo. 

2006 Guest curator, Henry Moore Institute, Leeds. 

2005–09 Guest curator, Pharos Trust, Nicosia. 

2002/09 Guest curator, Gallery 32, London. 

2001/08 Guest curator, Tate Modern, London. 

Antonio Manuel, Killed a Dog and Drank its Blood, ink on newspaper, 1967 

95


BASEMAN Jordan 

READER 

BiOgrAPhY Jordan Baseman is a visual artist 

and filmmaker. He received a BFA from Tyler 

School of Art, Philadelphia, Pennsylvania and 

an MA from Goldsmith’s College, University of 

London. Baseman is currently Reader in Time- 

Based Media at Wimbledon College of Art, University 

of the Arts London, and is also a Lecturer 

at the Royal College of Art Sculpture School and 

The Ruskin School of Drawing and Fine Art, University 

of Oxford. Jordan is currently the Artist 

in Residence Fellow at St John’s College, Oxford. 

rESEArCh StAtEMENt My most recent work 

is a synthesis of reportage, portraiture, documentary, 

creative non-fiction and narrative practices. 

I work with and record people, in order to 

produce films that have the interview and editing 

process at their core. Oral history, first person 

spoken-word narratives, field recordings and 

recorded inter views are all of great interest to me. 

My films seek to entertain, to emotionally 

engage and to challenge audiences. Although the 

work is placed within a fine art context and 

positioned within academic research culture, I do 

not feel that it is restricted to those environments 

and to those debates alone. It is of the utmost 

importance to me that my work does not operate 

exclusively within those realms and solely 

for those audiences. 

Narration, storytelling, personal experience 

and belief interest me a great deal. The unpredictability 

of the interview situation excites me. 

In my films, speculation, opinion, ideas and anecdotes 

are often interwoven with intimate 

experiences of empirical, known information. 

Visual abstraction, within a moving image 

context, is something that I have been increas- 

ingly interested in trying to manufacture. 

In addition, I have been hand-processing colour 

16mm film, using buckets in a simple but 

totally blacked-out space, in order to encourage 

visual breakdown, fragmentation and distor- 

tion, and to really push the unpredictable nature 

of the materiality of film itself at its most 

fundamental level. This direction in my practice 

reflects my interest in relinquishing the 

boundaries of control within a process of imagemaking: 

celebrating the collision of representation 

and abstraction through process. 

rECENt rELEVANt OUtPUtS In the past few 

years, Jordan Baseman has presented solo exhibitions 

at Matt’s Gallery, London; The Photographers’ 

Gallery, London; ArtSway, Hampshire; 

Baltic Centre for Contemporary Art, Gateshead; 

Monash University, Melbourne; Wellcome 

Collection, London; Aberdeen Art Gallery; and 

Collective Gallery, Edinburgh. 

His films have recently featured in exhibitions 

and film festivals including 53rd Venice Biennale; 

Los Angeles Animation Festival (where he 

won Best Film in the Dangerous Experiments 

category); San Francisco Short Film Festival; 

Melbourne Underground Film Festival (where he 

won Best International Short Film); Tatton 

Park Biennial; Gstaad Film Festival; and London 

Short Film Festival. 

Jordan Baseman has received grants from Arts 

Council England; The Arts & Humanities 

Research Council; The British Council; The Henry 

Moore Foundation; The Wellcome Trust; and 

London Arts Board. He has exhibited and screened 

his work internationally in many countries 

including Australia, USA, Austria, Germany, Japan, 

Portugal, France and Italy. 

Jordan Baseman, 1973, 16mm film production still, 2011 

97


BISWAS Sutapa 

READER 

BiOgrAPhY Sutapa Biswas is an internationally 

known London-based artist, and Reader in 

Fine Art and Cultural Studies at Chelsea. Born in 

Santinekethan, India in 1966, she moved to 

England at a young age, where she has lived ever 

since. Biswas received her Bachelors Degree 

from the University of Leeds, studying Fine Art 

and Art History (1981–85), with a History and 

Philosophy of Science option. Between 1988–90, 

she was a postgraduate student of the Slade 

School of Fine Art, University College, London; 

and thereafter, at the Royal College of Art, 

London (1996–98). She was a Fellow at the Banff 

Centre for the Arts (1990/92), a recipient of 

The National Endowment for the Arts Award, 

USA (1998), and a nominee for the European 

Photography Award in 1992. 

Biswas’s works have been widely exhibited. 

Venues include: Tate Modern, UK; Melbourne 

International Arts Festival 2006, Australia; Art 

Gallery of Ontario, Toronto, Canada; 6th Havana 

Biennial, Cuba; Expo Arte, Guadalajara, Mexico; 

Nara Roesler Gallery, São Paulo, Brazil; Gallery 

Espace, Delhi, India; Ludwig Museum of 

Contemporary Art, Budapest; Whitechapel Art 

Gallery, UK; Angel Row Gallery, UK; City Art 

Gallery, Leeds, UK; Douglas Cooley Art Gallery, 

USA; Yale University Art Gallery, USA; Franklin 

H Williams Cultural Centre, New York, USA; 

Vancouver Art Gallery, Canada. 

She has been a Visiting Fellow and artist in 

many leading institutions, including: Yale 

University, USA; Yale British Art Centre, USA; 

The Whitney Programme, New York, USA; 

San Francisco Art Institute, USA; Ruskin 

School of Fine Art, Oxford University, UK; 

Stanford University, USA; Mills College, USA; 

Reed College, USA. She is currently a Member 

of the Board of Directors for the Film and Video 

Umbrella, UK. 

rESEArCh StAtEMENt Sutapa Biswas works 

in a range of media, including drawing, film 

and photography. She is particularly interested in 

the temporal relationships between drawing 

and film, in that for her they formally represent 

spatial opposites. Biswas’s works often possess 

a stark but poetic resonance that broadly centres 

on questioning the relationship between art 

and politics, exploring themes of time and history 

in relation to questions of subjectivity, identity, 

gender and race. Biswas first came to prominence 

in 1985, when she exhibited a large painting, 

Housewives with steak knives, in a groundbreaking 

exhibition entitled The Thin Black Line, curated 

by the artist Lubaina Himid and hosted at the 

ICA, London. For 25 years, Biswas’s works have 

played a key role internationally in shifting 

the parameters of a discourse that challenges the 

Eurocentric nature of art history and criticism, 

and artistic practices, in relation to questions of 

modernism. 

Biswas is currently developing new works for 

forth coming solo exhibitions in London, and 

India. 

rECENt rELEVANt OUtPUtS Her work recently 

featured in: Graves Gallery, Museums Sheffield, 

UK; Twenty-One, Terrace Gallery and Harewood 

House, UK; A Missing History: ‘The Other Story’ 

Re-visited, Aicon Gallery, London, UK; British 

Subjects: Identity and Self-fashioning 1967–2009, 

Neuberger Museum, New York, USA; Lo Real 

Maravilloso, Lalit Kala Akademy, Delhi, India; 

Audio Arts Archive, Tate Britain, UK. 

Sutapa Biswas, The Price of freedom is Eternal Vigilance, slide image projection / 

photograph, lambda print on c-type photographic paper, variable dimensions, 2011 

Biswas’s conference paper, Through the Looking- 

Glass: Questions of Governance, The Art School 

in Crisis, was selected by Tate as part of their panel 

session ‘Art School Educated: Rethinking Art 

Education in the 21st Century’ for the AAHC 2011. 

A monograph of Biswas’s work, including 

essays by Laura Mulvey, Griselda Pollock and Guy 

Brett, is published by inIVA (ISBN 1-899846- 

39-5), 2004. 

99


CROSS David 

READER 

BiOgrAPhY David Cross is a Reader and 

Pathway Leader for MA Visual Arts (Graphic 

De sign) at Camberwell. Since setting up the 

MA in 2004, David has challenged the notion of 

professional neutrality in graphic design, 

encouraging instead an ethos that is interdisciplinary, 

research-oriented and socially engaged. 

David has given lectures internationally, and 

chaired events including at the South London 

Gal lery, Tate and Whitechapel. As an artist, David 

began collaborating with Matthew Cornford 

while studying at St Martin’s School of Art in 

1987, and graduated from the Royal College of 

Art in 1991. 

In London, the work of Cornford & Cross has 

been exhibited at the Camden Arts Centre, the 

ICA, the Photographers’ Gallery and South 

London Gallery. They completed a solo touring 

exhibition at the Northern Gallery for Contemporary 

Art, Aspex Gallery, Portsmouth, and 

the Exchange Gallery, Penzance. They have 

carried out an Arts Council residency at the 

London School of Economics, and a British Council 

residency at Vitamin in Guangzhou, China. 

In Europe, they have exhibited in Bologna, Rome, 

and Stockholm; in the USA, they have exhi- 

bited in San Francisco, Philadelphia and New York. 

The book Cornford & Cross (London: Black Dog 

Publishing, 2009) includes critical essays by 

John Roberts and Rachel Withers, and sets out 

a chronology of their projects as a basis for 

examining the aesthetic and ethical concerns 

of their practice. 

rESEArCh StAtEMENt My research, practice 

and teaching have long been informed by 

a critical engagement with the relationship 

between visual culture and the contested ideal of 

‘sus tainable’ development. More recently, my 

focus has been on fossil energy dependency and 

climate breakdown. I am now shifting towards 

promoting the transition to a post-carbon society. 

In addition to producing aesthetic experiences, 

I maintain that a key function of contemporary 

art is to test concepts, assumptions and boundaries. 

In public debate, I explore the ‘instrumental’ 

potential of contemporary art – not as a 

channel for didactic messages, but as a space for 

dialectical propositions. In making such propositions, 

I aim to stimulate the kind of debate 

that is at the heart of active social agency. 

The ecological crisis consists of issues that 

have been overlooked because ‘nature’ has been 

pictured as a timeless backdrop to social 

experience, and ‘the environment’ is only visible 

when it is quantified and priced. To challenge 

this paradigm, I advocate an interdisciplinary 

approach connecting scientific and economic 

understanding with the creative, critical and selfreflexive 

ten dencies of contemporary art. 

Work I have undertaken in this field includes 

a set of lectures and an art – and design – project 

entitled ‘Endgame: energy crisis, climate 

damage and visual culture’ delivered at the Royal 

College of Art, and featured on the RSA Arts 

and Ecology website. For ‘Extreme Pasts, Absolute 

Presents’ at Kings College, London, I gave a 

presentation on place and culture in terms of the 

obliteration of land scape through industrial consumerism. 

For ‘Difference Exchange’ at Chelsea, 

I gave a presen tation on the subject of water as 

a universal primary need, and also as a metaphor 

for moving beyond objects and commodities 

towards systems and flows. ‘Creative transitions’ 

is a new collaboration between staff and students 

across Camberwell, Chelsea and Wimbledon 

Colleges exploring the potential for art schools to 

help build resilience to energy scarcity and 

climate change. 



2010 It Happened Here, The Commandery, Worcester, UK. 

2008–09 The Lion and the Unicorn, Wolverhampton Art 

Gallery, UK. 

2007 Cornford & Cross, Aspex Gallery, Portsmouth, UK. 

2005–06 Where is the Work?, Northern Gallery for 

Contemporary Art, Sunderland, UK. 

2003 The Lost Horizon, London School of Economics. 

2002 Unrealised: Projects 1997–2002, Nylon Gallery, 

London, UK. 

David Cross, It Happened Here in Cornford & Cross, formal garden replaced with turf from 

Ulster, The Commandery, Worcester, England, 20 × 10 m, 2010 

101 


2008–09 Give Me Shelter, Attingham Park, Shropshire, UK. 

2005 Tra Monti, Rome, Italy. 

2004 Values, 11th Biennial of Pancevo, Serbia & 

Montenegro. 

2004 Perfectly Placed, South London Gallery, London. 


2010 ‘Bonjour Tristesse’, in: field journal, vol.4, issue 1. 

www.field-journal.org 

2010 Co-author with Professor Matthew Cornford of chapter 

in: O’Neill, P. (auth.) (ed.), Mick Wilson (ed.), Curating 

and the Educational Turn: II. 

2009 Cornford & Cross, London: Black Dog Publishing. 

2009 Endgame. RSA website: www.artsandecology.org.uk/ 

magazine/features/david-cross--endgame 

2004 ‘Inside Outside’, in: Third Text, vol.18, issue 6. 

2004 ‘Unrealised: Projects 1997–2002’, in: Miles, M. (ed.), 

New Practices/New Pedagogies, London & New York: 

Routledge.

102 

EARLEY Rebecca 

READER 

BiOgrAPhY Dr Becky Earley is a Reader in 

Textiles Environment Design (TED) at Chelsea 

and Acting Director of the University’s Textile 

Futures Research Centre (TFRC). She is a textile 

designer and academic whose research work and 

creative practice has sought to develop strategies 

for the designer to employ in seeking to reduce 

the environmental impact of textile production, 

consumption and disposal. Becky’s core approach 

is based on learning through practice – making 

textile work in order to realize new ideas that will 

drive the reflection and resulting theory. Her 

Top 100 and Worn Again projects perfectly exemplify 

this, and she has made significant contribution 

to the emerging field of upcycling textiles. 

As a lead researcher in both TED and TFRC, 

Becky’s research is also driven by collaboration 

and the new Mistra Future Fashion project will 

continue to develop this way of working, this 

time bringing the participating designers together 

with scientists through a Swedish research 

consortium. 

rESEArCh StAtEMENt Through individual 

practice and group research at CCW, TED 

has developed TED’s TEN – strategies which 

intend to help individuals, and small and 

medium enterprises, make more informed design 

decisions. These are currently being explored 

through a broad portfolio of research and consultancy 

pro jects, which ultimately ask the designer 

to consider several strategies at any one time – 

using design thinking to achieve a layered and 

inter connected approach. The resulting textile 

and fashion concepts often combine theoretical 

think ing with material, technical and social 

innovations. www.tedresearch.net, www.tfrc.org.uk, 

www.upcyclingtextiles.net, www.beckyearley.com 


SELECTED CONSULTANCY PROJECTS 

2011/12 Co-curator, Vf Corp Summit event, USA, tailored 

TED’s TEN concept and content, with workshops and 

lectures, TfRC for the Odyssey Network. 

2011/12 H&M, presentation and workshop, tailored training 

programme using TED’s TEN to work with 1000 of their 

in-house designers. 

2010/11 Sustainable fashion Academy, Stockholm, TED’s 

TEN presentations, workshops and 1:1 consultancy to 

SME’s in Sweden. 

2010/11 future fashion project, Nottingham, presentations, 

workshops and 1:1 consultancy to SME’s in the region, 

EU-funded project. 

2010 PPR Home, developing the ‘creative sustainability lab’ 

concept for the PPR group’s new CSR policy, Cambridge. 

2010 Gucci Group, developing and delivering a TfRC 

workshop to brand leaders. 


2011 Co-curator, The Slow Summit, TfRC and Craftspace. 

2009 Co-curator and panel Chair, Jerwood Contemporary 

Makers 2009, London and The Dovecote Studios, 

Edinburgh. 

2006 Well fashioned: Eco Style in the UK, Crafts Council 

Gallery. 


2010/11 Trash fashion: Designing Out Waste, Science 

Museum, London. 

2010/11 reTHINK! Eco Textiles, Audax Textile Museum 

in Tilburg, Holland. 

2010 Eco fashion, Going Green, MfIT, New York. 

2009/11 Taking Time: Craft and the Slow Movement, 

Craftspace touring, UK. 

SELECTED PRESENTATIONS AND PUBLICATIONS 

2011 Design Activism, Barcelona. 

2011 Upcycling Textiles: Adding Value Through Design, 

Copenhagen. 

2011 Upcycling Textiles (symposium transcript), TED, July 

2009, in: Hemmings, J. (ed.), The Textile Reader, Berg. 

2010 Textiles, Environment, Design (TED): Making Theory 

Into Textiles Through Sustainable Design Strategies, 

Pedagogy and Collaboration with Earley, R., Goldsworthy, 

K. & Vuletich, C. in: Brink, R. & Ullrich, M. (eds), 

future Textile Environments, HAW Hamburg University 

of Applied Sciences. 

2010 Keynote, Making Time: Top 100 Project, Slow Textiles 

conference, Stroud. 

EARLEY Rebecca 

Rebecca Earley, Top 100 Project, upcycled polyester shirt, size 10, 2000–10 

103


fAIRNINGTON Mark 

READER 

BiOgrAPhY Mark Fairnington is a Reader 

in Painting at Wimbledon College and his practice 

explores the lineage of animal and plant 

painting and its relation to the history of human 

understanding of the natural world. It focuses 

on the image of natural history specimens in collections, 

storage and display. Collaborative 

research projects with scientists have included 

Membracidae, funded by the Wellcome Trust. 

Fairnington and Dr George McGavin travelled to 

the Las Cuevas Research Station in Belize to 

study treehoppers and this insect’s use of mimetic 

camouflage as a survival mechanism. A major 

exhibition of Fairnington’s work, Fabulous Beasts, 

was mounted at the Natural History Museum, 

London in 2004. Birds We Cannot See, funded by 

the Calouste Gulbenkian Foundation, involved 

working with scientists in the NHM Department 

of Zoology to study and record specimens of 

Birds of Paradise from the skins collection and in 

historical and contemporary displays. 

CUrrENt rESEArCh Fairnington’s research 

is founded on painting as its primary method of 

research. It examines the idea that the cultural 

meaning of the images generated by different disciplines 

can be determined by narratives that 

lie outside the field. These are diverse narratives, 

some of which emerge and are explored during 

the making of a painting, where description, its 

attention to detail, gained through studied 

and intense observation, can become a platform 

for speculation and storytelling. Two recent 

series of works are The Bulls and Flora. The Bulls are 

life-sized paintings of prize-winning stock bulls 

that open up connections between the history of 

animal portraiture, the economy of selective 

livestock breeding and how this determines physical 

characteristics of the animals. Flora is 

a series of paintings that imagine new hybrid 

plants, referencing genetic engineering, 

the history of flower painting and botanical 

illustration. 



2011 flora, Oliver Sears Gallery, Dublin. 

2010 Bull Market, Bury St Edmunds Art Gallery, Suffolk. 

2009 Private Collection, Galerie Peter Zimmermann, 

Mannheim. 

2008 Galerie Peter Zimmermann, Mannheim. 

2007 Dynasty, Art Agents, Hamburg. 


2010 Blood Tears faith Doubt, Courtauld Gallery, 

The Courtauld Institute of Art. 

2010 Profusion, Calke Abbey, Derbyshire. 

2009 The Artist's Studio, Compton Verney, touring to 

the Sainsbury Centre, Norwich. 

2009 A Duck for Mr Darwin, BALTIC Centre for 

Contemporary Art. 

2008 War and Medicine, Wellcome Trust, London. 

2008 Darwin’s Canopy, Natural History Museum. 

2007 Bird Watching, curated by Tanya Rumpff, the fish 

Market, Haarlem. 

2007 Bloedmoo, The Historic Museum, Rotterdam. 

2007 Bloody Beautiful, Gallery Ron Mandos, Rotterdam. 

SELECTED BOOKS AND EDITIONS 

2009 flora, text by Adrian Rifkin, Oliver Sears Gallery, 

Dublin. 

2009 The Artist’s Studio, Giles Waterfield, G. (ed.), 

Hogarth Arts and Compton Verney. 

2009 A Duck for Mr Darwin, Evolutionary Thinking and 

the Struggle to Exist, BALTIC. 

2008 Arkive City, University of Ulster, Belfast. 

2008 Bloedmooi/ Bloody Beautiful, Historical Museum, 

Rotterdam. 

2006 Experience and Experiment, Calouste Gulbenkian 

foundation. 

Mark fairnington, Coucal Cattleya, oil on panel, 70 × 65 cm, 2011 

105

106 

fAURE WALKER James 

READER 

BiOgrAPhY James Faure Walker (b. 1948 

London) studied at St Martins (1966–70) and 

the RCA (1970–72). He co-founded Artscribe 

magazine in 1976, and edited it for eight years. 

He has been integrating computer graphics in 

his painting since 1988. Recent group exhibitions 

include Jerwood Drawing Prize (2010); Digital 

Pioneers at the V&A (2009); Imaging by Numbers, 

Block Museum, Illinois, USA (2008); Siggraph, 

USA (eight times 1995–2007); DAM Gallery, Berlin 

(2003, 2005, 2009). In 1998, he won the ‘Golden 

Plotter’ at Computerkunst, Gladbeck, Germany. 

In 2010, he produced a com missioned print 

for the 2010 South African World Cup. His book, 

Painting the Digital River: How an Artist Learned 

to Love the Computer (2006, Prentice Hall, USA), 

won a New England Book Show Award. He is 

Reader in Painting and the Computer in the CCW 

Grad uate School. 

rESEArCh StAtEMENt The how-to-draw books 

from the first decades of the twentieth century 

offer a view of drawing somewhat at odds with 

the way we think about drawing today. There was 

more dependence on drawing from memory, 

and more commercial illustration. The technical 

tips and preferred examples resemble the 

DIY approach of today’s paint software. ‘Digital 

drawing’ is not a tidy category. The weird 

pens and drastic modifiers have turned old habits 

upside down, and drawing and painting are 

not as dis tinct as they were. 

I have collected around a hundred such publications, 

and plan to write a book around them. 

There are spin-offs too, and these get into my 

painting, such as how students were taught 

‘observational skills’. A 1931 British Army ‘Small 

Arms Training’ manual provides diagrams 

for constructing targets for shooting ranges and 

bayonet practice. The ‘figure’ – or its ‘traces’ 

– may be a subject for drawing conferences today, 

but here the figure – lying down, moving across, 

approaching – is a target, and a compelling motif. 

Accurate ‘seeing’ is a matter of life and death. 


SELECTED ESSAYS ON DRAWING 

2011 ‘Drawing Trees’, invited paper for Drawing Connections 

– China Risk and Revolution, October 26–28, Lu Xun 

Academy of Art, Dalian, China; International Drawing 

Research Institute College of fine Art, UNSW, Australia. 

2011 (September) ‘Painting further along the River’, invited 

paper at ISEA Istanbul. 

2011 (february) ‘The Past and Present of the Digital Manual’, 

paper at the Recto/Verso: Redefining the Sketchbook 

conference, University of Lincoln. 

2011 ‘Getting Closer to Nature: Artists in the Lab’, in: 

Biologically-inspired Computing for the Arts: Scientific 

Data through Graphics, IGI Global, USA. 

2011 (June) ‘On Not Being Able to Draw a Mousetrap’, in: 

Journal of Creative Interfaces & Computer Graphics. 

http://bit.ly/MTXDk www.igi-global.com/IJCICG 

2010 (December) ‘Drawing Machines, Bathing Machines, 

Motorbikes, the Stars…Where are the Masterpieces?’, 

in: Tracey, Drawing and Technology. www.lboro.ac.uk/ 

departments/sota/tracey/dat/images/faure-walker.pdf 


2011 (November) Drawing: Interpretation/Translation, 

Hui Gallery, Hong Kong, March 2011; The Drawing 

Gallery, Walford, Shropshire, May 2011; Wimbledon 

Space. 

2010–11 (Sep 2010 – Jun 2011) Jerwood Drawing Prize, 

Jerwood Space, London and touring. 

2010 (July/August) Hot Plate, print exhibition, Phoenix 

Gallery, Brighton. 

fAURE WALKER James 

James faure Walker, The floor fell In, archival inkjet print, 61 × 64 cm, 2011 

107

108 

fORTNUM Rebecca 

READER 

BiOgrAPhY Rebecca Fortnum is a Reader in Fine 

Art. She has been a Visiting Fellow at Plymouth 

and Southampton Universities, a Research Fellow 

at Lancaster University, a visiting artist at The 

School of the Art Institute of Chicago and a Senior 

Lecturer at Norwich School of Art and Wimbledon 

College of Art. Awards include the Pollock- 

Krasner Foundation, the British Council, the Arts 

Council of England, the British School in Rome 

and the AHRC. She has had solo shows at the Collective 

Gallery, Edinburgh; Spacex Gallery, Exeter; 

Kapil Jariwala Gallery, London; Angel Row Gallery, 

Nottingham; The Drawing Gallery, London; 

Gallery 33, Berlin; and The Museum of Child- 

hood, London. She was instrumental in founding 

the artist-run spaces, Cubitt Gallery and Gasworks 

Gallery and, in 2009, participated in Method, a 

cul tural leadership programme for artists. She is 

currently an external examiner at Lasalle University 

of the Arts in Singapore and Reading University. 

rESEArCh StAtEMENt My research falls 

into three areas; documenting artists’ processes; 

a visual art practice; fine art pedagogic research. 

My research into visual artists’ making processes 

stems from my project, ‘Visual Intelligences’ 

at the Lancaster Institute for Contemporary Arts 

where I was Research Fellow from 2004–09 

(www.visualintelligences.com). Subsequently, I was 

appointed as international lead artist for Trade 

in Ireland and more recently I have begun to write 

on the role of ‘not knowing’ within the creative 

process. I have a long-held interest in women artists, 

publishing a book, Contemporary British 

Women Artists in 2007 and interviewing artists 

for BBC Radio 4’s Women’s Hour. 

My visual art practice includes painting, drawing, 

printmaking and curating. Curatorial projects 

include Fluent, Painting & Words, Unframed and 

The Imagination of Children. In 2008, I was selected 

for the Space for 10 programme (www.spacefor10. 

org.uk). This year, I have received a research 

grant to work with artists from Sint Lucas Art 

Academy in Gent on a project that examines 

the relation of drawing to writing (http://associatie. 

kuleuven.be/fak/nieuwsbrief/2011/36/281) and 

held a solo exhibition at the Victoria and Albert 

Museum’s Museum of Childhood. I co-convene 

Paint Club, an open research network hosting 

events such as an ‘in conversation’ between Mario 

Rossi and Michael Borremans. 

I have undertaken pedagogical research, 

including working on UAL’s project ‘The Teaching 

Land scape in Creative Subjects’ (www.arts. 

ac.uk/clipcetl-landscapes.htm). In 2009, I completed 

a University Teaching Fellowship, examining 

the feedback written in assessment reports. I have 

researched the use of the studio within the art 

academy and (with Katrine Hjelde) written on the 

recent development of fine art practice towards 

the ‘educational turn’, presenting at the FLAG at 

Chelsea, CLTAD conference, Berlin and the GLAD 

conference at York St John. 


2011 Absurd Impositions, solo exhibition, V&A’s Museum 

of Childhood, London. 

2011 In – and Outside – Writing, exhibition, Voorkamer, 

Lier, Belgium. 

2009 Editor, Paula Kane: Studio Wall, ICfAR & RGAP. 

2009 Curator, On Not Knowing; How Artists Think, 

interdisciplinary symposium, Kettle’s Yard, Cambridge. 

2008 On Not Knowing What You Are Doing; the Importance 

of the Studio to fine Art, at AAH conference, Tate Britain. 

2007 Co-editor, Journal of Visual Art Practice, Edition 6.3, 

on the documentation of artists’ processes. 

2007 Contemporary British Women Artists, NY & London: 

I.B. Tauris. 

fORTNUM Rebecca 

In a flushed Sky, from In – and Outside – Writing exhibition at Voorkamer, lier pencil, oil and wax on paper, 

letterpress on paper, installation shot, 2011. Photo: Glenn Geerinck 

109

110 

KIKUCHI Yuko 

READER 

BiOgrAPhY Dr Yuko Kikuchi was born in Tokyo 

and educated in Japan, the USA and UK. 

After completing a BA in English and American 

Litera ture and an MA in American Studies, 

she worked at the School of East Asian Studies, 

Uni versity of Sheffield as a Modern Japanese 

Studies specialist. She joined University of the Arts 

London in 1994 to complete a PhD on the 

Mingei movement and is currently teaching MA 

courses, supervising research students and 

conducting research as a core member of TrAIN 

(Transnational Art Identity and Nation) in 

her capacity as a specialist in design histories and 

design studies. 

rESEArCh StAtEMENt My research is on modernities 

in art and design in East Asia, with 

particular interest in how phenomena informed 

by local specificities could engage with aca- 

demia in Euroamerica. My key publications have 

been on the Japanese and transnational 

Mingei movement (Japanese Modernisation and 

Mingei Theory: Cultural Nationalism and Oriental 

Orientalism, 2004), and on modernities in 

colonial Taiwan (Refracted Modernity: Visual Culture 

and Identity in Colonial Taiwan, 2007). The 

latter developed through the international design 

history project, ‘“Oriental” Modernity: Modern 

Design Development in East Asia, 1920–90’, 

which investigated the regional and inter-regional 

development of modern design in Japan, Korea, 

and China/Taiwan/Hong Kong. As an editorial 

board member of the Journal of Design History, 

I am passionate about creating a transnational 

frame work for design histories and studies. 

Recently, I have expanded my scope to South- 

East Asia (Vietnam, Cambodia and Thailand) 

through my investigation into American design 

inter vention in Asia during the Cold War 

period, looking particularly at the case of Russel 

Wright. This research examines the continuity 

from the European colonial construc tion of 

‘vernacular/national’ handicrafts in the pre-WWII 

period, to the post-war American intervention 

which eventually developed into the contemporary 

subjectivity of the locals. 


2011 ‘Visualising Oriental Crafts: Contested Notion of 

“Japaneseness” and the Crafts of the Japanese Empire’, 

in: Inaga, S. (ed.), Question of Oriental Aesthetics and 

Thinking, Kyoto: The International Research Center for 

Japanese Studies. 

2011 ‘American Consumption of Japanese Design and 

Development of “Japanese Modern” during the 

Occupation and Cold War’, in: Omuka, T. (ed.), Studies 

on Audience and Reception of Art in Japan, Tokyo: 

The Japanese Ministry of Education, Science, Sports, 

Science & Technology KAKEN. 

2010 ‘The Question of “Japaneseness” and the Creation of 

the “Greater Oriental Design” for Crafts of the Japanese 

Empire’, in: Archív Orientální (‘Oriental Archive’), special 

issue of Literature, History and Culture of Taiwan: Past 

and Present. 

2008 ‘Russel Wright and Japan: Bridging Japonisme 

and Good Design through Craft Design’, in: Journal of 

Modern Craft. 

KIKUCHI Yuko 

Silverware made in Kompong Luong, Cambodia 

111

112 

NEWMAN Hayley 

READER 

BiOgrAPhY Dr Hayley Newman is a Reader at 

Chelsea. She studied at Middlesex University, The 

Slade School of Art, Hochschule für Bildende 

Künste, Hamburg and University of Leeds, where 

she completed her PhD in 2001. In 2004/05, 

she was the recipient of the Helen Chadwick Arts 

Council of England Fellowship at the British 

School at Rome and the Ruskin School of Drawing 

and Fine Art, Oxford. She has had solo shows at 

Matt’s Gallery, London, The Ikon Gallery, Birmingham, 

Centre d’Art Contemporain, Geneva and 

The Longside Gallery at the Yorkshire Sculpture 

Park; and has performed at Camden Arts Centre, 

South London Gallery, Barbican Art Gallery 

and The Hayward Gallery. She lives and works in 

London and is represented by Matt’s Gallery. 

www.hayleynewman.com 

rESEArCh StAtEMENt I am interested in 

performance and performativity, documentary 

practices, humour, subjectivity and fiction. 

Over the past few years, I have worked both individually 

and collectively and have learnt as 

much about how collectives function as I have 

about how I function as an individual. I’m 

committed to working creatively around the current 

economic, social and ecological crises, 

from cuts to funding to the environment and irresponsible 

behaviours of giant corporations 

which are changing the social fabric of our lives. 

Alongside supervising PhD students, I am 

currently involved in the CCW Graduate School 

initiative Creative Transition, a mix of CCW 

Graduate School staff and students who have 

recently started a passionate conversation 

about sustainability and resilience in art and design 

education. Building on the democratic 

model of the Transition Town movement and its 

solutions to climate change and peak oil, 

Creative Transition hopes to lead on developing 

alternative creative responses to the Transition 

Town movement. 

Recent work has included Milton Keynes Vertical 

Horizontal (MKVH, 2006), a public event in 

which volunteers were driven around the Milton 

Keynes road grid until their coach ran out of 

diesel. MKVH (the screenplay), published in 2008, 

was based on this journey. The book built on 

ideas around intersubjectivity, memory and narrative, 

commenting on peak oil with particular 

relation to the car-dependent culture of the new 

city of Milton Keynes. In 2009, the writer Andrea 

Mason and I inaugurated the self-help group 

Capitalists Anonymous (CA), a forum for people 

to come and confess their capitalist tendencies. 

Originally set up for bankers in the wake of 

the eco nomic crash, CA was seen as a therapeutic 

intervention that took place on the steps of the 

Royal Exchange in the City of London. Finally, the 

all-female col lective The Gluts (Gina Birch, 

Kaffe Matthews and Hayley Newman) formed in 

2009, when we per formed our repertoire of 

songs entitled Café Carbon at the Copenhagen 

Climate Summit. Eighteen songs about food 

and climate: cheap chicken, food transportation, 

over-consumption, water, allot ments, mechanization 

and the beginning of modernity were all 

on the menu at Café Carbon. 

NEWMAN Hayley 

Gina Birch, Kaffe Matthews and Hayley Newman (aka The Gluts) perform Café Carbon on 

their way to the Copenhagen Climate Summit, 2009. Photo: frederika Whitehead 


2010 The Sculpture Years, performance, at the conference: 

Sculpture and Performance, The Henry Moore Institute, 

Leeds & Tate Liverpool. 

2010 Super farmers’ Market, Handel Street Projects, 

London. 

2009–10 Emporte-moi (‘Sweep Me Off My feet’), 

Musée National des Beaux-Arts du Québec, Canada; 

MAC/VAL, Paris. 

2009 C.R.A.S.H culture, Two Degrees, Arts Admin, London. 

113 

WITH THE GLUTS 

2010 The Gluts Go to Copenhagen, documentary video 

(work in progress) screened at AV10 festival, Newcastle; 

Camden Arts Centre, London; Sexuate Subjects: Politics, 

Poetics and Ethics (conference), UCL, London. 

2010 Spiral Artists’ Residency, Camden Arts Centre, London. 

2010 Café Carbon live performances at The Whitechapel 

Art Gallery, London; Camden Arts Centre, London; 

Museum of Modern Art, Oxford; Café Oto, London; and 

AV10, Newcastle.

114 

PAVELKA Michael 

READER 

BiOgrAPhY Michael Pavelka is a Reader at 

Wimbledon. His theatre design work includes 

two productions with Lindsay Anderson: The 

Fishing Trip and Holiday, (Old Vic); with Edward 

Hall/Propeller Company: Henry V, The Winter’s 

Tale (in the UK, Europe, USA and Far East); 

and Rose Rage (West End, Chicago and New York – 

Best Costume Design nomination Jeff Awards, 

Chicago). Library Theatre, Manchester designs 

include The Life of Galileo (Best Design MEN 

Awards), plus numerous Shakespeare and Brecht 

productions. 

Pavelka co-produced the Young People’s 

Shakespeare Festival (Ulaanbaatar, Mongolia) and 

designed for the first African language Mother 

Courage and Her Children (NT Uganda, Kennedy 

Center, Washington DC and Grahamstown 

Festival, South Africa). Recent work includes 

Revelations and Off the Wall with Liam Steel (Stan 

Won’t Dance) at QEH with UK tour and Twelfth 

Night (Seattle Rep), The Taming of the Shrew at the 

Old Vic, Royal Shakespeare Company (RSC) and 

touring internationally. This year, he is working 

on The Merchant of Venice and A Midsummer Night’s 

Dream (touring internationally). 

His West End productions include: Constant Wife, 

How the Other Half Loves, Other People’s Money, 

Leonardo, Blues in the Night (also Dublin, New 

York, Tokyo), Macbeth starring Sean Bean, A Midsummer 

Night’s Dream, A Few Good Men and 

Absurd Person Singular. Work for the RSC includes 

The Odyssey, Two Gentlemen of Verona, Henry 

V and Julius Caesar; and for the National Theatre, 

edmond starring, Kenneth Branagh. 

rESEArCh StAtEMENt My current practicebased 

research continues to extend over a decade 

of production work with the ensemble company 

Propeller, of which I am a founder member. 

Each project now spans a period of eighteen 

months and has recently involved double bills of 

plays, produced in England but toured across 

the UK, continental Europe, North America and 

the Far East. These radical but accessible productions 

of Shakespeare’s most challenging and 

layered works are explored in the context of 

all-male casting. 

The scenography supports performance that is 

characterized by its intensely physical approach, 

speed and clarity. Cross-gender casting pre sents 

opportunities to investigate the language of clothing 

and movement that are approached in different 

ways from project to project depending on the 

metaphorical positions of the characters. 

The ensemble company framework presents 

dynamic solutions to Shakespeare’s narratives 

that are told by a chorus with a specific social 

identity, unified as a force with costume, music 

and movement. The chorus are usually being 

seen to ‘devise’ the stories in view of the audience 

and underscore them with live soundscapes 

created with unusual objects as well as musical 

instruments – their continuous presence pro- 

vide the focus for scenographic ideas and images. 

The company is committed to wider accessibility 

and the productions attract diverse audiences. 

Its output has been extended to include the publication 

of ‘pocket’ versions of the texts for 

educational outreach. Recognition of this work is 

reflected by recently extended funding for three 

years from the Arts Council of England and other 

support from the Department of Education. 

A second strand of recent work with collaborator 

Liam Steel involves the exploration of themes 

PAVELKA Michael 

through devised visual storytelling with 

performers who bridge dance, acting and other 

disciplines, such as circus and ‘parcours’. The 

sceno graphy integrates ambitious engineering 

with multimedia imagery and attempts to 

give performers the means to use the entire volume 

of theatrical space, often suspended. 

The two strands of research connect when productions 

with Liam Steel have involved the 

interpretation of classic stories, such as Dickens, 

with ensemble companies of performers to 

find inventive contemporary means of telling 

familiar epic tales. Sleight of hand is at the 

root of this work and the design solutions are 

dependent upon close collaborative partner- 

ships with the creative team. 


SELECTED PERfORMANCES 

2011 The Go Between, a chamber musical/opera adaptation, 

West Yorkshire Playhouse; other UK venues, world premiere. 

2010–11 Richard III and The Comedy of Errors, Propeller 

Theatre company, world tour. 

2009–10 The Dark Side of Buffoon, Coventry Belgrade B2; 

Lyric Hammersmith. 

2009 The Good Soul of Szechuan, Library Theatre Company, 

Manchester. 

2008–09 The Merchant of Venice and A Midsummer Night’s 

Dream, Propeller Theatre company, world tour. 

2008–09 Great Expectations, Library Theatre Company, 

Manchester. 

2008 Absurd Person Singular, Wyndhams Theatre, London 

West End. 

2006 The Taming of the Shrew, Propeller/RSC co-production. 

2005 Oliver Twist, Roger Haines & Liam Steel (DV8) dirs., 

Library Theatre, Manchester. 

2005 The Winter’s Tale, Edward Hall (dir.), Propeller 

Theatre Company, Watermill. 

2005 A few Good Men, David Esbjornson (dir.), starring Rob 

Lowe, West End’s Theatre Royal, Haymarket. 

2003 Edmond, Edward Hall (dir.), starring Kenneth Branagh, 

Olivier stage, National Theatre. 

2003 Rose Rage (New Production), Edward Hall (dir.), 

Chicago Shakespeare Theatre; The Duke Theatre, 42nd 

Street, New York. 

Michael Pavelka, Off the Wall, Site-specific 

performance and Designer's cut edited video 

record, 1997 

115 

2002 The Constant Wife, Edward Hall (dir.), West End 

Apollo, Lyric Theatres. 

2002 Rose Rage, Henry VI trilogy in two parts, Edward Hall 

(dir.), Propeller Theatre Company. 

2002 UK Tour: West End Theatre; Royal Haymarket; Italy; 

Turkey; Poland. 

2002 Macbeth, Edward Hall (dir.), Ambassadors Theatre 

Group, West End Albery Theatre. 

2002 A Midsummer Night’s Dream, Edward Hall (dir.), 

Propeller Theatre Company, UK; international tour 

including: Barbados, Germany, Italy, BAM New York. 


2011 Video edit of the process of designing and producing 

Off the Wall, South Bank, representing the UK at the 

Prague Quadrennial. 

2004 Three public sculptures for Cow Parade, including the 

opening exhibit at Manchester Airport. 

2002 ‘Our Henry’, two Designs for 2D, 3D exhibits of design 

process for Henry V and VI, category: The Line in Space, 

Sheffield. 


1997 Production photograph and a diary entry in Mother 

Courage and Her Children, Thomson, P. (ed.), Cambridge 

Publications. 


2009 Winner of Theatrical Management Association Best 

Design 2009 award for The Merchant of Venice. 

2004 Nominated Best Costume Design, Jeff Awards, Chicago, 

USA for Rose Rage. 

2003 Winner Best Touring Production, Barclays TMA Award 

for A Midsummer Night’s Dream. 

2002 Winner Best Touring Production, Barclays TMA Award 

for Rose Rage.

116 

QUINN Malcolm 

READER 

BiOgrAPhY Dr Malcolm Quinn is Reader in Critical 

Practice in CCW Graduate School. He is 

Course Director for CCW MRes Arts Practice, and 

is an experienced PhD supervisor. He has written 

extensively on art and design research, using a 

psychoanalytic approach to the analysis of art and 

design language and pedagogy. He is a contributor 

to The Routledge Companion to Research in the Arts 

(2010), and is a member of the AHRC peer review 

college. Since the publication of his first book 

The Swastika: Constructing the Symbol (Routledge, 

1994) he has been interested in how ‘government 

aesthetics’ interface with individual identity 

and subjectivity. 

CUrrENt rESEArCh My current research 

focuses on identity, taste and governance in the 

thought of Jeremy Bentham and Adam Smith, 

with particular reference to the development of 

government-funded art education in early nineteenth-century 

Britain. This research addresses 

three questions: 

> The first question is historical: how did the utilitarian 

idea of the art school emerge in contrast 

to the academy of art in Britain in the 1830s, and 

what were its effects? 

> The second question is philosophical and 

cultural: what were the necessary and sufficient 

conditions set by Adam Smith and Jeremy 

Bentham’s moral and political economies of 

taste, which allowed the idea of the art 

school and the critique of art academies to be 

developed? 

> The third question is political: did Jeremy 

Bentham’s radical ideas on identity, cultural difference, 

taste and governance offer a viable 

framework for the pursuit of cultural policy 

objectives; and how do utilitarian ideas 

affect current approaches to utilitarian thinking 

in public pedagogy and cultural policy? 


SELECTED CHAPTERS IN BOOKS 

2010 ‘Insight and Rigor: A freudo-Lacanian Approach’, in: 

Biggs, M. & Karlsson, H. (eds), The Routledge Companion 

to Research in the Arts, London: Routledge. 

SELECTED ESSAYS IN BOOKS 

2011 ‘Chigurh’s Haircut: Three Dialogues on Provocation’, 

in: Transmission Annual: Provocation, London: Artwords 

Press. 

2011 ‘What is the Alternative?’, in: Cummings, N. & Critical 

Practice (eds), Parade, Public Modes of Assembly and 

forms of Address, London: CCW Graduate School. 

2010 ‘Lapdogs of the Bourgeoisie’, in: Haq, N. & Zolgadhr T. 

(eds), Lapdogs of the Bourgeoisie, Bristol: Arnolfini 

Gallery. 

SELECTED PEER-REVIEWED JOURNAL ARTICLES 

2011 ‘The Invention of facts: Bentham’s Ethics and the 

Education of Public Taste’, in: Revue D’études 

Benthamiennes 9. 

2011 ‘The Disambiguation of the Royal Academy of Arts’, 

in: History of European Ideas. 

2011 ‘The Political Economic Necessity of the Art School 

1835–52’, in: The International Journal of Art and 

Design Education. 

SELECTED LECTURES 

2011 ‘Reading Reynolds With Bentham: The Idea of the Art 

School in Nineteenth-Century Britain’, Bentham Project, 

University College London. 

2010 ‘The Education of the Eyes of the People By Our 

Own Government: Public Pedagogy and the Art School 

1835–52’, UAL Pedagogic Research Network CSM 

Innovation Centre. 

SELECTED CONfERENCES 

2010 Paper, ‘Art Schools and “The Pedagogical Impulse”: 

an Historical Perspective’ at IJADE conference ‘Art and 

Design Education and Contemporary Culture’. 

2010 Organized ‘The Idea of the Art School in Early Nineteenth-Century 

Britain’, with Professor Sir Christopher 

frayling, Dr Martin Myrone, Professor Philip Schofield, 

Professor Richard Whatmore at Tate Britain. 

QUINN Malcolm 

Dr Malcolm Quinn, ‘Insight and Rigor: a freudo-Lacanian Approach’, 

in: Biggs, M. & Karlsson, H. (eds), The Routledge Companion to Research in the Arts, 

London: Routledge (2010). 

117

118 

TULLOCH Carol 

READER 

BiOgrAPhY Carol Tulloch is Reader in Dress and 

the African Diaspora. She is a member of the 

Transnational Art, Identity and Nation research 

centre (TrAIN) and the TrAIN/V&A Fellow in 

the Research Department of the V&A. She was 

principal investigator of the Dress and the African 

Diaspora Net work (2006–07). 

Carol has written about and curated exhibitions 

on dress and black identities, style narratives 

– the telling of self – cross-cultural and transnational 

relations and cultural heritage. Additionally, 

her research has reviewed historical 

‘truths’ to present alternative perspectives 

on the black body, dress and place. Currently, 

Carol’s practice has developed to consider 

how individuals negotiate their sense of self 

within diverse contexts – locally, nationally 

or internationally. Her work now includes other 

groups with similar experi ence and/or cultural 

collaboration with people of the African diaspora 

in order to develop a dialogue in the telling 

and place of individuals and groups. These issues 

were considered in publications such as: Out of 

Many, One People?; The Relativ ity of Dress, Race and 

ethnicity to Jamaica, 1880–1907 (1998); My 

Man, Let Me Pull Your Coat to Something: Malcolm X 

(2001); and Strawberries and Cream: Dress, 

Migration and the Quintessence of englishness (2002); 

Black Style (editor, 2004); Interconnecting Routes: 

Networks, Dress and Critical-Creative Narra tives 

(2007); Resounding Power of the Afro Comb (2008); 

and the exhibitions Nails, Weaves and Naturals: 

Hair styles and Nail Art of the African Diaspora, 

A Day of Record (2001), Tools of the Trade: Memories 

of Black British Hairdressing (2001), Black British 

Style (2004–05), and A Riot of Our Own (2008). 

CUrrENt rESEArCh The monograph The Birth 

of Cool: Style Narratives of the African Diaspora; 

the exhibition A Riot of Our Own, Galerija Makina, 

Pula, Croatia; ‘Kicking Back: Style Connections 

through Activism’ in Critical Perspectives on Double- 

Consciousness within Modern and Contemporary 

Art, Michael Asbury and Paul Goodwin (eds); the 

symposium Dress as Autobiography to be held at 

the V&A. 



2010 A Riot of Our Own, Vibe Bar, London (feature exhibition 

of the East End film festival). 

2010–11 Handmade Tales: Women and Domestic Crafts, 

Women’s Library, London. 


2010 ‘Buffalo: Style with Intent’, in: Pavitt, J. & Adamson G. 

(eds), Postmodernism: Style and Subversion 1970–90. 

2010 ‘Dress and the African Diaspora’, in: special issue of 

fashion Theory: The Journal of Dress, the body and 

Culture. 

2009 ‘familial Dress Relations and the West Indian front 

Room’, in: McMillan, M., The front Room: Migrant 

Aesthetics in the Home. 

TULLOCH Carol 

A Riot Of Our Own, exhibition, Chelsea Space, London, 2008 

119

RESEARCH 


CENTRES AND 

NETWORKS 

122 TRAIN 

124 LIGATUS 


121

122 

TrAIN 

The University of the Arts London research 

centre for Transnational Art, Identity and Nation 

(TrAIN) is a forum for historical, theoretical 

and practice-based research in architecture, art, 

communication, craft and design. 

In an increasingly complex period of globalization, 

established certainties about the nature of 

culture, tradition and authenticity are being 

constantly questioned. The movement of peoples 

and artefacts is breaking down and producing 

new identities outside and beyond those of 

the nation state. It is no longer easy to define the 

nature of the local and the international, and 

many cultural interactions now operate on the 

level of the transnational. Focusing on how 

the movement of both people and artefacts breaks 

down borders and produces new identities 

beyond those of the nation state, the centre aims 

to contribute to both creativity and cultural 

understanding. 

TrAIN is a dynamic research forum for internationally 

recognized scholars and practitioners, 

inside and outside the University of the Arts 

London. TrAIN offers research excellence 

and leadership through its coherent programme 

of events and projects, and brings together 

research in transnational issues in art and design, 

both globally and locally. Central to the centre’s 

activities is a consideration of the impact of 

identity and nation on the production and consumption 

of artworks and artefacts in this 

new global context. Transnational relationships 

are explored through crossings that traverse 

different media, including fine art, design, craft, 

curation, performance and popular art forms. 

DIRECTOR: PROfESSOR TOSHIO WATANABE 

DEPUTY DIRECTORS: PROfESSOR ORIANA BADDELEY AND PROfESSOR 

DEBORAH CHERRY (CSM) 

The centre involves internationally recognized 

scholars and practitioners at several of the 

colleges of the University of the Arts London: 

Camberwell College of Arts, Chelsea College of 

Art & Design, Wimbledon College of Art and 

Central Saint Martins College of Art and Design. 

It also includes a community of postgraduate 

students pursuing historical, theoretical and 

practice-based research degrees at both MA and 

PhD level. 

Members contribute to TrAIN’s activities by 

completing group and individual research 

projects and through the supervision of relevant 

postgraduate study. Issues and debates arising 

from research activities are disseminated by 

TrAIN conferences, exhibitions and pub lications. 

Throughout the academic year, TrAIN organizes 

public events such as the TrAIN Open Lectures 

at Chelsea College of Art and Design and TrAIN 

Conversations at Central Saint Martins at which 

artists, theorists and curators present their work 

and ideas. For more details about the centre’s 

activities, core members and visiting scholars, 

please go to its website; www.transnational.org.uk. 

Key partnerships include the TrAIN/Gasworks 

Artists’ Residency, an international residency 

which raises specific questions for individual 

artists, and wider issues regarding how both local 

and international contexts are negotiated in 

practice; the TrAIN-KSB Residency exchange in 

which TrAIN and the Kunstlerhaus Schloss 

Balmoral collaborate on an Artist in Residence 

exchange programme. In Autumn 2011, TrAIN 

will host the second in a series of Fulbright 

Visiting Distinguished Chairs in partnership 

with the Tate Gallery. 

TrAIN 

Current TrAIN research projects include; Meeting 

Margins, Transnational Art in Latin America and 

europe, 1950–78 (in collaboration with the University 

of Essex, AHRC funded). Previous 

TrAIN projects include Forgotten Japonisme, the 

Taste for Japanese Art in Britain and the USA, 

1920s–1950s (AHRC funded); British empire and 

Design; Ruskin in Japan, 1890–1940, Nature for 

Art, Art for Life; Other Modernities; Refracted Colonial 

Modernities: Identities in Taiwanese Art and 

Design; and Modernity and National Identity in Art: 

India, Japan and Mexico, 1860s–1940s. 

Antonio Manuel, Ocupações / Descobrimentos (‘Occupations / Discoveries’), 

installation view, Museum of Contemporary Art Niterói, 1998. 

Photo: V. de Mello 



LIGATUS 

The Ligatus research unit offers a unique 

environment within the University of the Arts 

London, where the study of the history of 

bookbinding and book conservation is combined 

with research into modern digital data anal- 

ysis and collection management tools. Current 

projects include: 

BOOKBINDING GLOSSARY 

A project to create a detailed bookbinding 

glossary which can be edited online by experts 

located in different countries. The glossary 

will also serve as the basis for an online descriptive 

process to record bookbindings. It will 

first appear in English and Greek. Funded by the 

Arts and Humanities Research Council (AHRC). 

DIGITAL ARCHIVE Of BOOKBINDING 

30 000 slides of the bound manuscripts 

in the St Catherine’s Monastery Library, taken 

as part of the survey, have already been 

digitized with funding from the Headley Trust 

and are now joined by a large collection 

of digital images of the bindings on the early 

printed books. Ligatus will also be the 

repository of an additional, unrivalled collection 

of materials relating to the history 

of bookbinding donated by key scholars who 

DIRECTOR: PROfESSOR NICHOLAS PICKWOAD 

DEPUTY DIRECTOR: DR ATHANASIOS VELIOS 

have worked inter nationally in major public 

and private collections. 

SAINT CATHERINE’S MONASTERY LIBRARY 

JOHN LATHAM ARCHIVE 

The visionary British artist John Latham died 

on 1 January 2006. His influence on the visual arts 

is remarkable and yet consistently underrepresented 

in the literature. His philosophical 

ideas on Events and Event Structures and ‘Flat 

PROJECT, MOUNT SINAI, EGYPT 

Time Theory’, a unifying overview of the world, 

The monastery of St Catherine in the Sinai, Egypt, are fascinating, complex and worthy of seriis 

the oldest active Christian monastery in ous study. By focusing on such an original, highly 

the world. The monastery’s library holds a unique theoretical artist, the John Latham Archive 

collection of Byzantine manuscripts. Ligatus project argues for the need for creative solutions 

has undertaken the task of assessing the condition to the methodological and technical chalof 

the manuscripts, is designing a new conser- lenges posed by artists’ archives. These solutions 

vation workshop and is advising on further con- are being tested against, and adapted to, other 

servation work. Funded by the St Catherine Foun- private and institutional archives. Funded by the 

dation with additional support from the Headley Trust. AHRC and the Henry Moore Foundation. 

CREATIVE ARCHIVING 

The archivist is the keeper of historical 

truth. Objectivity in archival practice is a muchdebated 

issue in the profession. Postmodern 

thinking on archives led archivists to accept the 

inevitability of their subjectivity as a disadvantage, 

ignoring the expertise of the archivist on the 

archived material which is often unique. Creative 

Archiving celebrates the role of the archivist in 

history and introduces a methodology for turning 

subjectivity into an advantage, through the clear 

interpretation of archives. 

LIGATUS SUMMER SCHOOLS 

The Ligatus Summer Schools aim to uncover 

the possibilities latent in the detailed study 

of bookbinding and focus mainly on books 

which have been bound between the 15th and the 

early 19th century. Over the past four years, 

courses have taken place in Volos, Patmos and 

LIGATUS 

Thessaloniki. The courses also offer visits to 

important local libraries, both secular and monastic. 

A knowledge of the structure of bindings 

can help conservators, librarians, book historians 

and scholars who work with old books to 

understand the age, provenance and significance 

of bindings for historical research and cataloguing, 

as well as to make appropriate decisions 

regarding conservation treatments, housing and 

access. Descriptions of bindings are also important 

for digitization projects, as they dramatically 

enrich the potential of image and text metadata. 

This is particularly important for collections of 

manuscripts and early printed books. 

LIGATUS AREAS Of PHD RESEARCH 

> The interface of new technologies and creative 

practice 

> Historic bookbinding in Europe, the Middle 

East and the Americas 

> Digital applications to bookbinding and 

conservation 

> Creative archiving 

> Online archiving 

PARTNERS AND COOPERATORS 

Ligatus cooperates with many institutions, 

notably including: 

> School of Advanced Study, University of London 

> Centre for the Study of the Book, Bodleian 

Library in Oxford University 

> Museum of Byzantine Culture in Thessaloniki, 

Greece 

> Institute of Byzantine Research, Athens, Greece 

> Istituto centrale per il restauro e la 

conservazione del patrimonio archivistico e 

librario, Rome, Italy 

> Wellcome Trust Library, London. 

www.ligatus.org.uk 

A leaf from a twelfth-century manuscript used as the limp, 

laced-case cover of a sixteenth-century German edition 


The uncut tail-edge of the bookblock of a late seventeenthcentury 

German edition, bound in boards with an alum-tawed 

quarter spine with paper-covered boards


CENTRE fOR DRAWING 

A network designed to encourage; creative 

thinking and cross-disciplinary discovery that 

is focused on the scholarly and imaginative 

exploration of the boundaries of drawing. 

The Centre for Drawing is based at CCW, led by 

Professor Stephen Farthing, the Rootstein 

Hopkins Research Professor of Drawing, University 

of the Arts London and a curatorial group 

of research active artists with a special interest in 

drawing from across CCW Graduate School 

and University. 

The centre was originally founded in 2000 at 

Wimbledon College of Art, it then became a University 

of the Arts London research centre in 

2008. By 2011 the centre had developed a secondary 

school curriculum and award in drawing, 

launched of a cross-disciplinary MA in drawing 

and built a focused network of members who 

regularly met to develop projects. By Spring 2011 

the core membership realized it had achieved 

many of its founding goals and decided that the 

development of a specialist international 

knowledge sharing forum should be its priority. 

In September 2011, with the development 

of a specialist international knowledge sharing 

forum in mind, a Blog was designed to serv- 

ice communication between network members 

and as a means of advertising and supporting 

the focused events organised each year. 

On 3 November 2011, 2–4pm a Symposium will 

be held to coincide with an exhibition of contemporary 

drawing organized by CCW Professors 

Paul Coldwell and Stephen Farthing. The 

exhibition Interpretation/Translation will take 

place from 4 November – 9 December 2011 at 

Wimbledon College of Art Gallery. 

The 28–30 March 2012 will see the Conference 

Drawing Out 2012, the second in a series 

of creative collaborations organized by RMIT 

University, Melbourne, Australia and Univer- 

sity of the Arts London. Both collaborations 

centre on the exploration of trans-disciplinary 

approaches to drawing. The first day of the 

Conference will be held at The National Gallery, 

Trafalgar Square, London with speakers 

from RMIT, University of the Arts London and 

Carnegie Mellon University (Pittsburg, 

United States). The following two days will take 

place on University of the Arts London sites 

where the Conference will explore ways in which 

drawing functions as a part of literacy with 

particular reference to: drawing and notation; 

drawing as writing; drawing, recording and 

discovery. 

For more information: http://thecentrefordrawing. 

myblog.arts.ac.uk 

Stephen farthing, Drawing Out 2012, part of The Centre for Drawing, crayon on paper, 2011 


BRIGHT 

PUBLICATION 

SERIES 

130 BRIGHT 1: CCW GRADUATE SCHOOL LAUNCH DIRECTORY 2009 

131 BRIGHT 2: PARADE 

132 BRIGHT 3: THE CURRENCY Of ART 

133 BRIGHT 4: GRADUATE SCHOOL DIRECTORY 2010/11 

134 BRIGHT 5: RELAY 


130 

… The effective academic and structural alliance 

between Camberwell, Chelsea and Wimbledon colleges 

(CCW), has created an opportunity for a number 

of new and innovative developments in The University 

of the Arts London and more broadly within the sphere 

of arts education. The creation of the CCW Graduate 

School is our first major initiative and reflects an 

academic vision that is predicated on profiling and celebrating 

the conditions and ethos that characterize these 

three specialist art colleges. The rationale of the 

Graduate School is founded upon the repu tations and 

strong traditions in all three colleges for a well- 

established, high quality, postgraduate provision and 

mature research cultures that are equally comfortable 

and experienced in support ing practice-led and 

theoretical-based research in art and design areas. 

What the Graduate School brings to the current 

postgraduate and research provision is a set of 

challenges and questions that address the relationship 

of research to the broader academic and cultural 

communities, and an assertion that consideration is 

given to a broader thematic context that reflects issues 

of our time that in turn influences our practices. 

There are two key aspects of the Graduate School 

that define its distinctiveness: the first is a commitment 

to create and maintain a direct relation ship between 

research-focused activity and teaching, and a requirement 

that all research staff, our professors, readers and 

fellows in particular, play an active role in teaching 

and supervision, and that their research forms a crucial 

aspect of our student learning experience. The second is 

the commitment to providing a series of overarching 

thematic reference points that form a catalyst for cross- 

disciplinary exchange and collaboration, and as a 

means of responding to broader social and cultural 

agendas that transcend subject-specific concerns. In this 

respect for the coming year, we have identified the 

three areas of Climate Change, Identities and Technologies 

as themes that will be explored in our 

Graduate School Festival and at other points during 

BRIGHT 1: 

CCW GRADUATE SCHOOL 

LAUNCH DIRECTORY 2009 

the year when we will be bringing together our 

research communities and external partners 

in focused projects and events. … 

Excerpt from the ‘Welcome Note’ 

by Prof. Chris Wainwright, Head of Colleges 

Bright 1: CCW Graduate School Launch Directory 2009 

Editor: Chris Wainwright 

Assistant Editor: Kate Sedwell 

Editorial team: Prof. Oriana Baddeley, Linda Drew, 

Kate Sedwell 

Specifications: 272 pages, softback, 4 colours throughout 

ISBN: 978-9-9558628-1-6 

Publication available online from: 

http://www.chelsea.arts.ac.uk/ccwgraduateschool/ 

archivesandresources/brightpublications 

Critical Practice (CP) is a cluster of artists, researchers, 

academics and others supported by the CCW Graduate 

School. 

Initiated in 2005, CP explores new models of 

creative practice and seeks to engage these models in 

appropriate public forums, both nationally and 

internationally. We have participated in exhibitions 

and seminars, conferences, film, concert and other 

event programmes. We have worked with archives 

and collections, publication, broadcast and other distributive 

media, while actively seeking to collaborate. 

CP has a long standing interest in art, and public 

goods, spaces, services and knowledge, and has 

generated a track record of producing original, participatory 

events. 

Chelsea College of Art and Design has a large, 

contemporary courtyard at its heart: the beautiful 

Rootstein Hopkins Parade Ground. We collaborated 

with Polish curator Kuba Szreder to develop a project 

that would explore the diverse, contested and vital 

conceptions of being in public. 

We created a bespoke, temporary structure 

designed by award-winning Polish architects Ola 

Wasilkowska and Michał Piasecki, within which we 

produced a landmark event in an amazing location 

with a host of international contributors. 

PARADE challenged the lazy, institutionalized 

model of knowledge transfer whereby amplified 

‘experts’ speak at a passive audience. Our modes of 

assembly, our forms of address and the knowledge 

we shared were intimately bound. 

This is a document of the evolution of PARADE, 

and part of its legacy. 

Introduction by Critical Practice 

BRIGHT 2: 

PARADE 

Bright 2: PARADE – Public Modes of Assembly 

and forms of Address 

Editor: Neil Cummings and Critical Practice 

Specifications: 176 pages, softback, sections of 2 and 

4 colours 

ISBN: 978-0-9558628-3-0 




131

132 

… The most recent stage in this ongoing collaboration 

[between CCW and ING] focuses on The Baring 

Archive. For this phase, research staff from CCW’s 

Graduate School have been joined by invited colleagues; 

the artist, Professor Lubaina Himid (University 

of Central Lancashire), and the art historian, 

Dr Geoff Quilley (University of Sussex). The group’s 

investigations have led to illuminating juxtapositions 

between newly created works and the original 

collection, shown in May 2010 at ING in an exhibition 

entitled re:SEARCHING: Playing in the Archive. 

They have also drawn attention to the construction of 

the archive itself, raising questions about the underlying 

choices of what has been considered important to 

preserve and the methods used in conserving it. By 

uncovering hidden narratives embedded in the artefacts, 

new avenues of interpretation have opened up, 

directly relating to the activities of Barings over its 

long and fascinating history. The notion of ‘playing’ 

in the archive, and the desire to make historical 

evidence physically present, were important to all the 

researchers engaged in the project and involved quite 

different methodologies to those employed by most 

financial and social historians. The Currency of Art 

celebrates the current phase of the collaboration and 

looks towards its potential developments. It should 

be seen as a catalyst to provoke debate across the arts, 

curatorial practice, finance and banking about the 

values underpinning these relationships as they were 

formed in the past, and as an invitation to speculate 

about their possible shape in the future. … 

Excerpt from the Introduction 

by Prof. Eileen Hogan 

BRIGHT 3: 

THE CURRENCY Of ART 

Bright 3: The Currency of Art 

Editorial team: Prof. Orianna Baddeley, Prof. Jane Collins, 

Prof. Stephen farthing, Becky Green, Prof. Eileen Hogan 

Specifications: 80 pages, softback (Swiss brochure), 

4 colours throughout 

ISBN: 978-0-9558628-5-4 




… Our research activities are well-established, diverse, 

specialist and grounded in the broad portfolio 

of art and design subjects represented by our taught 

course programmes. They frequently offer new and 

challenging ways of thinking about how specific 

disciplines can share common concerns and questions. 

Issues surrounding the practice, theoretical and 

historical contexts of Fine Art, Design, Conservation, 

Theatre and Performance are developed and interrogated 

through a focused research approach of contemporary 

relevance that leads to tangible outcomes 

and impact. 

The Graduate School programme hosted by CCW, 

along with the activities of research centres and 

networks, provide a rich calendar of events to inform 

and enhance the broader course and college-based 

activities. This echoes our commitment to ensuring that 

our individual and group research activity has a 

direct impact within the colleges as well as externally. 

We are particularly interested in research proposals 

that address individually, collectively or in tandem 

the four current Graduate School themes of Social 

engagement, environment, Identities and Technologies. 

The identification of a number of key thematic lines of 

enquiry is primarily intended to identify a context over 

and above individual research interests, where there 

may be some common ground and a space for 

cross-disciplinary dialogue. The themes also reflect 

a grow ing collective awareness amongst our 

research commu nities for identifying some of the more 

urgent social, political, economic and cultural 

agendas of our time, and the need to address them 

through innovative and creative responses. … 

Excerpt from ‘Research at Camberwell, Chelsea 

and Wimbledon’ by Prof. Oriana Baddeley 

BRIGHT 4: 

GRADUATE SCHOOL 

DIRECTORY 2010/11 

Bright 4: Graduate School Directory 2010/11 

Editorial team: Chris Wainwright 

Assistant Editor: Becky Green 

Editorial team: Prof. Oriana Baddeley, Becky Green 

Specifications: 136 pages, softback, 4 colours throughout 

ISBN: 978-1-906203-43-6 




133

134 

BRIGHT 5: 

RELAY 

… Working with Masters students from three courses 

(MA Art Theory, MA Curating and MRes Arts 

Practice), we set up a series of relay teams, with each 

instructed to pass on a message – an image, an object, 

a citation, a viewpoint – between team members, oneto-one-to-one. 

each team focused on one of four themes 

chosen by the group as a whole: Identity Forma tion; 

Spaces and Spectators; Art and Society; Recreating 

Histories. The themes engaged with current preoccupations 

in contemporary critical practice in the visual 

arts. Identity Formation relates to questions of 

subjecti fication, which have held centre stage courtesy 

of the French post-structuralist schools – those of 

Foucault and Derrida, in particular, as well as of their 

German predecessors, Nietzsche and Schopenhauer. 

Our relay team returns us to this lineage, releasing 

the potential of the image as both catalyst and interruption. 

In Spaces and Spectators, the message gets 

spectacular ized. The move is less along the trajectory of 

Baudrillard and Virilio, with their emphasis on the 

technology of the screen. Rather, with their attention 

to the materi ality of paper, the action of turning pages 

and the spatiality of folds, Spaces and Spectators 

brings us back to the scene of reading and the technology 

of the book. Art and Society opens the text out 

into the specificities of our contemporary geopolitical 

context. West Asia, North Africa, Southern europe and 

the global natural environment become the centre for 

an email relay that demonstrates the way that intelligence-gathering 

is based on the topography of messages 

sent. Art and Society reminds us that the question of 

‘who is sending messages to whom?’ remains the basis 

of intelligence-gathering. It provides us with the space 

to adjust our perspectives based on the information 

that we receive. Recreat ing Histories brings us back 

to the letter – the text of history and the words of 

memoriali zation. The way that place and memory sit 

alongside one another brings the series of relayed 

messages to an end. … 

Excerpt from ‘Don’t Shoot the Messenger: 

An Introduction to Relay ’ 

by Dr David Dibosa 

Bright 5: Relay – Circulating Ideas, March–May 2011 

Editor in Chief: Prof. Chris Wainwright 

Editorial team: Dr Eleanor Bowen, Dr David Dibosa, 

Becky Green, Bruno Ceschel, Dr Isobel Whitelegg 

Specifications: 96 pages, softback (exposed binding), 

4 colours throughout 

ISBN: 978-0-9558628-6-1 



archivesandresources/brightpublications

CCW GRADUATE SCHOOL | DIRECTORY 2011/12 

Editor: Chris Wainwright 

Assistant editor: Becky Green 

Editorial team: Prof. Oriana Baddeley, Becky Green 

Thanks to Laura Lanceley 

Copy editor: Colette Meacher 

Design: Atelier Dreibholz, Paulus M. Dreibholz and Sunny Park 

Printing: Holzhausen Druck GmbH, Austria 

Published by: CCW Graduate School, 

16 John Islip Street, London, SW1P 4JU 

This title was published as part of the Bright series of 

publications produced by CCW. 

ISBN 978-1-908339-00-3 

© 2011, CCW Graduate School, and contributors

ISBN 978-1-908339-00-3

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