56 STUDENT PRIZE WINNER, BRC NUCLEUS COMMISSION ANDERSON Murray Murray Anderson, On Not Having a Head, mixed media, variable dimensions, <strong>2011</strong> I specifically chose to apply to and study on the MA Fine Art at <strong>Camberwell</strong> because <strong>of</strong> its individ- ual character, location, size, philosophy and success within both the CCW Graduate School and the broader post<strong>graduate</strong> provision in the capital. My expectation <strong>of</strong> 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 <strong>of</strong> 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 <strong>of</strong> the emerging and vibrant South London arts scene and during my first year <strong>of</strong> 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 <strong>of</strong> concerns including audience, the practicalities <strong>of</strong> a public commission and the role <strong>of</strong> art in joining up subjective experience. Furthermore, the Nucleus’ location in South London relates to the <strong>Camberwell</strong> 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 pr<strong>of</strong>essional 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 <strong>of</strong> the many talented and dedicated Pr<strong>of</strong>essors, Readers and Researchers within our CCW Graduate School, we are able to <strong>of</strong>fer an exciting and rigorous experience for our research degree students. Our research activities are frequently grounded in the portfolio <strong>of</strong> art and design subjects represented by our taught Masters programmes. They <strong>of</strong>fer new and challenging ways <strong>of</strong> thinking about how specific disciplines can share common concerns and questions. Issues surrounding the practice, and the theoretical and historical contexts <strong>of</strong> Fine Art, Design, Conservation and Theatre are developed and interrogated through a focused re search approach <strong>of</strong> 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 <strong>of</strong> Social Engagement, Envi ronment, Identities and Technologies. The themes reflect a growing collective awareness amongst our research communities for identifying some <strong>of</strong> the more urgent social, political, economic and cultural agendas <strong>of</strong> 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 <strong>of</strong> theatre, particu larly the investigation and redefinition <strong>of</strong> the limits <strong>of</strong> 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 <strong>of</strong> pr<strong>of</strong>essional standing, the minimum requirement is an upper second-class Honours degree or equivalent academic pr<strong>of</strong>essional 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 pro<strong>of</strong> <strong>of</strong> 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 <strong>of</strong> work (usually in CD or DVD format) in support <strong>of</strong> your application. Applications will be reviewed by a team <strong>of</strong> 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 <strong>of</strong> 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 20<strong>12</strong> 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 <strong>of</strong> Video, film, Painting, Sculpture, Digital <strong>Arts</strong>, 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 <strong>of</strong> 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 <strong>of</strong> 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 <strong>of</strong> current CCW academic staff engaged in research degree supervision in CCW. This list is updated on an annual basis in relation to the matching <strong>of</strong> supervisory expertise to enrolled research students. 59 fAURE WALKER JAMES, Painting, Digital <strong>Arts</strong>, Drawing and Criticism. fORTNUM REBECCA, Painting, Documentation, Visual Intelligence and feminism. GARCIA DAVID, Tactical Media – the Impact <strong>of</strong> the Rise <strong>of</strong> Small-Scale DIY Media and Tools and Networks in Art, Social and Political Activism, and the Rise <strong>of</strong> New Social Movements. HOGAN EILEEN, fine Art, Painting, Portraits, Book <strong>Arts</strong>, 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 <strong>Arts</strong>, 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 <strong>of</strong> Textiles Within Interiors, Textile Design and Production With an Environmental Agenda, and Addressing Design Problems. QUINN MALCOLM, Critical Practice. SANDINO LINDA, History and Theory <strong>of</strong> the Applied <strong>Arts</strong>, the Role <strong>of</strong> Narrated Life Stories, and Identity formation <strong>of</strong> Practitioners in Creative Industries. SANDY MARK, Haptic Technologies Within Conservation Training, Properties <strong>of</strong> 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 <strong>of</strong> 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.
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