Foundation Show 2017, 18-21


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Friday 5 May, 10.00 – 7.00
Saturday 6 May, 10.00 – 5.00


The Art School is delighted to be participating in London Craft Week for a second year.

On 5-6 May, we will open our doors for our second Historic Carving Open House, free and open to the public. All are welcome! Events feature:
– Gilding demonstrations
– Open woodworking studios
– A chance to try your hand at stone carving
– Special demonstrations by visiting specialists from the Tokyo University of the Arts Historic Sculpture Conservation Lab
– A reunion for Historic Carving Alumni on Saturday from 2.30 to 5.00 pm (RSVP to

A centrepiece of the weekend will be a live carving competition, in which students have 11 hours to carve an original work on the subject ‘Overground/Underground: London Stations Past and Present’.

Please click here for a programme with detailed timings.

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In their first visit to the UK, master woodcarvers and conservators Professor Yabuuchi Satoshi, Dr Kojima Hisanori and Lee Pin-Yi, will be collaborating with the Art School’s own expert carvers and conservators on a number of events. The trio are specialists in the research, analysis, conservation and historic reconstruction of Buddhist carvings from the Nara to Edo periods and are based at Tokyo University of the Arts’  Sculpture Research Lab.  They work with Japan’s most important museums and Buddhist temples on conservation projects and new commissions. For this visit they will be bringing their tools and examples of their work, including Dr Kojima’s carving of the Miroku Bosatsu (see below).

Events during their visit include:

Saturday 6 May, 11.00-15.30
London Craft Week presentation and demonstration at City & Guilds of London Art School. Alongside the various events run by our own Historic Carving department, the TUA experts will be giving demonstrations and presenting some of their exquisite work.
Free public event open to all; more details can be found here.

Monday 8 May, 13.30-4.30
Symposium at the Victoria & Albert Museum
with presentations considering the different philosophical, ethical and technical approaches to conservation in Japan and the UK through the exploration of specific case studies.
This is a free event with limited places that will be of interest to anyone working with or studying the conservation of cultural objects. To book a place please click here.  Places are now full for this event. If you are keen to attend please contact for a place on our waiting list. If places become available we will contact you directly.

Wednesday 10 May, 15.00-18.00
Round Table discussion on the Status of Craft in Japan and the UK at City & Guilds of London Art School .
This is a free event with limited places available. Please contact us directly if you would like to attend:

Please note that all events will be recorded.

Supported by the Daiwa Anglo Japanese Foundation, The Great Britain Sasakawa Foundation and Toshiba International Foundation.

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We’ve been doing a bit of spring cleaning here at the Art School and have spruced up our social media!

You can now follow, like and connect with us across Facebook, Instagram and Twitter using our brand-new handle and hashtag on all platforms:

Connect with us to hear about the latest happenings from Art School staff, students and alumni, find out dates of upcoming events and exhibitions, and much more!

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City & Guilds of London Art School is delighted to announce that 21 recent graduates have been selected by Collyer Bristow Gallery’s independent curator, Rosalind Davis, a graduate of the RCA, and the firm’s Gallery Committee for inclusion in this year’s 2017 Graduate Art Exhibition and Award, selected from artists graduating with a BA or MA in Fine Art over the past three years. The included graduate artists are Jonathan Armour, Diane Chappalley, Lorraine Fossi, Jane Hayes Greenwood, Caroline Jane Harris, Oliver Hickmet, Amanda Houchen, Benedict Hughes, Kate Lennard, Emmanuelle Loiselle, Alice McVicker, Amanda Mostrom, Graham Murtough, Louise Pallister, Diane Rogan, Celia Scott, Flora Scrymgeour, Antonia Showering, Odilia Suanzes, Dina Varpahovsky and Fouzia Zafar.

The winner and commendataions of this prestigious award were announced by guest judge Iwona Blazwick, Director of London’s Whitchapel Gallery, at the Private View on 21 February. The first prize and winner of £2,000 was Emmaneulle Loiselle, with all three commendations also going to City & Guilds of London Art School alumni: Katie Lennard, Graham Murtough and Lorraine Grassi. Blazwick commended all participants, noting that without the next generation of talented artists such as this, “Whitechapel Gallery would not exist”.

Rosalind Davis comments: “It has been a fascinating process to select works from a wide range of new graduate artists and see the themes and concerns that resonate, overlap or are diverse in this illuminating snapshot.

Collective themes that have emerged are the confrontation and rejection of throwaway consumerism, mass consumption and urban development including the brutalism of Motherhood, environmental and wildlife degradation, as well as the acceleration and pressures of 21st Century value systems in modern day life.

As a result, the selected works show a sensitive materiality; a desire for the experiential process of making and of artistic and cultural heritage. There is a refreshing interest in image making and the resilience of painting, drawing and sculpture. The works we have selected show a great level of craft, ideas, integrity and potential.”

More about the exhibition can be found here.

Huge congratulations to all the artists involved!

Collyer Bristow Loiselle

Emmanuelle Loiselle

Collyer Bristow Lennard

Kate Lennard

Collyer Bristow Murtough

Graham Murtough

Collyer Bristow Hayes Greenwood

Jane Hayes Greenwood

Collyer Bristow Hickmet

Oliver Hickmet

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The Art School is pleased to welcome our 2017 Artists in Residence, who work in studios on our Kennington site and exhibit alongside our MA Fine Art Graduates in their September show.

Jonny Green is a London-based artists with a career spanning nearly three decades. His work has been recently shown at the Saatchi Gallery, Blain|Southern, and the Royal Academy Summer Exhibition, among other venues. Green makes paintings of sculptures: Mad-men rendered crudely in plasticine and electrical tape or abject-looking re-animated brains adorned with filthy paper flowers and grubby clockwork parts. Each depicted object/character seems to be demanding recognition and validation from the viewer in spite of their manifest flaws, they seem to be trying to adorn themselves in an attempt to make their appearance more palatable. In contrast to the gleeful, almost slapdash making of the sculptures, their subsequent rendering in paint is meticulous. Green explains this approach as ‘an attempt to dignify and document or give testament to something that seemingly lacks dignity or a voice’. The resulting paintings are both still-life and portrait, animate and inanimate.

Jessie Makinson has participated in numerous solo and group shows around the UK. Her practice focuses on multi-figure paintings of women as a reference to the representation of women in art history and celebrity pop culture. The paintings are dense with recollections and impressions, questioning with humorous and often capricious proposals. The figures are difficult to separate from their place and relation to the rooms and spaces they inhabit. The eye is drawn first to their rich intricacies, before the planes surrounding them tilt and pull away. Scale affects pace, and the act of looking transitions between recognition and interpretation as it scans both the scene and its painterly textures.

Jonny Green, Live at the Witch Trials, oil on canvas on board

Jessie Makinson, Little hole, oil on canvas

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This February, our students, staff and alumni are playing a prominent role in the Georgian Group’s current 80th Anniversary exhibition.

Entitled ‘Splendour! Art in Living Craftsmanship’, the exhibition celebrates traditional Georgian crafts and their place in the 21st century in the Georgian Group’s beautiful Fitzroy Square townhouse.

As well as having pieces included in the exhibition, City & Guilds of London Art School is proud to be a part of this showcase in the following ways:

– ​Saturday 11 February, 12 – 3 pm: Demonstrations by recent graduates Clunie Fretton and Felix Handley (open to all)
– Saturday 18 February, 12 – 3 pm: Demonstrations by current stone and woodcarving students (open to all)
– Thursday 23 February, 7 pm: ‘All Set in Stone’: A lecture by Head of Historic Carving Tim Crawley (booking required through the Georgian Group)

More details can be found in the brochure below and on the Georgian Group’s website.



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City & Guilds of London Art School is a small-scale ‘not for profit’ Higher Education institution based in Kennington. Founded in 1879, the Art School fosters excellence in its specialist subjects with courses at postgraduate and undergraduate levels in contemporary Fine Art, Historic Carving and Conservation of cultural objects, alongside a thriving Foundation Diploma in Art & Design. The 230 students who study with us benefit from generous studio, workshop and other learning facilities as well as high levels of contact time with tutors and technicians, all of whom are active professionals in their field.

The Art School is seeking to appoint a new Site Manager to work at our two sites on Kennington Park Road, and the neighbouring Old Vauxhall Telephone Exchange building. The role is varied and encompasses Health & Safety, security and buildings’ management and ensuring that the site management aspects of public facing events are carefully planned and supported. In recent years, the Art School has embarked on a schedule of building works and enhancements, with two phases of our Masterplan now successfully concluded. Phase 3, the renovation and partial re-development of our Victorian studio buildings, is at an early planning stage and the post holder will be fully involved in this and subsequent developments.

This is a 0.8 FTE post, working an average of four days per week. The post holder will work closely with senior management and faculty, and direct a small team of site and workshop technicians.  This is an exciting time to join the Art School, and requires a practical, well organised, self-motivated, adaptable and resilient individual with a ‘can-do’ attitude as well as technical and inter-personal skills. Candidates will have at least three years’ varied and hands-on experience of all aspects of site maintenance and health & safety management, potentially in the art & design / higher education sectors. They will also, ideally, have been involved in the planning and delivery of events and building projects.

If you are interested in making a vital contribution to the smooth running of the Art School as an exemplary creative learning and working environment please contact to receive an application pack.

For further information about the Art School visit

Application submission deadline: 5pm on Thursday 9 February 2017


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Second-year Woodcarving student Will Barsley continues to discuss his studies in the third article of his series ‘The Student Woodcarver’, this time speaking of his love of the Gothic era and providing tips for concentrating while carving. These articles provide a wonderful insight into life at the Art School as well as illuminating the challenges and rewards of woodcarving.

Have a read here: The Student Woodcarver Article 3.

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Here at the Art School, as we look forward to much activity in 2017, we would like to use this opportunity to congratulate our talented alumni on their impressive accomplishments. Here is a snapshot of our graduates’ 2016 successes; we greatly look forward to seeing what they achieve in the year to come!

Jan Bulajic

JANUARY: Jelena Bulajic features in Champagne Life at the Saatchi Gallery, which highlights the work of fourteen female artists


FEBRUARY: Takayuki Hara has a solo exhibition at the Manggha Museum of Japanese Art and Technology in Poland


MARCH: Rene Gonzalez wins the Clyde & Co Blank Canvas Commission, while the exhibition features seven more fine art & carving grads


APRIL: Oliver Clegg’s particular brand of melancholic humour is profiled in At Large Magazine


MAY: The tenth edition of the XL Catlin Art Prize features Jane Hayes Greenwood among its finalists


JUNE: William Bock, Sophie Mason and Mark Morgan Dunstan speak at the opening of the new Tate Modern


JULY: The student-carved Beakhead Arch at ‘On Form’ at Asthall Manor, alongside the work of alumni Steven Atkinson and Joshua Locksmith


AUGUST: An exhibition of Art School alumni carving and lettering opens at the Lettering Arts Centre in Snape Maltings


SEPTEMBER: Rachel Gadsden creates the painted glass house and animation for the Rio Paralympics Torch Lighting Ceremony


OCTOBER: The most recent selected Conservation alumni embark on the Venice in Peril internship, a long-established partnership with the Art School, working on San Giorgio Maggiore


NOVEMBER: The first Woolwich Contemporary Print Fair includes prints by 24 Art School alumni, staff and students


Pipeline Projects, a new arts space run by Lorraine Fossi, Flynn Murray and James Tabbush, opens its doors in Putney.

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We are pleased to reproduce the obituary to Tony Carter in December’s issue of Art Monthly written by Alister Warman, trustee of the Art School.

TONY CARTER 1943-2016

After visiting the Imperial War Museum to see the exhibition ‘Tony Carter – Sculptures and Reliefs 1984-91’, Richard Hamilton expressed pride in the achievement of his former student, remarking on how the show had lingered in his mind. ‘His work’, Hamilton concluded, ‘is very cerebral.’ Few would dispute this summary of how Tony Carter went about things. Whether making art or talking about art – his own or other people’s – his approach was typically measured, deeply thoughtful and prolonged. His deliberations could be very extensive indeed; what one critic described as ‘the ultra­painstaking nature of his procedures’ could result in a work requiring three years to reach completion. One such example is his double image of a Zen archer. Its title reads: Arc – the mould and cast of a warp implied by the strain of a bow, 1973-75. As this title might suggest, Carter’s work, for all that it engaged with methods and means bordering on the pharmaceutical or surgical, was driven by an impulse which was essentially poetic. On the one hand he was concerned with ensuring every component was exquisitely fashioned or engineered, while on the other he was ‘loading the object with as much subjective energy as possible’.

In introducing what, sadly, proved to be his final exhibition, programmed in 2015 at The Cut in Halesworth, Suffolk, Carter wrote: ‘Objects fascinate me, not because they stimulate the urge to possess but because of their capacity to reflect aspects of our sensory and psychological condition. My work typically incorporates “found objects” and aims to represent the ways they exist within an extended context of associations. Some of these are obvious and others less direct but all are projections of the human mind and psyche. In this respect they dispel the idea of “innocence”, be it that of the “observer” or the “observed”.’

Born and raised in Barnsley, and in his youth an accomplished pianist, Carter moved further north to begin his life as an artist: from 1962 to 1966 he was a student in fine art at the University of Newcastle upon Tyne. This was the period when Hamilton was helping make Newcastle one of the most exciting places to study art. Engrossed in his reconstruction of Marcel Duchamp’s Large Glass, Hamilton used it as a vehicle for his teaching, in effect generously privileging students with insights into the sensibilities and minds of two pivotal artists. For Carter the experience was revelatory, proving a lasting influence in the development of his thinking. Among the students who shared this experience and who became lifelong friends were Stephen Buckley and Tim Head.

Establishing himself in London (his small flat in Finsbury Park is remembered by Head as being a sort of ‘temple’) he found exposure for his work through exhibitions such as Young Contemporaries and the Serpentine Summer Show 3, but it was Anthony Stokes – first at Garage, and then at his eponymous gallery in Langley Court in Covent Garden – who brought Carter to wider notice. Although production was necessarily slow, given the exacting circumstances of its making, Carter’s sculpture and drawings featured in several group shows of the 1970s, the British Art Show among them, and in 1983 the Serpentine Gallery organised ‘Tony Carter – Images of subject-object duality 1968-82’. Recognition of the distinctiveness and significance of his art was probably most marked among his fellow artists, and it was around this time that Carter was recruited by Jon Thompson to join the distinguished group who pioneered the Goldsmith’s course. Carter’s work was included in the important 1986 exhibition ‘Falls the Shadow’ at the Hayward Gallery; there followed solo shows at Anthony Reynolds Gallery, in both Cowper Street and Dering Street. In 1990 Carter was appointed Henry Moore Artist Fellow at Kettle’s Yard and Christ’s College, Cambridge, and in 1994 he became a Fellow of the British School at Rome.

For much of his career Carter depended on teaching for his main source of income. As well as at Goldsmith’s, he taught for many years at Norwich School of Art and, for a period, until peremptorily laid off in a round of cuts, together with his wife, the artist Wendy Smith, he was an important inspirational presence at Camberwell. All this experience he brought to City and Guilds Art School where, having been previously head of fine art, he was appointed principal in 1998. For 16 years he devoted himself to securing the academic standing of the school and renewing its creative ambition, while always being sensitive to its special values and ethos; he is credited with having ‘refined, evolved and honed the core spirit’. At the same time as being principal, he continued as leader of the MA programme and brought to his teaching a broad sympathy allied to scrupulous care. Few tutors in an art school can have thought so long and so hard about what an art education should entail.

Art, its meaning, its mysteries and epiphanies – its difficulties – absorbed most of Carter’s life. If always well turned out, usually in black or grey, his lifestyle (hardly the right word) was essentially frugal and austere. Yet, once a year he and Wendy would spend two weeks in a hotel in Wester Ross. They would dine well after walking most of the day. These were especially important times to him.

Always attracted to the vanitas theme in painting, he once exhibited at Anthony Reynolds Gallery a transcription of Hans Holbein’s Ambassadors. ‘My transcription’, he wrote, ‘is a declaration of faith; in the tradition of Art as tactile visual language, in a more holistic world view yet to come and, if we are lucky, in the power of imagination over death.’


Taken from Art Monthly, December-January 2016-2017, with thanks for permission to reprint


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We are delighted to announce that City & Guilds of London Art School was well represented at the 2016 Natural Stone awards, held on 2 December 2016. The Art School received a commendation in the Craftsmanship category for the ongoing collaboration to commission new grotesques for St George’s Chapel, Windsor, and alumnus Tom Nicholls also received a commendation for his gargoyle for Rippon Cathedral.

More information about these biennial awards, which celebrate the best and the brightest projects from around the industry, can be found here.

Congratulations to all those involved!

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The fourth annual study trip to Venice for second-year Historic Carving and Conservation Students took place this year from 4 to 11 November. Students and staff are privileged to stay in the scholar’s accommodation of the Cini Institute, located on the island of San Giorgio Maggiore, across the lagoon from Piazza San Marco. The Cini is a non-profit academic institute created for the study of Venetian art and culture, and the Art School has an ongoing relationship with this internationally recognised centre. We are always privileged to receive a special tour around the monastery buildings that house the Cini, featuring the Palladio cloisters and refectory, and the monumental staircase by Longhena, who also designed the library. Marta Zoetti, Student Services Coordinor and a fellow of the Institute kindly gave of her time and knowledge to us on this occasion.

For the students participating, the visit is an unforgettable highlight of their course, as the city is the perfect venue for the study of world-class architecture and sculpture of all periods, all accessible on foot within a small radius. Venice is particularly rich in woodcarving, and of course also is subject to a plethora of complex conservation issues.

Our experienced team of tutors deliver lectures and guide the students around the city, providing specialised and focused contextualisation that is tailored to the students’ interests and needs. A highlight of the week was a private tour around the recently opened Canova Galleries in the Academia by Dr Roberta Battaglia, Assistant Director, with thanks due to John Millerchip for helping to arrange the visit.

Also fresh on the itinerary this year was a visit to Murano to see the extraordinary woodcarvings in San Pietro Martyrio by Pietro Morando, something of a forgotten Baroque masterpiece.

In contrast to last year’s visit, which was fog shrouded for the entire week, this time we were blessed with glorious sunny weather; the inevitable rain eventually only started just as the group set foot on the final vaporetto homewards.










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TONY CARTER (1943-2016)

It is with great sadness that we announce the death of Tony Carter, Principal of the Art School from 2000 until 2014. Tony passed away on Sunday 13 November at the age of 73.

In his distinguished years as Principal, Tony led the Art School with an acute sense of its very particular ethos and increasingly distinctive position within the fast changing landscape of art education, and firmly established it as the respected institution which it is today. He was a man of profound integrity with an exceptional mind, which he brought to his role. For this and much else, the many students who studied here during his tenure, his former colleagues and trustees will always remember Tony with gratitude and affection.

At this time, our thoughts are first and foremost with Tony’s wife Wendy Smith, and his family and close friends.

There will in time be the opportunity to pay due tribute to Tony the man, the artist, teacher and colleague. In the meantime, the Art School is happy to receive and pass on any messages in Tony’s memory.

Below is a picture of Tony in his studio this past August, which we believe is how he would like us to remember him – as the artist which he was, first and foremost.

Tamiko O’Brien & Magnus von Wistinghausen
on behalf of everyone at City & Guilds of London Art School


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The Art School is seeking a part-time Technician for its thriving Conservation Department. Working 2 days per week during term time, you will assist the Head of Conservation and Conservation tutors in the day-to-day running of the Conservation studios and facilities. As, ideally, a qualified Conservator or a practitioner with relevant experience of working in a studio/laboratory environment you will provide technical support for the BA and MA Conservation courses. Responsibilities will include mentoring students in the use of tools and materials; providing support for teaching and project activity; and studio and lab maintenance. You will also work with the Art School’s Site Manager to ensure that Health & Safety regulations and practices within the Conservation Department are implemented and monitored.

The Art School is committed to high levels of contact time with expert professionals and access to a wide range of specialist resources. This means that besides access to the Conservation facilities students are also supported by the wider technical team with workshop facilities in wood, metalwork, casting, glass and print among other resources. You will therefore be a valued member of both the Conservation Department and the Art School’s wider technical team.

For more information about the post and an application form please email
For more information about the Conservation department please visit

Application Deadline: 25th November 2016 by midnight                                                                            

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Benedict Read (1945-2016)

It is with great sadness that we must announce that Ben Read, who lectured on the History of Carving course since 2012, passed away on 20th October at his home in London.

Ben was a renowned expert in British Victorian and twentieth century sculpture but his scholarly and outside interests were wide-ranging, embracing 20th century Christian art, British sculpture in India, the Cyprus School of Art and Arsenal FC. He taught at the Courtauld Institute of Art, where he was also the Deputy Witt Librarian, until 1990, after which he moved to Leeds University as a Senior Lecturer in Art History. At Leeds he was also Director of the MA Sculpture Studies programme from 1990-1997, run under the auspices of the Henry Moore Foundation. After his retirement in 2010 he became Visiting Research Fellow at the university.

His connection with Leeds ran deeper as Chair of the Leeds Art Collections Fund and a member of the Catholic Church’s Historic Churches Committee for the Diocese of Leeds. On a national level his posts included Chairperson of the editorial committee of the Sculpture Journal and President of the Public Monuments and Sculpture Association (retired).

At the Art School, Ben was a crucial contributor to the Historic Carving course, teaching the History of Carving to second-year students. Speaking on 19th and 20th century monumental sculpture, his measured and unassuming delivery belied the complexity and depth of scholarship communicated through his lectures. His modesty only added to the delight with which staff and students alike were able to learn from his decades of accumulated knowledge.

He will be hugely missed.

Ben’s funeral will take place on Monday 14th November 2016 at 12 noon. The service will be held at The Church of the Holy Ghost and St Stephen
44 Ashchurch Grove, London, W12 9BU. All are welcome.

Viv Lawes

For more information on Ben Read please click here.

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The Art School is seeking applications for a sessional tutor to teach Woodcarving within its thriving Conservation Department. The BA (Hons) Conservation Studies course covers a wide range of 3-D objects in stone, wood and related materials, as well as decorative surfaces.

We are inviting applications from active professional woodcarvers with an extensive knowledge of the history of carving motifs and forms  to contribute to the delivery of one component of the Historical Crafts Module of the 1st year BA (Hons) Conservation Studies course.

Successful candidates will have specialist practical, professional and historical knowledge of woodcarving and some experience of teaching at further or higher education levels. They will be able to engage with students with limited or no experience in craft skills and from a wide range of backgrounds.

The post would be expected to involve approximately 16 days teaching per annum during term time.

The Art School has a particular focus on skills-based teaching and a commitment to cultivate knowledge and curiosity in both the historical and contemporary contexts of our subjects. We are seeking accomplished professional practitioners who can actively and positively engage in and contribute to the Art School’s community.


You will be an active professional practitioner with excellent skills in woodcarving.  Some experience of teaching at BA or other levels will be an advantage. The main purposes of the post are:

  • to act as a member of the teaching team, providing up-to-date knowledge, expertise and experience of professional practice in Woodcarving for historic contexts.
  • to work in collaboration with the Conservation team to support students working towards a range of progression outcomes.

To request the application form please contact

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The Art School is seeking applications for sessional tutor teaching stone conservation for its thriving Conservation Department. The Conservation Studies BA course covers a wide range of 3-D objects in stone, wood and related materials, as well as decorative surfaces.

We are inviting applications from active stone conservator to contribute to the delivery of the stone conservation component of the Conservation Theory and Practice I, II and III Modules of the BA in Conservation Studies course. Ideal candidates will have some experience of teaching and considerable specialist knowledge of stone conservation. They will also possess considerable flexibility and be able to engage with students from a range of backgrounds.

The post would be expected to involve approximately 30 days teaching during term time.

The Art School has a particular focus on skills-based teaching and a commitment to cultivate knowledge and curiosity in both the historical and contemporary contexts of our subjects. We are seeking conservators who can actively and positively engage in and contribute to the Art School’s community.


You will be an active practitioner with an excellent skills and knowledge in stone conservation.  Some experience of teaching at BA or other levels will be an advantage. The main purposes of the post are:

  • to act as a member of the teaching team, providing up-to-date knowledge, expertise and experience of professional practice in Stone Conservation.
  • to work in collaboration with the Conservation team to support students working towards a range of progression outcomes.

To apply and for more information please contact

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We are thrilled that William Barsley, one of our woodcarving students entering his second year at City & Guilds of London Art School, is collaborating with the Guild of Master Craftsmen Woodcarving Magazine on an ongoing series of articles.

Entitled ‘The Student Woodcarver’, the series chronicles William’s studies at the Art School as he turns his passion for carving into a full-time profession, following the various skills learned, challenges, and rewards along the way. Download the first article here: william-barsley-the-student-woodcarver-article-one-issue-152

William’s first article is in Issue 152, with more to follow. Further information about the publication can be found on the Guild of Master Carvers website.

Many congratulations to William; we look forward to following his journey!

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We are delighted to announce that the Lettering Arts Centre in Snape Maltings is currently staging an exhibition of carving and lettering by students and alumni of the Art School’s Historic Carving department. Entitled ‘Making It’, the exhibition demonstrates the range and quality of work produced at the Art School and is a wonderful opportunity to showcase the school further afield.

More information can be found at the Lettering Arts Trust website. The exhibition is on through 6 November 2016 and is open Friday through Monday, 11am to 5pm.

Tim Crawley and Sarah Harrison

Tim Crawley and Sarah Harrison

Exhibition installed in Lettering Arts Centre

Exhibition installed in Lettering Arts Centre

Ayako Furuno

Ayako Furuno

Felix Handley

Felix Handley

Lawrence Dennison

Lawrence Dennison

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