Art School history talk 7 September 2022
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Join us as we delve into the 160-year-history of the The Art School during the 2022 Lambeth Heritage Festival.

 “Seven turkeys, five sucking pigs, and three miniatures” – A History of Lambeth’s own Art School,  City and Guilds of London Art School…

The Art School’s Director of Resources and Operations, Nick Rampley, who has recently completed an MA in Public Histories, will be giving a talk entitled  “Seven turkeys, five sucking pigs, and three miniatures” – A History of Lambeth’s own Art School,  City and Guilds of London Art School…

This illustrated talk tells the story of City & Guilds of London Art School from its 1854 foundation as the Lambeth School of Art, providing instruction to working artisans, to its present day place as a highly regarded, distinctive, higher educational institution.

Entry is free and everyone is very welcome!

DATE: Wednesday 7 September 2022

TIME: 3.30pm-4.30pm

VENUE: City & Guilds of London Art School, 124 Kennington Park Road, London SE11 4DJ

TICKETS: Book your free place at https://beta.lambeth.gov.uk/events/seven-turkeys-five-sucking-pigs-three-miniatures-history-lambeths-own-art-school-city-guilds-art

Whilst you are with us, you may also like to visit our MA Show 2022 which takes place in the Art School’s studios on Cleaver Square and Kennings Way from Saturday 3 September until Sunday 10 September. Please check our event page for open times.

We look forward to seeing you at the Art School soon!

We are not able to accommodate dogs.

There is no cloakroom facility.

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The Foundation Show 2022 is a celebration of the outstanding work of our 2023 graduates studying Foundation Diploma in Art & Design.

During this year of exploration, students interrogate and extend their art practice and create an impressive body of work, displayed in the end of year show.

Further details of Foundation Show 2023 will be added nearer the time.

VENUE

100 Kennington Park Road
Kennings Way Entrance
London SE11 4EF

Join our mailing list if you would like to keep updated and we will send you invitations for our 2022 Degree Show and MA Show.

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Two second-year BA (Hons) Conservation students are set to take part in a new conservation project at ‘Gerry’s Pompeii’, the London home of artist Gerald Dalton. The project, due to take place when lockdown measures allow,  follows a successful campaign led by Dalton’s friends and family to secure funding to preserve the site specific collection of works left in his home after he passed away in August 2019, and open it to the public as a house museum.

Part of the extensive collection at Gerry’s Pompeii

Gerald Dalton was a prolific artist who made sculptures, models and other works mainly focusing around his interest in British history. Inside his flat, the body of work includes models of buildings in a variety of materials (wood, plastic, paper, metals, textiles) and found objects; small scale, mass produced sculptures that Dalton painted and modified; and framed works, mainly on paper, that he augmented and changed.  Painted concrete sculptures stand in the garden and along the towpath of the Grand Union Canal. These are sited along a wall decorated with tiles, pieces of mirror, found objects and other materials.

Monitoring the visible light falling on a framed print with an environmental monitor 

Second-year Conservation students, led by Art School Tutor and stone conservation expert, Jennifer Dinsmore, recently conducted a thorough conservation assessment of the site. The detailed assessment included material identification and observations to help understand conservation risks such as fading and chemical breakdown caused by exposure to light, or mould growth due to high moisture levels. It also involved monitoring the relative humidity, visible light and ultraviolet light at the site using specialist monitoring equipment. Visual assessments were made about the condition of some of the objects, the garden and of the building interiors, and risks from increased visitor access were considered. The group identified a priority list of treatments to minimise further damage to the site and objects, and noted the need for an ongoing maintenance plan for the building and the collection.

Conservation students, Cody Cochrane and Louise Davison, will join the team at the site to take part in a range of collection care measures and carry out environmental monitoring.  Louise explains the conservation challenges that lie ahead and what she hopes to learn from the assignment:

As a conservator the vast amount of modern materials used in the domestic setting creates an exciting opportunity. There are challenges to the project which involve establishing a system of cataloguing, stabilising the collection and assessing a priority rating within the collection. This, however, requires establishing the materials before treatment, through examination, monitoring and observations. As an emerging Object Conservator, the opportunity to be part of a community project that has been fiercely campaigned for, is fantastic. The project has scope to allow me to grow, learn and put into practice the knowledge and skills that have been taught at the Art School.” 

It is hoped that Art School Conservation students can have further involvement with the site in the following academic year. Tutor Jennifer Dinsmore describes the valuable learning experiences students would gain from working on Gerry’s Pompeii:

the conservation challenges presented by this unique collection would provide significant experience in dealing with modern materials, mixed media and understanding how to provide meaningful access to the site. Initially this could include students continuing with the monitoring programme and carrying out detailed condition assessments of the objects and could involve students on the existing Stone, Wood and Decorative Surfaces pathway as well as our new Books and Paper pathway.”

“One-to-one tutorials are very regular and high quality, with interesting lectures and visiting artists to chat about their work, our projects and areas of discussion. My work has been pulled in many new and exciting ways in the short few months we’ve been here so far.” Madeleine Hills

Our MA Art & Material Histories is a research-based postgraduate qualification that examines the use and meaning of materials in historic, contemporary and emerging art. It can be taken over one year, full time or part time over two years. Through lectures, seminars, technical and explorative workshops, site visits, tutorials and symposia, you will engage with leading experts in order to develop your own area of specialism and material understanding.  Artist and Researcher, Laura White; Co-Founder of the Institute of Making UCL, Martin Conreen; and Associate Editor Art Monthly, Chris McCormack, are a few of the visiting lecturers you’ll work with.

 

Students divide their time between the Art School’s extensive Library, workshops and specialist facilities, as well as site visits and external workshop settings.  Follow this link to take a look around our specialist workshops and shared spaces.

Your research will incorporate theoretical insight with practical, hands-on enquiry and you will be encouraged to use this as the basis to explore the aesthetic, socio-political, philosophical and individual contexts in which various materials exist with the aim of developing a critical understanding of materially-focused artworks and art practices.

Drawing from a wide range of perspectives, the resources of London’s world-renowned galleries and museums, the MA Art & Material Histories will equip you with a specialist knowledge of materiality and its relationship to the field of art and research practice.

“I’m thankful for the different avenues each lecturer, artist and professional on our program has opened, the richness of the material they share but also the whole interdisciplinary vibe of the Art School.” Marie Amoore Pinon

In this Zoom interview, carried out at the height of the Lockdown in the UK, visiting lecturer, Laura White, reflects on some of the many aspects of her teaching on the course.

Read more about the MA Art & Material Histories course content here.

This course prepares you for a career in the arts sector with a broad range of future career paths open to you. You may choose to develop your career as a curator, gallerist, practising artist, writer or academic, or to move to one area of practice to another.

MA Art & Material Histories is validated by Ravensbourne University London.

 

ONLINE OPEN DAYS

To find out more about the course and ask any questions you have, we recommend booking onto an online open day.

Register for MA Art & Material Histories online open day

You are also invited to join one of our weekly student virtual chats, where you can ask current students about the course and student life at the Art School. Register for a student virtual chat here.

Download a pdf of our prospectus here.

Apply to study on this course >

Click on the images below to enlarge them and see more of the course.

We offer BA (Hons) Conservation: Stone, Wood & Decorative Surfaces and BA (Hons) Conservation: Books & Paper (both three-year, full-time courses) and MA Conservation (one year, full time or two years, part time). If you want to study at postgraduate level but need to enhance specific areas of practice or knowledge before embarking on our specialist MA Conservation course,  we can offer you a bespoke plan with our one or two-year Graduate Diploma Arts: Conservation programme.

Our specialist Conservation labs and studios are situated in the Art School’s elegant Georgian building. Our BA (Hons) Conservation: Books & Paper course commenced this year and has been developed in consultation with a number of leading conservation specialists at the Tate, National Archives, Fitzwilliam Museum and College of Arms. A suite of bespoke facilities, specifically designed for teaching this conservation specialism, were completed over the summer, and create an enhanced Conservation area within the Art School.

The Art School has been providing high-quality conservation courses for over 50 years, developing an outstanding reputation within the heritage sector.

Conservation is the meeting-point of science and art – a fascinating blend of state-of-the-art forensics, aesthetics and traditional craft skills. As such, our conservation courses offer hands-on engagement with the craft skills employed in historic manufacturing processes combined with leading-edge scientific analysis and treatment procedures, contemporary conservation practice, humanities and the ethics, laws and regulations of conservation.

On our courses, you’ll benefit from small class sizes, expert tutors (all leading industry professionals) and specialist lab facilities including state-of-the-art laser technology.

Our extensive links with leading museums and private collectors will provide you with high-profile live projects, placements and a professional network. In the last five years, 100% of graduates have been employed in conservation within six months of graduation, including an annual funded internship in Venice. Many of our alumni have gone on to work within national museum and gallery conservation departments including senior conservation posts at Birmingham Museum and Art Collections, Historic Royal Palaces, the Museum of London, the National Trust, Tate, Victoria & Albert Museum, British Museum, Wallace Collection and Westminster Abbey. Graduates are also employed throughout the private sector with firms such as Cliveden Conservation Workshops, Plowden and Smith, Nimbus Conservation, Taylor Pearce Conservation.

Alongside the conservation labs and studios, our conservation students use other specialist facilities at the Art School. Follow this link to take a look around our specialist workshops and shared spaces.

An Art Histories programme is integral to our conservation courses. The programme takes a detailed and materials-based approach to Art History (Antiquity to Modern), The History of British Architecture and The History of Style. Regular guided visits to architectural sites, historic houses and museums will enhance your learning and provide you with an in-depth understanding of the historical and technical factors that affect conservation practice, conservation ethics and policy.

In this Zoom conversation recorded during lockdown, art historian Viv Lawes, talks about her taught sessions on our conservation courses, which particularly focus on the importance of the use of specific vocabularies around art design objects.

BA (HONS) CONSERVATION

During the first two years of the course, you’ll develop a deepening-level of  knowledge and skills in a wide range of specialist conservation topics including ethics, history and philosophy, legislation and preventive conservation approaches. Alongside these subjects, you’ll learn the science of conservation, including materials science and, through hands-on workshops, you’ll explore the historic craft skills used in the manufacturing process of the objects and artefacts you will treat. Engaging in modern conservation techniques, including laser cleaning and technical analysis using IR spectroscopy, UV microscopy and mass-spectrometry, you’ll work on supervised conservation projects with specialist experts, on artefacts loaned from our extensive, heritage network.

This will prepare you to develop your conservation practice further in your final year, when you’ll complete several remedial conservation projects, with supervision from your specialist tutors, involving historical research, material analysis, treatment proposal and application.

Find out more about the BA (Hons) Conservation: Stone, Wood & Decorative Surfaces course content here.

Find out more about the BA (Hons) Conservation: Books & Paper course content here.

MA CONSERVATION

Our MA Conservation course focuses on complex advanced level Conservation projects and sets out to equip graduates to go on to become leaders in the field. It is designed for those who have either an undergraduate degree in Conservation or who have extensive professional experience within a conservation setting. The MA involves high level conservation projects, advanced conservation science, research, ethics and professional practice. The course culminates in the completion of an ambitious practical conservation project accompanied by an extended research and treatment report.

This course will prepare you to work on ambitious, or large-scale conservation projects as a specialist or project leader and to work as an expert in International contexts.

Find out more about the MA Conservation course content here.

Senior Furniture Conservator at the Wallace Collection, Jurgen Huber, is a graduate from our postgraduate Conservation course. In this short video, he explains how studying Conservation at the Art School has benefitted his career.

All Conservation courses are validated by Ravensbourne University London.

ONLINE OPEN DAYS

To find out more about the course and ask any questions you have, we recommend booking onto an online open day.

Register for BA (Hons) Conservation: Stone, Wood & Decorative Surfaces online open day 

Register for BA (Hons) Conservation: Books & Paper online open day 

Register for MA Conservation online open day

You are also invited to join one of our weekly student virtual chats, where you can ask current students about the course and student life at the Art School. Register for a student virtual chat here.

Download a pdf of our prospectus here.

Apply to study  >

Click on the images below to enlarge them and explore the Conservation Department.

“My course is uplifting, invigorating and engaging. We are exploring new mediums and techniques each day. I feel so lucky to be taught by people who are not only such talented artists but also kind helpful and caring.” Idina Moncreiffe, BA (Hons) Fine Art

The bright and spacious fine Art studios are located throughout the Victorian, Georgian and loft-style buildings of the Art School. When you study fine art with us, you’ll have your own personal studio space that you can access five days a week.

We offer BA (Hons) Fine Art (three years, full time) and MA Fine Art  (one year, full time or two years, part-time). This short film gives you an insight into our Fine Art courses.

At the Art School, we don’t believe in a ‘house style’; instead, we will support you to fully explore ways of making and thinking, and develop your own artistic ‘voice’.  All our Fine Art Tutors are practising artists and because we have a generous tutor to student ratio, there’ll always be a tutor on hand to challenge and encourage you.

We are committed to the idea of ‘thinking through making’ with an emphasis on material understanding. In order to interrogate the integrity of materials further, we have developed a discussion series called Material Matters which sets out to explore a specific material through a range of approaches. We are also one of the few places in the UK where you can opt to learn about traditional hand skills – such as historic painting techniques, carving and bronze casting – alongside contemporary ideas, materials and processes.

 

On both the undergraduate and postgraduate fine art courses, you’ll have access to our range of specialist workshops and facilities, including our historic print room, wood workshop, glass workshop and foundry. All facilities are managed by expert technicians who will encourage and support you to develop the skills and confidence to explore processes creatively and independently.

This film gives you a quick tour of our historic print room and the traditional intaglio process we teach.

Take a look around our specialist facilities and shared spaces.

An Art Histories programme is an integral part our fine art courses and we teach it in such a way that it informs, inspires and incentivises. We believe that to become a creative, successful practitioner requires knowledge of historical context – traditional and contemporary – and an awareness of the latest critical debates within today’s visual and material culture.

In this Zoom conversation recorded during lockdown, art theorist and practising artist, Dr Oriana Fox, talks about the different art histories modules she teaches on BA (Hons) Fine Art.

 

The BA and MA Fine Art courses culminate in a final show, which provides an important platform for your work. The Shows are very well received, leading to commissions and future exhibitions, residencies and projects. Due to the coronavirus pandemic, it was not possible to host a physical Show in 2020. However, the impressive work of our 2020 BA Fine Art graduates features in our Online Graduate Showcase – enter here to view their work!

 

BA (HONS) FINE ART

The course structure provides you with the opportunity to develop your work in the wider context of fine art through the specialist areas of painting, sculpture, printmaking and drawing. The emphasis is on supporting and challenging you to develop an approach to art practice based on your own creative interests and ideas, alongside an exploration of questions about what painting, sculpture, printmaking and drawing might be now, given their historical roots, materials, processes and current discourses. Some elements of the course have a specific focus based on your choice of specialism, while group tutorials, live projects and other sessions, such as professional practice, are shared across the Fine Art course.

I find this to be a unique space that is conducive to growing my artistic practice organically and authentically, and in a way that inspires me to steadily interrogate, investigate and express.” Gaurav Gupta, BA (Hons) Fine Art

Find out more about the BA (Hons) Fine Art course content here.

BA Fine art alumnus, Thomas Elliott, graduated in 2015. In this short clip he talks about his experience of the course.

MA FINE ART

On the MA Fine Art you will focus on a deep exploration of your own practice and its research territories and critical frameworks. Whether you are continuing after recently graduating in Fine Art or returning to study after some years as a practising artist (or from working in another related field), our aim is to help you to move beyond your current position, to exceed your expectations.

Our focus is on your individual development, so the course, while structured, is essentially bespoke. With regular, specialist one-to-one tutorial contact; easy access to technical facilities; South London’s burgeoning contemporary art scene and London’s unrivalled cultural heritage on your doorstep; critiques, talks and professional practice seminars by some of London’s most exciting artists; and, of course, the unique, creative cross-pollination of the Art School’s various departments.

“I cannot imagine there being a better place than City & Guilds of London Art School to develop your Fine Art practice. It’s not only the tutors’ depth of knowledge that is impressive but also the amount of time you get to spend with them. Everyone is so helpful throughout the whole school.” Andrew Szczech, MA Fine Art

Find out more about the MA Fine Art course content here.

Kate Dunn graduated from the MA Fine Art in 2015 and recorded this short film to explain how studying on the course supported her practice.

ONLINE OPEN DAYS

To find out more about the course and ask any questions you have, we recommend booking onto an online open day.

Register for BA Fine Art online open day 

Register for MA Fine Art online open day

You are also invited to join one of our weekly student virtual chats, where you can ask current students about the course and student life at the Art School. Register for a student virtual chat here.

All Fine Art courses are validated by Ravensbourne University London.

Download a pdf of our prospectus here.

Apply to study >

Click on the images below to enlarge them and explore the Fine Art Studios.

“It’s been a long time since I’ve felt so enthused and excited about being creative. It’s such a joy I couldn’t be more grateful.” Alex Elinson, PgDip Carving

On our renowned Historic Carving courses, you can specialise in either woodcarving & gilding or architectural stone carving. Our carving students practice in recently refurbished wood and stone carving workshops and studios, which open out onto our courtyard garden.

Our BA (Hons) Historic Carving (in woodcarving & gilding or architectural stone) is a three-year full-time course. Our PgDip carving is 30 weeks full time or 60 weeks part time and MA Carving is 45 weeks full time or 75 part time. If you want to study at postgraduate level but need to enhance specific areas of practice or knowledge before embarking on our advanced MA Carving course, we can offer you a bespoke plan with our one or two-year Graduate Diploma Arts: Carving programme.

This film gives you a great insight into our Historic Carving courses.

The Art School has an unbroken tradition of teaching sculpture, stone and woodcarving since it was founded in 1879. We play a crucial role in keeping alive the skills essential for preserving the world’s most important monuments and buildings, and offer the UK’s only BA (Hons) course in the subject.

Our comprehensive and advanced carving courses will prepare you for a fulfilling career in architectural heritage as a professional carver or as a professional sculptor. Whether your ambition is to create new work in historic contexts or to restore sculpture and ornament, the aesthetic and historical knowledge you’ll gain on your course will be as important as your manual carving skills. You’ll benefit from our extensive industry links and heritage networks, with exceptional live projects and commissions supporting your professional practice. You will be offered unparalleled opportunities to develop your skills and knowledge as well as your professional practice experience and professional networks.

All our Carving Tutors are inspiring, established professionals and our generous tutor to student ratio means a tutor will always be on hand to offer guidance and support, and one-to-one supervision. All courses culminate in a final show which is an important platform to showcase your practice and often leads to commissions and future exhibitions.

Alongside the wood and stone carving workshops and studios, our carving students use other specialist facilities at the Art School. Follow this link to take a look around our specialist workshops and shared spaces.

An Art Histories programme is an integral part our historic carving courses, supporting you to develop your knowledge and understanding of the historical context of wood and stone carving and architectural ornament.

Dr Michael Paraskos delivers a series of lectures entitled The History of British Architecture. During his session, students studying wood and stone carving, as well as conservation, journey with him through the ages and around London’s wealth of historical buildings. In this Zoom conversation recorded during lockdown, he explains why experiencing architecture in person helps students meaningfully reflect on how a building worked as a living space at the time of its creation as well as today.

 

BA (HONS) HISTORIC CARVING

The undergraduate courses begin with simple masonry and carving exercises, enabling you to develop skills in a progressive manner. Over the first two years you will progress to more complex ornamental forms including drapery and the human figure. You’ll develop observational drawing skills, modelling and casting techniques and focus on lettering. Alongside skill development, you’ll study the historical context of wood or stone carving and architectural ornament, giving you an essential insight in to the meaning and significance of historical forms of ornament.

In the final year, you will plan, research and execute major projects within your own chosen specialist area. This is your opportunity to demonstrate your technical expertise, design skills and aesthetic awareness, supported by evidence of your historical and contextual research.

In this short film, alumna Zoe Wilson, who studied Architectural Stone and graduated in 2016, explains what she values most about her time on the course.

“I recently started the BA course studying historic carving & gilding at City & Guilds of London Art School and I couldn’t be happier! It is clear that it is a place that is well loved and run by a very dedicated and passionate team of professionals.” Joanne Grogan, BA (Hons) Historic Carving: Woodcarving & Gilding

Read more about the BA (Hons) Historic Carving course content.

 

PGDIP/MA CARVING

This postgraduate course has an emphasis on practical hand skills, research skills and problem solving, providing an excellent basis for freelance employment within the creative and heritage sectors. If you are looking to become a high-level, professional sculptor, stone or woodcarver, or extend the scope of your current practice, this rewarding course is invaluable. Its depth of focus enables you to produce final projects that demonstrate your analytical ability as well as your mastery of carving and related skills.

Based on your planned and agreed proposal or statement of intent, the program is designed to reflect your individual experience and your aspirations. It is an intensive course involving you in an ambitious self-initiated carving research project. The course is intended to be primarily self-directed and to complement your individual research interests and practical experience.

Read more about the PgDip/MA Carving course content.

ONLINE OPEN DAYS

If you are interested in finding out more about studying on our Historic Carving courses in 2021/22, we recommend booking onto an online open day.

All Historic Carving courses are validated by Ravensbourne University London.

Download a pdf of our prospectus here.

Apply to study >

Click on the images below to enlarge them and explore the Historic Carving Department.

“I feel so lucky to be at a school which simultaneously places student wellbeing and respect for Covid rules at the top of their priority list.” Roberta Bloomer, Foundation Diploma

Apply to study on this course >

Our Foundation Diploma studios and workshops are housed in the expansive, loft-style studio building on Kennings Way, adjacent to our Cleaver Square building.

Our fast-paced and intensive Foundation course offers a focused, inspiring and memorable year which will thoroughly prepare you for further study or professional practice. Our aim is to help you develop the skills you need to go on to be the leading artists and designers of the future. Whether you intend to make an application for a BA course in these subjects, explore a personal interest or take the first step on a career, with this course you will be making an important investment in your future.

At the Art School, we are committed to an intensive and individual approach to teaching and our Foundation Diploma is rare in offering generous teaching and tutorial support from Monday to Friday with an exceptionally high ratio of staff to students. You will find that there are always tutors on site offering advice and running specialist workshops.

In the initial diagnostic phase of the course, you will rotate around the studios taking part in a series of workshops, tutorials and supported studio practice. We will encourage you to explore a range of art and design disciplines including a variety of approaches to drawing, painting, photography, sculpture, design communication, 3D design, printmaking and art and design history and theory.

Find out more about the Foundation Workshops.

This film gives you a quick tour of our historic print room and the traditional intaglio process we teach.

Once you have identified your chosen specialism with the support of your tutor, you’ll be assigned a personal studio space where you will work for the remainder of the course. Workshops and tutorials continue to allow you to test materials and processes and produce a body of work, developing a comprehensive portfolio. You’ll also be supported in extending your documenting, application and interview skills.

As you start to work more independently, you’ll concentrate on a final project in the last part of the year and you’ll exhibit this work in the Foundation Show at the end of course. The brilliant work of our 2019/20 Foundation students is currently exhibiting in our online Foundation Show – enter here to view their work!

Read more about the course content.

Explore the specialist facilities available at the Art School.

The City & Guilds of London Art School is an approved centre for the UAL Awarding Body, Level 4, Foundation Diploma in Art & Design.

To find out more about the course and ask any questions you have, we recommend booking onto an online open day. To register for an online open day, click here.

You are also invited to join one of our weekly student virtual chats, where you can ask current students about the course and student life at the Art School. Register for a student virtual chat here.

Download a pdf of our prospectus here.

Apply to study on this course >

Click on the images below to enlarge them.

In a recent interdisciplinary collaboration, BA (Hons) Fine Art alumna, Katie Lennard, commissioned alumni from two of the Art School’s specialist courses, to work with her on a roof-top installation in the City of London.

Katie was asked to create a sculpture for an office roof garden and chose to work with Stone Carving alumnus Edgar Ward and BA Conservation alumna, and current MA Conservation student, Miyuki Kajiwara, on the project. The stone sculpture is titled The Texel Stone.

 

The Texel Stone is carved in Portland Stone, incorporating elements of gilding in gold leaf, and is installed on a bed of Sedum and surrounded by wild flowers, lavender and olive trees. Cobbles edge the garden perimetre. Describing the project, Katie said: “Using 3D scanning, I developed my idea to interpret and enlarge (by around seven times) a shard of slate that I found at the Blue Lagoon in Abereiddy, Pembrokeshire, Wales in 2015.”

The Texel Stone project illustrates the inspiring creativity engendered by the Art School’s unique blend of specialist disciplines. Katie’s experience at the Art School has given her a deeper engagement with art’s materials and their potential. It has also connected her with the skilled makers who helped her realise the installation she designed. “For this commission, I wanted to use valuable, traditional materials and specialist skills to create an object that would evoke mystery and attract wildlife. Naturally, Portland stone was chosen because of its enormous potential and layered connection with London architecture. Had I not studied BA Fine Art Sculpture at the Art School, I would not have known where to start, or who might help me to achieve my vision.”

Katie chose to work with Edgar Ward who she describes as “seamlessly professional” and Miyuki Kajiwara, whose gold leaf gilding “transcends the work entirely“. She also attributes support from Art School Fine Art Tutor Frances Richardson as a positive influence on the work.

Katie tells us: “The piece is now situated about 100 metres from the Gherkin on a private, wild roof garden at the top of an office building and is named after the company who commissioned the work.”

Open days are currently available for the Art School’s Fine Art, Historic CarvingConservation and Art & Material Histories courses and you can book your place online. For more information about The Texel Stone, please contact Katie at katielen@hotmail.co.uk

 

Photos courtesy of Katie Lennard and Helena Pliotis

 

 

 

 

As part of the Big Draw Festival, on Saturday 26 October 2019, the Art School ran a charcoal drawing workshop centred around the study of plants.  The theme of the Big Draw Festival was ‘Wellbeing and Creativity’ and so our event, entitled ‘The Power of Plants’, focused on the positive effects of both creativity and plants on our wellbeing.

Participants were invited to bring along their favourite house plant and take time out to focus on the patterns and forms in nature, under the expert guidance of Fine Art Tutor and Artist Jane Hayes Greenwood.

The workshop attracted participants with varied experience and involvement in art practice, with one attendee saying, “It’s really nice to be able to attend events like this which are open to the public, as I’m not an art student or work with anything related to art.” Comments from other participants included praise for the Tutor’s attentive teaching style,  welcoming the opportunity to work with an accomplished artist, “The tutor was warm and engaging, she made us feel welcome and unintimidated. She shared new approaches and techniques and allowed us to experiment with these.”  

Artist and Fine Art Tutor, Jane Hayes-Greenwood supporting class participants

Even a brief amount of time spent on a creative pastime has powerful benefits for personal wellbeing. The psychological benefits of indoor plants have been shown to include improved mood, reduced stress, increased productivity and attention span. The physical health benefits include better air quality, reduced blood pressure and fatigue.

This is the second consecutive year that the Art School has participated in the Big Draw Festival.  Last year, the Art School ran a Big Circle Draw class, a traditional drawing class with a twist! Led by Fine Art Tutor and artist, Jack Southern, a group of Art School students and alumni sat in a large circle. With a continuing series of short exercises, each artist took it in turn to play model and every drawing produced by the circle was captured digitally to form an animation that grew as the afternoon continued.

Artist and Fine Art Tutor, Jack Southern, leads the Big Circle Draw workshop

Drawing is fundamental to all courses at the Art School. Under the direction of Diane Magee, our Drawing Studio is at the heart of the Art School’s activities, primarily focusing on the role that observational drawing plays in stimulating and facilitating the development of artists and crafts specialists across our Foundation Diploma and undergraduate and postgraduate degree courses in Fine Art, Historic Carving, Conservation of cultural objects and books and paper, and Art and Material Histories.

We hope to take part in The Big Draw in the future – you can find out more information about our upcoming events here.

 

The Art School is once again taking part in Lambeth Heritage Festival with a historical walk around the Art School, exploring 138 years of creative endeavour.

The event takes place on Saturday 14 September 2019, 12 noon, and is led by Magnus von Wistinghausen, Director of City & Guilds Art School Property Trust. Those taking part will tour the Georgian terrace and Victorian Studios and learn about our history of championing fine art, historic wood and stone carving and the conservation of cultural artefacts.

The Historical Walk takes place during our MA Fine Art Show, 7th -15th September, where visitors can admire an outstanding variety and quality of artwork, that reflects the diversity of skill and technique fostered on the Fine Art programme at the Art School.

This is a free event and participants do not need to book. Anyone interested in taking this wonderful opportunity to glimpse behind the scenes of a real art school and learn its fascinating past, should arrive at the main entrance in preparation for a prompt start at 12 noon.

DATE:  Saturday 14 September 2019

TIME:  12 noon

VENUE: City & Guilds of London Art School, 124 Kennington Park Road, London SE11 4DJ

 

We are thrilled to announce that third year stone carving student, Sue Aperghis, has been awarded a place on the New Medallist Scheme from the British Art Medal Society (BAMS), for her medal design entitled ‘Seven Summits’.

Her design is inspired by Mallory and Irvine’s fateful attempt at conquering Everest in 1924. Dressed in just tweed clothing and crampon-less boots, the pair were unsuccessful in their mountaineering challenge.

Everest isn’t as much of a challenge to today’s adventurers with modern equipment and experienced guides, but perhaps a comparative feat would be the Seven Summits Challenge. The challenge is to conquer the worlds seven highest peaks and reach the North and South poles unaided.

Sue’s medal design is in recognition of this act of incredible human endurance, which she feels should be more publicly acknowledged.

The New Medallist Scheme provides Sue with a three-week placement in a medal-making course at a college abroad or an international medal workshop, one week’s work experience in the engraving department of the Royal Mint, access for one week to the medal collections of the British Museum  under the supervision of a curator of medals, and one year BAMS membership.

Earlier this year, Sue won Eric Gill Society Lettering Prize which was part of BAMS Student medal Project, for her piece highlighting the challenges and opportunities faced by those with dyslexia.

 

We would like to congratulate Sue for her brilliant work and look forward to seeing her stone carvings in the Degree Show, 25-30 June 2019.

 

For the inaugural year of our Material Matters programme, we chose to focus on wood.

As an invaluable material for artists, designers, craft specialists and architects, wood has been used through millennia to make every kind of artefact from the most essential to the most ritually significant. With over 100 different types of wood harvested across the world, its cultural and historical impact is profound and enduring.

To start our thinking on wood, we invited three of the Art School’s expert practitioners – Gerry AlaboneDavid MacDiarmid and Dick Onians – to engage in a conversation facilitated by Principal Tamiko O’Brien.

You can read an edited transcript of their discussion below or download a pdf here. If you would like a hard copy, please contact office@cityandguildsartschool.ac.uk

 

LONDON CRAFT WEEK

Our Material Matters theme was extended through our London Craft Week event in May 2017. Visitors enjoyed gilding demonstrations, exploring the woodworking studios and special demonstrations by visiting specialists from the Tokyo University of the Arts Historic Sculpture Conservation Lab.

The current subject of our Material Matters programme is pigment.

As essential key material for artists, designers, craft specialists, conservators and restorers, pigments have been used through millennia to image and ornate, from the most domestic object to the most ritually significant. With thousands of known pigments available across the world, their historic impact is profound and enduring.

To open our Material Matters: Pigment series, six of our expert practitioners, Tracey Chaplin, Andrew Grassie, Onya McCausland, Keith Price, Alison Seed, and Amikam Torren were invited to respond to a question by Robin Mason, artist and Head of the Fine Art Department here at the Art School.

You can read an edited transcript of their discussion below or download a pdf here here. If you’d like to receive a hard copy of the leaflet, please email office@cityandguildsartschool.ac.uk

PIGMENT PLANTING SCHEME

Our focus on pigment has been extended through a new planting scheme in the Art School’s garden which includes a range of plants used as the source of a variety of pigments. These include Rubia Tinctorium “Madder” – a red pigment extracted from the roots, and Vitis Vinifera “Grape Vine”, producing a vine black pigment from the charred stems. During a tutor-led workshop series, our students will harvest the plants and explore the pigment-making process.

LONDON CRAFT WEEK

As part of London Craft Week 2018, our event featured a pigment, colour and gilding display and demonstration area, a popular destination for visitors.  Art School alumna and pigment specialist Catalina Christensen,  gave pigment-making demonstrations using the egg tempera process and colour expert Jane de Sausmarez  informed visitors about colour theories. Art School Decorative Surfaces Fellow, Tuesday Riddell, demonstrated japanning and other historic lacquering techniques as used in her practice, and Rian Kanduth, one of our Conservation department tutors and gilding expert, showed visitors gilding techniques.

Tom Groves, Head of Art Histories, has been in conversation with Catalina Cristensen about her fascination with pigment and her environmentally-neutral practice. You can read more here.

We will be exploring pigment again during London craft Week 2019 and plan further activities focused on pigment over the next year.

 

Featuring artworks from over 30 exhibitors, the MA Show is a celebration of the outstanding work of our postgraduate Fine Art, Art & Material Histories, Conservation and Carving students, as well as current work from our Co-Chair of Students and Fellows.

Further details about MA Show 2023 will be added nearer the time.

No booking required for general opening hours.

We are not able to accommodate dogs, except guide dogs and assistance dogs.

There is no cloakroom facility.

VENUE

City & Guilds of London Art School
124 Kennington Park Road
London SE11 4DJ

Join our mailing list if you would like to keep updated.

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Our annual Degree Show is an exhibition of the outstanding work of our 2023 graduates from our undergraduate Fine Art, Conservation and Carving courses.

Further details of Degree Show 2023 will be added nearer the time.

VENUE

City & Guilds of London Art School
124 Kennington Park Road
London SE11 4DJ

We are not able to accommodate dogs, except guide dogs and assistance dogs.

There is no cloakroom facility.

Join our mailing list if you would like to keep updated and we will send you invitations to all our Graduate Shows in 2022!

Follow us for more information:
Facebook
Instagram
Twitter

 

Since 2016, the Art School has participated in London Craft Week, an annual event that showcases exceptional craftsmanship through a journey-of-discovery programme around the city.

For the 2022 edition of London Craft Week, the Art School hosted two days’ of activities exploring the properties, uses and conservation of paper.

PAPER DEMONSTRATIONS

Throughout the two-day event, our Tutors, students and Fellows ran paper-related demonstrations and showcased a series of specialist paper conservation and fine art techniques, taught on our renowned degree courses.

Demonstration programme

Globe conservation techniques by Jonathan Wright (Graduate Diploma Arts: Conservation of Books & Paper)

Illuminations and gilding on paper by Sarah Davis (Drawing & Woodcarving Tutor and Woodcarving & Gilding alumna) –

Faux wood and stone finishes on paper and origami techniques by Yuki Aruga (2021/22 Painter Stainers’ Decorative Surfaces Fellow and MA Fine Art alumna)

The versatility of handmade paper in 2D and 3D forms by Angela A’Court (MA Art & Material Histories Student)

Bookbinding techniques by First Year BA (Hons) Conservation: Books & Paper Students

PRINTMAKING WORKSHOPS

Visitors had the opportunity to learn the traditional process of ‘blind printing’ with printmaker and artist, Kristina Chan, who hosted a series of one-hour, hands-on workshops for adults (18+). Blind printing is the historic Intaglio printing process without the ink, so visitors left the workshop with beautiful debossed artwork but no inky fingers!

WOOD AND STONE CARVING

Our wood and stone carving studios were open throughout the two days, and visitors cast their vote in our ever-popular carving competition with our student carvers, which had the theme of Fables in the style of Grinling Gibbons in honour of the master carver’s Tercentenary.

As well as watching the historic craft skills of wood and stone carving in action, visitors could have a go at stone carving too.

TALK AND TASTING

Visitors were invited to join a free Talk and Tasting with Fabal Lager in our Courtyard and refreshments were available in our café throughout the event.

Thank you to our sponsors:

The Masons’ Company Craft Fund, Dick Onians, Fabal Lager, the Carpenters’ Company and Pierre Heritage GB.

Sign up to our mailing list to keep updated, and follow us on social media.

Further details of our Material Matters research programme are available here.

         

Come and observe the Art School’s students and alumni participate in The Big Circle Draw – A traditional drawing class with a twist!

So what exactly is The Big Circle Draw?

The Big Circle Draw is part of The Big Draw 2018.

A group of Art School students and alumni will sit in a large circle. With a continuing series of short exercises, each artist takes it in turn to play model and every drawing produced by the circle is captured digitally to form an animation that will grow as the afternoon continues.
The group will be taught by City & Guilds of London Art School drawing tutor and co-author of ‘Drawing Projects: An Exploration of the Language of Drawing’ Jack Southern.

At the Art School we see drawing as fundamental to all our courses. Under the direction of Diane Magee, our Drawing Studio is at the heart of the Art School’s activities, primarily focusing on the role that observational drawing plays in stimulating and facilitating the development of artists and crafts specialists across our Undergraduate and Postgraduate Degree and Diploma courses in Fine Art, Historic Carving and Conservation of cultural objects.

We welcome you to come and see our talented students in action and sketch along if you wish to create your own drawing.

Saturday 20 October 2018, 2-5pm

Foundation Studios, Kennings Way, Kennington, London SE11 4EF

Free entry

 

If you’d like to hear about our upcoming shows and events, submit your details here.

The Art School’s online learning platform is Moodle, available at moodle.cityandguildsartschool.ac.uk

Students use Moodle to access a wealth of course information and resources, including timetables, project briefs, and assessment forms.

Weekly Art Histories lectures are recorded and uploaded to Moodle, allowing students to revisit the material alongside uploaded lecture presentations from home. Recommended readings are scanned and uploaded for direct access to core texts; and supplementary sources such as videos are posted to enrich the key course materials.

Research and study skills advice including essay writing tips, referencing & citation guides are provided on the site, as well as student support information; making it the central location for students to find information and guidance throughout their studies.

 

 

As part of the Royal Literary Fund Fellowship Scheme, the Art School hosts a professional writer for two days each week during term time. The Writing Fellow is available to help students with any type of written work, whether this is an essay, dissertation, artist statement or even creative writing, through one-to-one tutorials.

Previous City & Guilds of London Art School Writing Fellows include:

Click here for some samples of our previous RLF fellows’ work at the Art School.

 

 

The Art School sees drawing as fundamental to all of its courses. Under the direction of Diane Magee, the Drawing Studio is at the heart of the Art School’s activities, primarily focusing on the role that observational drawing plays in stimulating and facilitating the development of artists and crafts specialists.

For Conservators drawing is an important tool in enabling students to learn to visually analyse objects, to help ‘tune their eyes’ so that they can conduct the deep examination of surfaces and materials that the subject requires.

For Carving students drawing is an integral part of their daily carving practice as well as a way of thinking through complex 3 dimensional questions. An intensive week of drawing at the V & A museum provides carving students with a valuable opportunity to study carved and modelled sculptures and architectural ornament, while anatomy sessions ensure that carvers understand how to look and think beneath the surface.

For Fine Art students drawing can be many things and play many roles. Alongside the observational drawing sessions that are so useful in giving a grounding to the early stages of the 1st year, there are exploratory evening sessions available to all year groups that enable students to investigate their own creative approach to drawing.

For Foundation students the intensive drawing projects at the early stages of the course investigate drawing with many different approaches and include drawing-as-research day study trips, drawing for design and drawing as sculpture.

DRAWING PRIZES

Reflecting the importance we place on drawing skills, the Art School offers several annual drawing prizes for students across a range of courses. Follow the links to find out who won the 2022 prizes!

The Roger de Grey A5 Drawing Prize is open to students from across the Art School and stipulates that entries must be A5 in size – an interesting challenge!

The Taylor Pearce Drawing Prize is open to students on our Carving and Conservation BA degree courses with entries reflecting students’ course work in a range of approaches.

Available to students on our Carving degree courses, the Surveyors’ Club Drawing Prize focuses on drawings that investigate an example of historic ornament or sculpture.

DRAWING STUDIO TUTORS

Foundation students are free to use all the Art School’s resources and, in addition to this, there are four dedicated workshops alongside the Foundation studios which include:

– A casting and brush cleaning area.
– A workshop with a range of hand and power tools.
– A workshop that is set up with sewing machines, pattern-cutting and portfolio preparation table, mannequins and tailors dummies, vacuum-forming, wood working bench and an area for small-scale hot metal working – soldering, joining, jewellery tools etc.
– Computer facilities with associated printer, scanners and graphics tablets.

Expert technical advice, specialist ceramics casting techniques and kilns are available for students interested in working in ceramics.

The Art School has a specialist Glass Workshop with facilities for glass fusing, slumping, painting, sandblasting and also stained glass production.

There are two workshops dedicated to the processes involved in casting – one in the main building and the other in the Foundation and MA Fine Art Studio building. Our technical staff and a number of our tutors are highly skilled and knowledgeable about casting and a wide range of approaches to casting are supported.

This facility feeds into all departments, and is interlinked with both the Metal and Ceramic Workshops. As well as bronze casting and ceramic processes such as slip casting, we also facilitate a wide variety of other mould making processes, including silicone rubber, waste and plaster moulds, latex moulding, body casting and resin casting.

As with all the Art School’s workshop areas, the Casting Rooms are a place where students can test out new ideas and develop working methodologies as part of their ongoing experimentation and practical research within their chosen subject area. The workshop provides a programme of lessons for academic units, including sessions on mould-making/casting and creative uses of clay.

 

The Engraving Room at City & Guilds of London Art School was established in the late 19th century. Today, it offers a facility for printmaking open to every student in the School, as well as Print Room Associates by prior appointment. It is permanently staffed and open five days per week during UG term time. Evening classes are held on Tuesdays.

Professor Norman Ackroyd CBE RA ARCA was instrumental in re-establishing the Engraving Room as a thriving centre for teaching and practice after being invited in 1995 to consider its potential for the future.

We focus on the teaching of traditional intaglio processes – including hard and soft ground, sugar lift, aquatint and colour etching. Teaching is delivered by practising artists working with etching. We want all of our students to achieve the understanding and confidence to make the process their own through a hands on experience. By teaching the full range of methods, we provide an historical context of the intaglio process and offer the same experience in terms of techniques, problems and solutions as that employed by Rembrandt, Goya and Picasso.

Our aim is to provide continuity and to keep the bridge to the Old Masters open. As more and more colleges and art schools abandon traditional etching, this position is becoming increasingly unique. While our core strength is the intaglio process, monotype printing is catered for on our off-set lithographic press. We also have a small silkscreen printing facility with a vacuum printing bed and a photo-stencil exposure unit.

Teaching in the Print Room is provided by five part-time tutors and several Printmaking Research Fellows. Jason Hicklin is the lead tutor and Head of Printmaking. Jason graduated from the Central School as a post-graduate in 1992 and was elected a member of the Royal Society of Painter-Printmakers in 1993. Christopher Roantree graduated with an MA in printmaking from the Royal College of Art in 2003, Laura Clarke is an MA graduate from the Royal College of Art, Niamh Clancy, who specialises in screen printing, is also an MA graduate from the Royal College of Art and Edward Adlington is an MA graduate from Camberwell College of Arts.

Follow this link to watch an online discussion between Jason Hicklin and Vincent Eames, founder and Director of Eames Fine Art,  about the importance of passing on traditional etching skills for use in contemporary printmaking.

The Print Making Research Fellow is a part-time post initiated in 1998. It exists to provide a transition from post graduate study to the establishing of an artist’s own practice. The Fellows work two days per week alongside a tutor, gaining experience of teaching and perfecting practical skills. On other week days the Fellows are free to use the Print Room to develop their own work, providing a useful insight for the School’s students. All the current Print Room tutors were previously Print Making Research Fellows with us.

 

We maintain a small darkroom for traditional black and white analogue photography.

Starting your research: The Library

The library collections support all academic programmes with visual and textual research materials. Students can use the various rooms of the library to develop their research: whether it is searching academic databases for journal articles, writing an essay in the quiet study room, making copies in the periodicals room, or borrowing a book in the main library. Search the library catalogue to discover our collections.

Developing research skills

The librarian offers regular workshops on research skills, referencing and citations to all departments, starting with a course-specific library induction during the first week of term. Sessions coincide with Art Histories assignments, so students are supported throughout the process of researching, writing, and accurately referencing their written work. The library also holds a selection of research and study skills books.

Visiting other libraries

As they progress through their studies at the Art School, students are encouraged to make use of the wealth of outstanding specialist art libraries in London (including National Art Library at the V&A, Tate Library, Stuart Hall Library at Iniva, Wellcome Library), and are supported by the librarian in applying to use these external resources.

 

 

The Wood Workshop is available to all students in the Art School.

The wood workshop is run by artist David MacDiarmid. The workshop has a Thickness Planer, Jointer, Band Saws, Pilar Drill, Belt/Disk Sander, Bobbin Sander, Scroll Saw, Mitre saw, Morso Mitre Cutter, Wood Lathe as well as hand tools and power tools. The workshop is available for all students to use, but is most commonly used by painting students for making stretchers and frames. Painting students who make use of the workshop during their studies leave the course able to make their own frames and stretchers using basic equipment that they themselves will own. Woodcarving students use the facilities for reducing and initial shaping, and sculpture students use the facilities in all manner of ways for producing work. For the final year Show, students from all departments may want to use the facilities to make plinths, display cases and portfolio stands.

The Metal Workshop enables students from across the Art School to cast in bronze and aluminium and to work with sheet metal. Expert technicians support you in learning and using techniques and processes relating to the fabrication of works in metal and metal casting and finishing.

As with all the Art School’s workshop areas, it is a place where you can test out new ideas and develop working methodologies as part of your ongoing experimentation and practical research within your chosen subject area.

The workshop also provides a programme of workshop sessions including metal fabrication techniques (such as welding), the exploration of techniques and methods of construction and introductory sessions for metal casting.

The Metal Workshop is equipped with electric arc welding and plasma cutting machines, fume extraction, bench and hand tools, personal protective equipment and other foundry equipment.

The Art School has a computer studio running both Apple Mac and Windows systems in a comfortable room with views of the lush fig tree and garden in the courtyard below and the London skyline above.

All the Macs run an up to date installation of Adobe Creative Cloud (Photoshop, Indesign, Illustrator, Acrobat, Premiere Pro etc.). All computers run Microsoft Office. The room has several A4 flatbed scanners, with A3 size scanning possible using the MFP (multi-function printer).

Students from all courses are encouraged to use the computer facilities from image scanning and manipulation to word processing and Internet research.

There is an IT technician available to assist with learning how to use the facility.

There are additional computers in the Library and Foundation studios.

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