Outstanding results in the 2018 National Student Survey
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We are delighted to announce that our 2017/18 graduating students have ranked their experience at the Art School very highly and surpassing the higher education sector average, in the National Student Survey (NSS), which has now published its 2018 results.

100% of our final year students eligible to complete the survey who graduated in June 2018, chose the top score, ‘Definitely Agree’, to one of the main statements on the survey – ‘Overall, I am satisfied with the quality of the course’.

There were many more positive results.

100% of students chose ‘Definitely Agree’ to the statement ‘My course has provided me with opportunities to apply what I have learnt’.

96% of students chose ‘Definitely Agree’ to eight statements including: ‘My course has challenged me to achieve my best work’;  ‘My course has provided me with opportunities to explore ideas or concepts in depth’;  ‘Good advice was available when I needed to make study choices on my course’; ‘The library resources (e.g. books, online services and learning spaces) have supported my learning well’;  ‘I have had the right opportunities to work with other students as part of my course’.

93% of students chose ‘Definitely Agree’ to six statements including: ‘I have received sufficient advice and guidance in relation to my course’; ‘The course is intellectually stimulating’;  ‘Staff value students’ views and opinions about the course’; ‘It is clear how students’ feedback on the course has been acted on’.

Art School Principal, Tamiko O’Brien, commented:

“The NSS results are a testament to our incredibly talented team of specialist Tutors, Technicians, Heads of Department and Administrators, and their great energy and dedication to provide our students with such a stimulating and supportive learning environment. Our shared goal is to see all of our students flourish and succeed as practitioners. For us Higher Education in Art and Craft is essentially collaborative – it takes the whole team, including our students, to create the purposeful and creative community that we all enjoy participating in.

We know that our commitment to our students is reflected in their commitment to their studies and we are very proud of our 2018 graduates and their outstanding achievements. This summer’s excellent Degree Show received high praise from the external examiners, the many professionals from the Arts and Heritage industries who joined our celebrations and of course from the members of public we were happy to welcome to the Art School.”

The results of the NSS, commissioned by the Government’s Office for Students, are important to applicants deciding which higher education institution to attend. The survey helps to inform prospective students’ choices, provide data that supports institutions in improving the student experience and supports public accountability.

The survey asks final year students to rank all aspects of their experience of studying on their chosen course and includes statements on teaching, learning opportunities, academic support, learning resources, student voice and more.

We are examining the results of the NSS in detail alongside other feedback we collect directly from our students, graduates, student representative forum and staff teams to ensure that we continue to offer our students the best possible learning experience and the support they need to excel.

The City & Guilds of London Art School is a ‘not for profit’ charitable institution, providing a valuable alternative to other models of Art education in the UK at Postgraduate, Undergraduate and Foundation levels. The Art School has a mission to foster excellence in contemporary Fine Art, Historic Carving, Conservation and Design. It does this in part by providing students with a very high level of contact time with artist tutors and professional experts.

The Art School is seeking to appoint a Foundation Sessional Tutor (Design). With the Art School’s particular focus on skills-based teaching and a commitment to cultivate knowledge and curiosity in both the historical and contemporary contexts of our subjects, our staff play a crucial role as key members of the Art School’s community, working closely with the Heads of Department and liaising with other specialist tutors. This role requires great flexibility and adaptability as well as a broad skills and knowledge base. There are approximately 90 students in the Foundation Department working towards a range of progression destinations – both Fine Art and Design.

FOUNDATION SESSIONAL STAFF (DESIGN)

Foundation Sessional Staff

You will have specialist knowledge of your own subject and its professional and/or research frameworks and an understanding of current Design agendas as well as the context for both Art and Design in the UK and Internationally.

The main purposes of the post are:

* To deliver high quality specialist teaching and related support to students on the Foundation course, in the context of curriculum content, established learning outcomes and teaching methodologies, prevailing policies and procedures.

* To provide up-to-date knowledge, expertise and experience of professional practice and/or research in at least one of the following Design areas:

Fashion, Textiles, Product or Architectural Design

For further details about how to apply, please visit the links below:

Job Description: FAD.JOB DESCRIPTION FOR SESSIONAL DESIGN TUTOR

Person Specification: PERSON SPECIFICATION.FAD_Design

Application Form: CityAndGuildsArtSchool_JobApplicationForm_VersJune2018

Application Deadline: Thursday 9 August 2018 at midnight

Interview on: Thursday 16 August 2018

We are delighted to welcome Rosy Greenlees, OBE, as the Art School’s new Honorary Fellow, who accepted the title at our recent Prize-Giving Ceremony on 26 June 2018.

The title of Honorary Fellow is awarded to individuals who have made outstanding national or international contributions to art, craft, heritage or materiality, education or pedagogy. Rosy joins Professor Roger Kneebone, the Art School’s first Honorary Fellow, who was awarded the title in 2017 for his pioneering work in fostering cross-disciplinary dialogues across craft, art, science and beyond.

Rosy Greenlees, OBE, has been Executive Director of the Crafts Council since 2006.  A national organisation promoting the value of craft and making to society, the Crafts Council has supported thousands of makers through its talent development programmes; brings high quality craft to an annual audience of over 6 million through its exhibitions, Collection and events; and leads a national campaign for re-instating craft education in schools.

During her acceptance speech, Rosy emphasised the value of craft to the wider UK economy, particularly during the uncertain economic times ahead and she described the deep sense of satisfaction she has had in her work championing craft. Rosy went on to commend the Art School’s great success in keeping craft skills alive and relevant, and acknowledged the high standard of work the Art School achieves.

Rosy spent her early career as a curator in regional galleries and on major public art projects before taking on senior management roles as Head of Visual Arts and Media and Deputy Chief Executive at Eastern Arts Board; Cultural Strategy Manager responsible for the Mayor of London’s first culture strategy; and founder Director of the London Centre for Arts and Cultural Enterprise, a HEI partnership, now known as the Culture Capital Exchange.

She has also served on various advisory bodies including the Bristol and Bath Design Research Project, the Skills Commission; and was a board member of CC Skills.  Currently she is a member of the Creative Industries Council and President of the World Crafts Council, a non-profit, non-governmental organization promoting fellowship and fostering economic development through income generating craft related activities. The WCC organize exchange programs, workshops, conferences, seminars, and exhibitions offering encouragement, help, and advice to craft practitioners.

The Art School welcomes Rosy to our extended community of Fellows and looks forward to collaborating with her in the years ahead.

The work of Historic Carving student, Miriam Johnson, was featured in the Evening Standard on Friday 6 July 2018, when the newspaper published an article about a new stone corbel depicting Doorkins Magnificat, the renowned stray cat, and social media sensation, adopted by vergers at Southwark Cathedral ten years ago.

         

Miriam designed and carved the corbel head as part of a collaborative competition, organised by City & Guilds of London Art School and Southwark Cathedral, to create corbel heads to replace eroded corbels on the North Quire aisle of the Cathedral. The work of four of our  Historic Carving students was chosen to be mounted alongside existing corbel heads and will be fixed on the wall in the next few weeks.

Edgar Ward’s corbel design was amongst the other three chosen to be installed at the Cathedral. His design depicts PC Wayne Marques, the British Transport Police Officer who was injured whilst protecting the public in the London Bridge terror attack on 3 June 2017.  Edgar met Wayne at a London Craft Week event at the Cathedral in May this year and during a major event commemorating the anniversary of the attacks, attended by Teresa May, Jeremy Corbyn and Sadiq Khan, the corbels were blessed by the Dean in anticipation of their installation.

 

    

Edgar Ward with PC Wayne Marques at Southwark Cathedral 

The two other winners of the corbel head design competition were Sue Aperghis and Lily Marsh.

The design and carving competition brief specified that the new corbel designs should be relevant to daily life and spirit of the Cathedral and should resonate with a contemporary audience. Tim Crawley, Art School’s Head of Historic Carving, commented, ‘These designs show that the restoration of our stone buildings  can provide an opportunity to make work that is both respectful of its historic context, as well as relevant to the present day.’

The Art School has collaborated with Southwark Cathedral for a number of years as part of an extensive restoration project at the Cathedral. Live projects like this act as invaluable career preparation for the Historic Carving students on our Diploma and Postgraduate Diploma courses.

Other collaborations between City & Guilds of London Art School and Southwark Cathedral include the carving and replacement of 43 stiff-leaf bosses on the upper parapets of the Quire, in August and September 2017. Carving took place in the south churchyard, adjacent to the famous Borough Market, watched by visitors who took a great interest in seeing this historic craft in action. The project was featured on BBC London News.

Live commissions recently undertaken by Historic Carving and Conservation students at the City & Guilds of London Art School also include the design and carving of a wooden, gilded frame in the Auricular style for a Van Dyke portrait in the Bowes museum near Durham, a woodcarving of Roald Dahl’s Roly-Poly Bird, commissioned by Dahl’s grandson, Ned Donovan and the conservation of a range of exquisite historic objects from the highly-regarded Portland Collection at Welbeck Abbey.

City & Guilds of London Art School is seeking to appoint a lecturer to join its Art Histories Department. We are seeking a motivated and experienced tutor committed to the delivery of high quality teaching within the area of modern and contemporary fine art history and visual culture at undergraduate and postgraduate levels. Effective communication skills are essential, as is an understanding of art history from the artist’s perspective. The successful candidate will be flexible in their approach and able to deliver the Art School’s curriculum to students across BA (Hons) and MA levels 4-7.

The tutor will also be required to participate in assessment, carry out some administrative tasks and attend meetings and working groups within the Art School.

For further details about how to apply, please visit the links below:

Job description: JD_ArtHistories_Sessional-Tutor_2018.pdf

Person SpecificationPERSON SPECIFICATION Art Histories lecturer

Application form: CityAndGuildsArtSchool_JobApplicationForm_VersJune2018.docx

Application Deadline: Friday 27 July at midnight

Interview on: w/c 13 August 2018

A day of celebration of success and achievement took place on Tuesday 26 June as our final year Fine Art, Historic Carving and Conservation students graduated from the Art School in our annual Degree Show Ceremony and Prize Giving – the highlight of the year.

This celebratory event marks the start of the Degree Show which opened to the public on Tuesday and continues until 5pm on Sunday 1 July. Full dates and times here.

   

     

The proceedings started with a welcome address from Art School Principal, Tamiko O’Brien, and followed by a speech from Rosy Greenlees OBE, Executive Director of the Crafts Council, who accepted the title of Art School Honorary Fellow 2018.

Tamiko O’Brien and Rosy Greenlees

After addresses from graduands Nell Nicholas, BA (Hons) Fine Art, Olivia McILvenny, BA (Hons) Conservation and Borys Burrough, Dip Ornamental Woodcarving & Gilding, each student was congratulated by their Department Head to much applause.

Nell Nicholas delivering her address

Awards and prizes came next. Dick Onians, Senior Woodcarving Tutor who recently retired after 40 years at the Art School, was awarded Art School Fellow in recognition of his incredible work for the School.

Then followed the presentation of student prizes by Vice Principal, Magnus von Wistinghausen. The coveted Acme City & Guilds of London Art School Studio Award was given to BA (Hons) Fine Art graduate Cora Sehgal-Cuthbert. Cora receives a year-long residency at Acme studios and support and mentoring from industry professionals.  Chris McCormack , Art Monthly Associate Editor, presented the prestigious Art Monthly Prize for Critical Writing to BA (Hons) Fine Art graduate Megan Elliott.

    

Cora Sehgal-Cuthbert, winner of The Acme City & Guilds of London Art School Studio Award, with Andrew Grassie, Artist & Fine Art Tutor and Sayuri Morio accepting The City & Guilds of London Art School Research Project Prize from Magnus von Wistinghausen

A full list of the prize winners can be seen below. Congratulations to all, and very many thanks to the donors who support our students in this way.

The ceremony closed with remarks by Robin Holland-Martin, Chair of Trustees.

The students will all be tremendously missed, but we look forward to hearing about their great achievements in the very near future. Their outstanding work will be on display until 5pm on Sunday 1 July, and a visit is highly recommended.

 

2018 PRIZES AND AWARDS

 

TRAVEL PRIZES

The Idun Ravndal Travel Award: Emilie Fitzgerald

The Skinners’ Company Philip Connard Travel Prize: Roberta de Caro

The Skinners’ Company Philip Connard Travel Prize: Lucy Kenner

The David Ballardie Memorial Travel Award: Lucy Kenner

The Brinsley Ford Travel Award: Zeinab Harding

 

PRINTMAKING PRIZES

The Printmaking Prize for Technical Excellence: Thomas Pennick

The Skinners’ Company Stephen Gooden Prize for Engraving: Polly Bennett

 

DRAWING PRIZES

The Surveyors’ Club Drawing Prize:  James Patrick

The Taylor Pearce Drawing Prize: Silje Loa Jorgensen

The Taylor Pearce Drawing Prize: Susan Aperghis

The City & Guilds of London Art School – Andrew Vass Prize for Experimental Drawing: Elizabeth Kelsey

 

ART HISTORIES PRIZES

The Art Monthly Prize for Critical Writing: Megan Elliott

The Art Monthly Prize – Runner-up: Nell Nicholas

The Art Monthly Prize – Runner-up: Cora Sehgal-Cuthbert

The Brian Till Art Histories Thesis Prize: Richard Barnes

 

CONSERVATION PRIZES

The City & Guilds of London Art School Gilding and Decorative Surfaces Prize for a Conservation student: Nicoleta Donu

The City & Guilds of London Art School Research Project Prize: Tina Kenward

The City & Guilds of London Art School Research Project Prize: Sayuri Morio

The City & Guilds of London Art School Prize Practical Conservation Project Prize: Sayuri Morio

The Venice in Peril Residency: Olivia McILvenny

The Venice in Peril Residency: Catherine Gray

 

FINE ART PRIZES

The Artists Collecting Society Undergraduate Prize: Rose Schmits

The Acme City & Guilds of London Art School Studio Award: Cora Sehgal-Cuthbert

The Fishmongers’ Company Beckwith Travel and Scholarship Prize: Roberta de Caro

The City & Guilds of London Art School Sculpture Prize: Maria Positano

The Merlin Entertainments Group – Madame Tussauds’ Project Fund Award for a Continuing student: Yingming Chen

The Merlin Entertainments Group – Madame Tussauds Merit Award for a Graduating Student: Elizabeth Kelsey

The Chadwyck-Healey Prize for Painting: Matteo Santacroce

The Painter-Stainers Scholarship Prize: Edward Howard

The Painter-Stainers Decorative Surfaces Fellowship: Polly Bennett

 

HISTORIC CARVING PRIZES

The Neil Shannon Memorial Award for Stonecarving: Susan Aperghis

The Neil Shannon Memorial Award for Wood Carving: Beatrice Rambaud

The Masons’ Company for Outstanding  Work by a Graduating Student: Thomas Clark Collins

The Masons’ Company Prize for Studentship and Commitment  for a Continuing Student: Miriam Johnson

The Master Carvers Carving Prize for Final Year Student: William Barsley

The City & Guilds of London Art School Lettering Prize: George Edwards

The William Wheeler Woodcarving Prize for Outstanding Work: Borys Burrough

The City & Guilds of London Art School Gilding and Decorative Surfaces Prize for a Carving student: Xabier Mendizabal Vitoriano

 

ART SCHOOL-WIDE PRIZES

The Inter Esse (Main Prize): Nell Nicholas

The Inter Esse: Ayseli Sunguroglu

The Inter Esse: Eirik Broll Stalheim

The Fishmongers’ Company Design Prize: Nell Nicholas

The Honourable Society of Knights of the Round Table Award: Anna Ng

The Honourable Society of Knights of the Round Table Award: Thomas Clark Collins

The Honourable Society of Knights of the Round Table Award: Silje Jorgensen

The City & Guilds of London Art School The Board of Trustees Prize: Wilfe Gorlin

The City & Guilds of London Art School Student Initiated Prizes: Assemblage (Megan Elliott Kim Booker)

The City & Guilds of London Art School Student Initiated Prizes: Clean AIR space (Roberta de Caro, Camila Bridgewater, Emilie Fitzgerald)

Our first year conservators were welcomed at Chatsworth House in Derbyshire during their final week of term. It was an exciting prospect for all and, for some students, their first visit to the North West of England. The group were greeted on arrival by Alice, Devonshire Collections Manager and Emma, Tour Guide and Housekeeper and were shown through the interior of the house with knowledgeable commentary from Emma. The house is in the final stages of an essential restoration project known as ‘The Masterplan’ which was designed to improve access and enjoyment for its visitors. With plenty of work still ahead, the students were introduced to stonework and woodcarvings in need of conservation and these projects featured in discussions over lunch. Lunch was provided in the elegant dining rooms of the Flying Childers Restaurant where the group were joined by Alex, garden manager, and Luke, head of housekeepers’ team. Following lunch, the group were treated to a garden tour from Alex who spoke about her plans for an upcoming garden sculpture exhibition. After an insightful day the students came away with great respect for the team of people who care for Chatsworth House and Gardens and who will, ultimately, secure it for future generations to come. 

UAL AWARDING BODY FOUNDATION DIPLOMA IN ART AND DESIGN – TECHNICIAN

Maternity term-time cover 5 days per week – August 27th 2018 until February 8th 2019 (20 wks) Salary: £120 per day (£600 per week)

The City & Guilds of London Art School is a not for profit charitable institution, providing a valuable alternative to other models of Art education in the UK at Postgraduate, Undergraduate and Foundation levels.  The Art School has a mission to foster excellence in contemporary Fine Art, Historic Carving, Conservation, and Design. It does this in part by providing students with a very high level of contact time with artist tutors and professional experts.

The Art School is seeking to appoint a Foundation Departmental technician. With the Art School’s particular focus on skills-based teaching and a commitment to cultivate knowledge and curiosity in both the historical and contemporary contexts of our subjects, our technicians play a crucial role as key members of the Art School’s community, working closely with the Heads of Department and specialist tutors. This role requires great flexibility and adaptability as well as a broad skills base. There are approximately 90 students in the Foundation Department working towards a range of progression destinations – both Fine Art and Design.


FOUNDATION TECHNICIAN

 Foundation Technician – Maternity Cover (5 days per week over 20 weeks)

You will have a background in art, design or craft with substantial experience of working with a range of materials and processes, the day to day organisation of resources and workshops and of technical support and demonstration. The main purposes of the post are:

  • To support the smooth running of the Art School’s Foundation Department and associated workshops, including related health and safety, under the direction of the Head of Department and the Site Manager.
  • To work with students and tutors in the Foundation Diploma in Art and Design, providing support, training and instruction in a range of technical processes.
  • To provide up-to-date knowledge, creative applications and ensure safe working practices.
  • To be a member of the Foundation and Art School technical teams working collaboratively as required.

Application deadline: Thursday 22nd June 2018
Shortlisted candidates will be interviewed on: Thursday 28th June 2018

To apply, please download the following:

Job description: JobDescription_FoundationTechnician_Jun2018.pdf

Person specification: PersonSpecification_FoundationTechnician_Jun2018.pdf

Application form: CityandGuildsArtSchool_JobApplicationForm_Jun2018.docx

CITY & GUILDS OF LONDON ART SCHOOL PRINTMAKING FELLOWSHIP
From: September 2018
Closing date: 12 midnight on 15th June 2018
Interview: July 2018 (date TBC)

The City & Guilds of London Art School is seeking applications for a 1 to 2 year Printmaking Fellowship. The successful applicant will have a recent postgraduate qualification in Fine Art/ Printmaking, and demonstrate a particular commitment to intaglio processes with some experience of screen-printing. The post offers a unique opportunity for an artist to develop their own practice in the context of the Art School’s traditional etching and engraving studio, working alongside artist and master printmaker Jason Hicklin who set up the studio under Professor Norman Ackroyd in 1998. The print studio is a thriving and lively working environment with 3 tutors and 3 Fellows working as a team to support students from across the Art School’s courses.

The Fellowship recipient’s responsibilities will include:
•  Being available in the print studio on average 2 days per week during term time
•  Participating in the support and supervision of students under the direction of the Print Studio Manager
•  Working within the Health and Safety protocols and guidelines of the Art School in general and the Print Studio in particular.

The successful applicant will benefit from:
•  Access to the print studio throughout the week with 3 days available to pursue their own practice
•  Gaining experience in advanced technical aspects of intaglio printmaking
•  Gaining experience of teaching within a small scale supportive Art School environment
•  Gaining knowledge and experience of safe working practices
•  Exhibiting as part of the MA and Artists in Residence exhibition at the Art School

For further details about how to apply, please visit the links below:

Application guidelines: CG Printmaking 2018 Requirement and Procedure.pdf

Application Form: CG Printmaking 2018 Application Form.docx

Our 3rd year students are working hard to finish their Conservation projects before the degree show in June 2018. Colour matching, gilding, reconstructing missing parts, removing old paint, gluing, laser cleaning, filling, reinforcing, cutting brass or using the Shimbari box… our Conservation studios are buzzing with skills and creativity.

Laser cleaning on ivory movie

 

What really stayed with you from your time at the Art School?

The emphasis on craft skills was challenging but highly rewarding. I found the skills I picked up in life-drawing vital in teaching me how to really look and critically assess an object, which I have consistently needed in conservation.

What did you work on during your time at the Art School that has proved valuable in your professional career?

The conservation course at City & Guilds allows you to treat a wide range of objects, composed of many different materials. Though I have, since graduating, specialised in gilding and frame conservation, I still use many of the skills I acquired in other areas, including the treatment and analysis of stone and painted wooden objects.

What are you up to now?

Since graduating I have worked in private practice, in a conservation studio specialising in treating gilt and lacquer objects. Having then completed a frame conservation internship at the Guildhall Art Gallery, I worked for National Maritime Museum as a frame conservator and at the Houses of Parliament to make new frames for works on paper. Last year I worked at a new National Trust conservation studio at Knole. I am presently a frame conservator at Tate and the Guildhall Art Gallery. I also supervise conservation students on a frame conservation work placement at the Palace of Westminster.

 

IMAGE

  1. Mark Searle water gilding replacement ornament on the frame for the painting ‘Seascape’ by Peter Graham. This treatment was completed for the internal exhibition ‘Victorian Decoded’ in 2016-17.

Before applying to study my Foundation, I intended to study History of Art, not really knowing what a Fine Art degree entailed and intimidated by the jump in quality I had observed looking at graduating fine artists and comparing this to the work I had done at A-level. By the time I started studying at City & Guilds I knew I wanted to pursue Fine Art and abandoned my HoA place. However, through attending the Foundation course I was able to really further and question my practise in comparison to the prescriptive and descriptive nature of my A-level studies. The school exposed me not only to a different way of thinking about art, but practically enabled me to explore different medias that had not been available to me at school such as: casting, etching and print making, photography and design. Without this experience, and the development of self-initiated practise, I truly believe my experience at degree would be crucially hindered, even to the most basic level of a preliminary knowledge of what it is like to study an arts degree.

What in particular has stayed with you from your time at the Art School?

I think one of things that has particularly stayed with me after leaving the Art School was the confidence and support the tutors gave me, not only in furthering my practise but also when putting my portfolio together, helping with my personal statement and with interview practise all for early application. The investment in individual students at such an early point in my studies was indicative to me of an Art School that really strove to support us in our academic pursuits, however they may have manifested.

What have you gone on to after leaving the Art School?

Since leaving I have continued to study Fine Art at the Ruskin School of Fine Art and Drawing. Now half way through my degree, my practise has developed from a discrete sculpture and video works to a more expanded practise encompassing print, film, writing and site specific performances. Deeply embedded on the specific British history of the dissemination of aural mythologies and ritualistic earth based healing and magic practises, I am currently trying to build an archive of ‘testimonies’ that contrasts this research with the more contemporary Wicca practises, and, to an extent the industrialisation, digitisation and consumerism which is now inextricably inherent in our landscapes. However, underpinning all my work is a fascination with the essential violence and abject interstitiality of our bodies.

I have also presented work in exhibition Al Denté at The Dolphin Gallery in Oxford, and more recently in ‘NEHCTIK’ at Strange Cargo in Folkestone, and am currently preparing a performance for a semi-collaborative outdoor exhibition in Oxford. I have also shown my work on Industry Magazines digital edition ‘Food’, and have two sculptural performances, writing and some drawings in The Edgar Wind Society’s journal Oculus’ edition  ‘nowhere/now here’.

What advice might you give to current Foundation students?

My advice for current Foundation students would be to make the most of the experience, the Foundation year is a unique space with complete freedom for experimentation with an availability to technical assistance and space that you may not receive at some universities at degree level. Make bad work where you have the time and freedom to and be completely open to change in your practise. Also where the opportunity is provided immerse yourself as much as possible in learning how to question and talk about your art.

Framing a recently discovered Van Dyck portrait for the Bowes Museum

One of the great features of the carving course is the regularity of commissions which come our way. Sometimes these are suitable for group projects (for example the Southwark Cathedral and St.George’s Chapel Windsor commissions).  Sometimes they are taken on by individuals, particularly as part of their final year work.

The latter was the case for a recent commission , to carve a frame for a Van Dyck portrait in the possession of the Bowes Museum near Durham.

The painting depicts Olivia Bottler Porter, lady-in-waiting to Charles I’s wife Henrietta Maria. Although in the possession of the museum since its foundation in the 19th century, it was not exhibited as it was not thought to be significant and in a bad condition, being covered in layers of dirt and varnish. However, in 2013 it was spotted by a sharp eyed connoisseur, and after an investigation by BBC Two’s Culture Show, was verified as an authentic Van Dyck by expert Dr Christopher Brown. Originally valued at around £3 – 5,000, for insurance purposes it is now valued at around the one million mark!

When the possibility arose for a collaboration between the Bowes Museum’s new Art and Design Center and the Historic Carving Department, we jumped at the opportunity to work together on thisimportant and prestigious commission.

Third year woodcarver Borys Burrough is tackling the project, and it’s an exceptional fit with his skills and ambitions.

Borys joined the Diploma woodcarving course following work as an art handler for Christies and as a gilder for west end picture frame Rollo Whately, and it is Borys’s ambition to work in the framing business. What better way to kick off such a career than designing the frame for one of the most famous painters of the 17th century?

Anthony Van Dyck is in the news right now. As the resident artist at the court of Charles I, he produced the most iconic portraits of the ill-fated monarch, and they are currently the centerpieces of the latest blockbuster show at the Royal Academy, bringing together the famed art collection of the king for the first time since his execution in1649.

The idea of the commission is that the frame should be historically appropriate, so it’s also fortuitous that the Auricular Style of frames common at this period is the specialism of the Art School’s conservation tutor Gerry Alabone, head of picture frame conservation at the at theTate Gallery from 2004-2016, now the Head of Furniture and Frame Conservation at the National Trust, and organizer of a recent conference on the subject at the Wallace Collection. Alongside the carving tutors, Gerry has also been able to advise on the project as it developed.

Borys’s design, whilst true to the Auricular style, also makes subtle reference to the life of the sitter portrayed, as well as to the north eastern location of the museum. The carving is now complete, and after gilding and exhibition in the Diploma Show, will be placed around the painting and displayed at the main entrance to the museum for public viewing in September.

Borys says,

“This dream commission has really tested all of the skills I have developed whilst studying here at the Art school and the challenge of designing a historically faithful auricular frame whilst at the same time giving it a contemporary perspective has been one that I have really enjoyed. There are even a few hidden references to the story of Olivia Porter in the frame which I hope the viewer will have fun spotting! I feel honoured to have been given this opportunity and can’t wait to see my frame up in the Bowes museum becoming part of the life of this remarkable painting.”

 

Foundation Show 2018 dates and times:

Private View –  16 May, 6.30-8.30pm

Open Week – 17-20 May, 10am-5pm

We hope to see you there!

 

 

Interim Show 2018

City & Guilds of London Art School 1st and 2nd Year Fine Art Interim Show
Downstairs at Mother, 10 Redchurch Street, London, E2 7DD

Private View
Friday 22 June, 6.30pm-10.00pm
RSVP on the Eventbrite page
https://www.eventbrite.com/e/city-guilds-of-london-art-school-interim-show-tickets-46753649424

Open
Saturday 23 June 11.00am-4.00pm

 

We hope to see you there!

 

The 15 selected artists for the Collyer Bristow Graduate Art Award 2018, ‘Exceptional’,  have been published, and we are extremely proud to announce that 12 of the 15 artists are Art School alumni!

Art School alumni Jonathan Armour, Julia Court, Oli Epp, Lorraine Fossi, Gwyneth Fugard,  Katie Lennard, Karen Loader, Robyn Litchfield, Lucy McGeown, Abigail Phanggungfook, Tom Platt and Amelia Kate Sampson have all been chosen.

The artists were selected from three leading art schools; Goldsmiths, Middlesex and City & Guilds of London Art School, graduating from their BA, MA & Post Graduate Diploma programmes between 2015 and 2017.

 

Pride by Oli Epp. Oil, acrylic and spray paint on canvas, 120cm x 120cm

The Private View is 20 June where the winner of the £2000 award and the staff prize will be announced. The exhibition continues until 3 October 2018.

The ‘Exceptional’ award and exhibition opportunity is aimed at supporting recent graduate artists in the challenging period post-graduation. Rosalind Davis, the Collyer Bristow Gallery’s independent curator and graduate of the RCA, comments: “It can be difficult for new graduates to find a platform for their work, but this Award creates an environment where support is made available to emerging artists in the precarious initial years after graduation. It brings their work to new audiences, raising their profiles and helping them to create new professional networks.”.

More City & Guilds of London Art School alumni successes were seen in last year’s award with Emmanuelle Loiselle receiving the 2017 award. Emmanuelle says, “I was so honoured! Many thanks to Collyer Bristow for supporting emerging artists, it is very rare to receive such a generous opportunity and this is such a fantastic platform to show my work!”

Congratulations to all the selected artists and we look forward to finding out who has won the award in June.

Registration Open!! The Art School is looking forward to hosting a three day event from Friday 15 – Sunday 17 June 2018, to promote costume making and the associated specialist skills vital to theatre, opera, film and television. Bringing together costume technicians and designers to exchange ideas, learn from others and celebrate their art, the symposium is organised by award winning costume designers Susannah Buxton and Catriona Tyson and involves leading figures, including designers from Game of Thrones, The Crown and Downton Abbey.

Costume Symposium

Registration now open!!

Earlybird fee for registration by 18 May £150 for 3 days

Regular fee for registration by 8 June    £180 for 3 days

Keynote Speakers;

Michele Clapton:  Costume Designer, Game of Thrones and The Crown

Professor Roger Kneebone:  Surgeon, championing collaboration between skills.

Workshops with:

Sean Barrett:  Milliner

Riina Oun: Handmade Gloves

Kunza: Corsetiere

Miriam Schultz: Embellishment& Patination

Anne Oldham: Makeup Design

Vicky Salway: Women’s Period Tailoring

For further information and booking email:  costumesymposiumuk@gmail.com.

 

The Costume Symposium would like to thank Cosprop Ltd, The Costume House and City & Guilds of London Art School for their generous support.

Last summer saw the start of an exciting new collaboration between Southwark Cathedral and students from all years of the Architectural Stone Carving diploma at the City and Guilds of London Art School.The south churchyard, adjacent to the famous Borough Market, became the site of a temporary masons’ lodge in the medieval tradition, providing shelter from the summer sun (and rain) for a team of student carvers and their tutors.
As part of the current restoration programme on the Quire, most of the gothic style bosses on the upper parapets needed to be replaced. Originally carved in the 1830s as part of an earlier restoration programme under the architect Gwilt , these were severely deteriorated and were starting to fall away from the parapet. This presented a great opportunity for students to experience working on a major church building, learning to carve in this distinctive and quintessentially English 13th century style of medieval foliage, known as Stiff-Leaf, and get paid!

The carvings were produced in teams of 4-6 students so that everyone could participate

Over an 8 week period in August and September, 44 new bosses were carved. The students returned to their studios for the start of the new academic year last October, and over the autumn period the old bosses were cut out of the building and replaced with the new . On 22nd and 23rd of January , the students returned to the scaffold to trim in the mouldings so that the bosses could be made to sit comfortably in the string course. In the Spring the scaffolding will finally be removed, and so we look forward with keen anticipation to reviewing the effect of the work from the ground. This is, after all, architectural carving, really only making sense when seen as part of the building as a whole. Watch this space – we will post some photos of the finished work when they are finally unveiled. Stand by also for news of the commission of 3 new corbel heads for which stonecarving students have produced competing designs for selection by the Dean and Chapter of the Cathedral

Working in the carvings after fixing. Masks are necessary as the carvings are made in sandstone, which is highly silicious

Tutor Paul Jakeman , who carved the models for the students to copy and develop

A completed Stiff-leaf boss. Its a favourite style amongst stone carvers

Hard at work in the Masons’Lodge

Catherine is re-discovering traditional etching methods alongside her experimental approach to printmaking. Examining themes and ideas made in call and response to the landscape and figure are channelled into etchings having initiated as expressive drawings paintings and photographs.

The human connection to the landscape is explored with reference to ancient sites and natural phenomena. The oscillation that occurs between them creates as dialogue of imagery that touches on the seen and unseen, the spaces in between and the unsaid, posing questions about our existence.

“I aim to direct people’s attention towards a still place in themselves through which they can be reflective about the world and their place in it.”

Love and playing of traditional music pervades the work.

Catherine runs her own print studio in Sussex, has worked as a teacher and an Environmental Educator and raised a family of three children. She studied at Camberwell School of Art and Crafts, BA. Hons. Kent Institute of Art and Design, M.A. University of Maine USA. She has exhibited widely, most recently R.A. Summer Exhibition, London, Zillah Bell, Thirsk Original print Show, ‘Translations’ Body Talk conference, Greenwich University, ‘Tomorrow’s Child’ Houses of Parliament, London.

The BA Conservation course at City & Guilds is one of the most challenging things I’ve ever undertaken. The sheer scale of the course and the range of subjects students are expected to excel in cannot be understated. I can vividly remember that mingled sense of excitement and trepidation on receiving my first term’s timetable. Every day was full to bursting and the range of topics covered seemed so broad – wood carving, history of art, chemistry, and conservation ethics to name just a few. I couldn’t wait to get started.

I had no formal experience studying any of these topics; my first degree was in History and Philosophy. However, I had some creative and trades-based professional experience and had been volunteering with the National Trust prior to joining the course. Having graduated from the BA Conservation course, I feel comfortable discussing, describing, and applying knowledge learnt from across this broad syllabus.

So, if I was to choose one thing that has really stayed with me it would be the sense of privilege at being exposed to and encouraged to learn so many wonderful and disparate subjects. I can remember studying historical craft manuals in the morning and modern analytical techniques such as FTIR in the afternoon, perhaps a day’s life drawing followed by a day or two practicing how to produce and analyse cross sections sampling objects. This sense of the sheer scale of the course at City & Guilds has stayed with me into my professional life as I find myself able to hold my own in conversations with curators, scientists, crafts people, and a full range of other stakeholders.

I also particularly remember learning craft skills: gilding, wood carving, stone carving, lettering, japanning. I realised early on that while each craft discipline had its own very specific components, there was also a cumulative, transferable aspect to these skills. My understanding of the structure of wood or the composition of sedimentary stones was informed by my having cut and carved those materials; I watched my increasing brush skills, from having applied gessoes and pigmented shellacs and egg tempera paints, all funnel into a dramatically increased dexterity when working to consolidate Japanese lacquer or gilded surfaces; I saw my practical knowledge of the creation of multi-layered decorative surfaces from creating panel paintings, gilded, and japanned surfaces provide me with a deeper and more nuanced understanding of how these systems degrade and how they might respond to different treatments.

I can also say that many of the relationships I formed with tutors and peers have stayed with me. All of the tutors at City & Guilds are practicing experts in their respective fields. This means that they are able to deliver high-level, practical skills and experience to students while at college, but also means they continue as mentors, employers, or simply as a familiar and encouraging presence in the sometimes alarmingly small world of conservation upon graduation. Similarly, our year group has maintained contact despite our disparate trajectories since graduation, continuing to support and encourage each other throughout our various trials and successes.

The emphasis on practical applications for all the skills we were developing also proved invaluable. From early in my first year, lessons on basic object assessment and dry cleaning learnt in the classroom were applied at Westminster Abbey, Rochester Cathedral, and St. Bartholomew the Great church.  From early in the second year we were working on objects owned by private clients and major heritage organisations and institutions. I found this exposure to real-world working conditions particularly helpful as it helped me to develop an appreciation of the importance of pragmatism and compromise, of deadlines, and of clients from the outset of my practice.

All of these factors have combined to mean that since graduation I have been continuously employed in one form or another. I have worked as a gilder, a stone conservator, a preventive conservator, a private furniture restorer, a conservator of gilded frames and furniture in private practice and a conservator of furniture and oriental lacquer at the Victoria and Albert Museum. All of this work has come in some way that’s to my association with City & Guilds, either directly through former tutors or peers, or as a result of the tireless work of Marina Sokhan in recommending and advocating for her graduates. It is only thanks to the diversity of the syllabus and the high, high quality of the teaching at City & Guilds that I have so comfortably been able to take on what at first glance may seem such diverse roles.

And it is thanks to this diversity of post-graduate experience, alongside my hard work organising conferences and events with the Institute of Conservation (Icon) via my involvement in their special interest groups, that I think played a vital role in securing me a permanent position at the British Museum as an organics conservator with special focus on wooden objects late in 2017. I feel like now, 3 years since graduating, the process of learning what it really is to be a conservator can really begin. Working as a permanent member of staff at a large national museum allows me to work on a wonderful array of objects, all of often very high quality or significance. But it also allows me to access training and conference attendance, to utilise the latest practical methods and analytical techniques, it will facilitate my path towards professional accreditation, allow me to learn from incredibly experienced and talent colleagues, and in time to begin to pass on some of what I’ve learnt.

I couldn’t have dreamed when I started at City & Guilds that within 3 years of graduation I would have landed my dream job, let alone that I would feel I had earnt it. I continue to believe that I am very privileged to do the work that I do, and without City & Guilds none of it would have been possible.

IMAGES

  1. © V&A, 2017. Cleaning lacquer.
  2. © V&A, 2016. Looking for areas of lifting brass and shell on a Boulle table.
  3. Retouching areas of loss in the entrance to the Chapel of St. John the Baptist, Westminster Abbey.
  4. Conducting experimental practical work on the electrolytic reduction of lead corrosion on lacquer.
  5. Oil gilding in the Sovereign’s Robing Room at the Palace of Westminster.
  6. © The Trustees of the British Museum. Shared under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) licence. Carrying out veneer replacements on a long case clock.
  7. Consolidating a C19th export lacquer tea caddy for my 3rd year practical project at City & Guilds.

Alex Owen graduated from our BA (Hons) Conservation Studies course in 2014. Here he tells us about his inspirational journey from Conservation Studies undergrad to Wooden Objects Conservator at the British Museum…

On my first day at City & Guilds I can remember feeling a little lost and incredibly curious. On campus you are always very aware that most of what City & Guilds does is teach the creative arts. I just remember wanting to spend time in historic stone and wood carving, in the wood shop, and the sculpture and fine art studios. Conservation felt like a complication – a behemoth of unknowns keeping me from exploring the labyrinthine site and getting to know all its inhabitants and learning about what they did.

From the outset I wanted to focus on Wood and Furniture conservation and was particularly interested in developing craft skills. However I soon developed a fascination with science spurred on by the practical way it is taught and applied at City & Guilds. I also paid full attention to anything the tutors would impart, from Pigments to History of Art, the Lime Cycle to the use of gels for cleaning. This gregarious approach to the diverse curriculum at City & Guilds has held me in good stead as it has allowed me to, for example, work as a stone conservator for Taylor Pearce between contracts at the Victoria and Albert museum’s Furniture Conservation Department.

19th Century export lacquer tea caddy

In fact since graduating I’ve had to be very versatile. Among other roles I’ve worked as a stone conservator in private practice and as a furniture conservator in a museum environment as mentioned above, I’ve worked as a preventive conservator seconded to Westminster Abbey, and as a frames and gilded furniture conservator at a small private studio. I’ve taken on private conservation, gilding, and restoration work. I also busied myself with being on the committee, and ultimately chairing, the Icon Furniture and Wooden Object Group.

Oil gilding in the Sovereign's Robing Room at the Palace of Westminster.

I am certain that this plurality of post-graduate experience played a large part in my being offered a permanent position as Wooden Objects Conservator at the British Museum, a dream job for me. However, I think the biggest single reason for my success was a placement at the V&A during my studies, facilitated by one of my tutors. The opportunity to work in a museum environment allowed me to prove myself in that immediate context. Then when temporary contracts came up at the V&A, I was a known and proven entity. Having then secured that experience, when applying for the position at the British Museum I was able to demonstrate an ability to deliver results at a large national museum.

Carrying out veneer replacements on a long case clock

Now I am beginning my career at the British Museum. I have been made section lead for Japanese and Korean objects with a focus on lacquer, and for large archaeological wooden objects. I also have responsibility for the Organics section’s machine tools and woodworking room. But what I really love about working here is the diversity of challenging objects we get to work on – my first object was a Haitian Voodoo drum!

 

MORE BLOGS

Frame and Furniture Conservation projects with Tutor Gerry Alabone

Historic Crafts: Gilding & Japanning

 

FIND OUT MORE

BA (Hons) Conservation

MA Conservation

 

IMAGES

  1. Consolidating a C19th export lacquer tea caddy for my 3rd year practical project at City & Guilds
  2. Oil gilding in the Sovereign’s Robing Room at the Palace of Westminster.
  3. © The Trustees of the British Museum. Shared under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) licence. Carrying out veneer replacements on a long case clock.

While we are planning a full celebration of Dick Onian’s huge contribution to the Art School in early March 2018, we could not mark his last full day of teaching on 13th December 2017 without a very big and warm thank you.
Dick has been teaching Historic Carving Diploma and Post Graduate Diploma students at the City & Guilds of London Art School since 1977 and is widely recognised by students and staff as one of the most generous, thoughtful, knowledgeable and inspiring people any of us have had the pleasure of working with.
We very much look forward to seeing Dick again in February but for now here is a big cheers and thanks to Dick – we are relieved that he will be doing a few days a year still, but we will miss his regular presence a great deal. If we had the ability to bestow such an accolade, he would be up there as a Living National Treasure..

Senior Stone Carving Tutor Nina Bilbey says:
Dick Onians is one of those rare individuals you meet once in a life time. His extraordinary depth of knowledge is matched only by his practical skill. It has been an extraordinary honour to work with one of this countries true master carvers, I will miss his quiet manner and his sharp eye for detail. I can only hope that we, the staff and Art School, honour his legacy by continuing to pass on the unique skills he has bestowed upon us with such humility.

 

City & Guilds of London Art School is seeking applications for two Artist in Residence positions. Early and mid career artists whose main practice is based in either painting, sculpture or installation are invited to apply for a residency, running from February to September 2018.

The residency scheme provides a studio base and each artist is allocated up to 18 days access to the Art School’s facilities. Facilities available include: printmaking; plaster casting; forge; small foundry; wood workshop; glass workshop and drawing studio. In return the artists will be expected to engage with the Fine Art Department’s community of students and staff through attending student seminars and group critiques, participating in student mentoring, and giving talks on their own practice as it develops throughout the residency. The selected artists will be expected to carry out their own studio practice at the art school on average no less than two days per week during term time.

Closing date:  11.59pm 14 January 2018.

For full information about the residency, application form and how to apply please see the links below.

Download Position Description Here

Download Application Form Here

My art practice is about creating machines and objects that are self-defeating and that play with the viewer’s expectations; in the past I have made things from mostly found objects, merging them together to create strange/dysfunctional/odd assemblages. Recently my work has become more technical and precise, exploring laser cutting in various materials such as wood and acrylic.

Matthew’s approach to art making is through the construction of critical and research-oriented projects. These projects have thus far been couched in his time-based media studies background and take the form of prints and videos with a foregrounded materiality. These forms—silkscreens printed with gelatine and silver in a recent framework—are assembled through an engagement with theories and modes of working surrounding materialist ontologies, creative cultural geographies, and caring in a more-than-human world. Central to this cultural production approach is an aim towards shifting viewer perceptions towards photographic media: his working process intends to place material affect on the same plane of recognition as depicted mimetic representations.

Matthew beach received his MFA from the Slade School of Fine Art and BFA from the University of Florida. He also participated in the 2016 Saas-Fee Summer Institute of Art. Recent exhibitions include The Political Animal Event, The Showroom, London and Individuating, Rosa–Luxemburg–Platz Kunstverein, Berlin. Beach is currently a Geography MA candidate at Queen Mary, University of London and artist-in-residence at Charleston House as part of the 2018 Diep~Haven festival.

 

On 6 December, not one but two of our recent Fine Art graduates were awarded top prizes in two prestigious competitions.

Lucas Dupuy (BA Hons 2017) took home the Clyde & Co Art Award Prize, selected from over 40 recent alumni from five leading art schools as the judges’ selection. The exhibition at Clyde & Co’s east London headquarters also featured work by seven other 2017 City & Guilds of London Art School graduates.

Harrison Pearce (MA 2016) also met with success that night, winning the Young Contemporary Talent Purchase Prize Exhibition for his piece ‘Interview (prototype)’, which was shown earlier this autumn at Dulwich College.

Congratulations to both on these wonderful accolades!

City & Guilds of London Art School Fine Art tutor Frances Richardson has won the 2017 Solo Prize! Judges Robin Klassnik, Lisa Le Feuvre, Sarah Monk and Chiara Williams deemed Frances the winner out of 31 artists featured in the exhibition. She will be featured with a one-person exhibition at the 2018 London Art Fair. This comes on the heels of her winning the Mark Tanner Sculpture Award earlier this spring which comes with an exhibition at Standpoint Gallery..

 

Work by Hannah Hill

What have our recent alumni been up to over the last few months since the degree show??

Since the Art School was tapped by the Guardian as one of the must-see BA Shows to spot rising stars (and certainly it was a very popular show with lots of great feedback) our 2017 graduates have been busy.

What we have heard about so far..

Oli Epp, was picked out by GQ Magazine as one of the young UK artists to invest in early! http://www.gq- magazine.co.uk/article/investing-in-art-uk and indeed he sold out his Degree Show with a waiting list. One of Oli’s self-portraits was acquired for the Ruth Borchard Next Generation Collection, joining the likes of Tracey Emin and others.. and he is now on a residency in Spain with solo shows coming up in  the New Year..

Luc Nonga had a solo show ‘In Transit’ at ‘The Store’ at  Dulwich College and has been working from a sponsored studio in recent months with his work also selected for the Clyde & Co exhibition among others..

Hannah Hill appeared on an hour long BBC Woman’s Hour special discussing her grime culture inspired embroideries. She has a huge following on instagram and is going from strength to strength..

Jeanette Gunnarsson has been busy showing her work in a collaborative installation at the White Conduit Projects and at the Peckham International Art Fair. She is also working as an assistant curator with Kristian Day

Lucas Dupuy is enjoying his 1 year residency at Acme studios (the City & Guilds of London Art School Acme Studio Award) that comes with a £7000 materials grant and has also just won the Clyde & Co Art Award  main prize of another £5000 – big congratulations Lucas!

Graduates from Fine Art in summer 2016 are also doing very well with Amanda Mostrom (former recipient of the Acme Studio Award) and Tom Platt now showing in the 2017 Bloomberg New Contemporaries that will be moving to Block 336 in January. This is the first time that this major exhibition has been shown at an independent artist run gallery space and at the City & Guilds of London Art School we are delighted to see that this great gallery initiative led by our own alumni including Fine Art tutor Jane Hayes Greenwood is being recognised in this way!

more news to come….

Come and visit and see what a real Art School is like! Our Open days provide the opportunity to meet tutors and talk to our students, see our studios and workshops and hear in more detail about what its like to study here.

If you are interested in visiting one of our Open Days please visit our booking page:
  • BA (Hons) Fine Art
  • MA Fine Art
  • Diploma Historic Carving :Ornamental Woodcarving and Gilding
  • Diploma Historic Carving: Architectural Stone Carving
  • Postgraduate Diploma Historic Carving
  • Foundation Art & Design

 

Our two most recent Work Workshop Fellows started at the beginning of this term. Already they have made a significant contribution to the Art School, both in the time they dedicate towards helping students in the workshop, and by sharing their skills with the community more generally.

JAMES BOMAN

James Boman creates machines and objects that are self-defeating, machines that play with the viewer’s expectations. James currently makes things from mostly found objects, merging them together to create unique/dysfunctional assemblages. James would like hone his fabricating skills, expand his knowledge of better quality materials and potentially apply more traditional techniques to his practice.

Jamesboman.com

  

ANA KAZAROFF

A 2016 MA Fine Art Graduate of the Art School, Ana makes pained wooden sculptures. Her work is informed by the processes of hybridisation and mistranslations that happen when elements from a culture travel and adapt to a new one. She collects images, memories and objects and uses them as influences in her practice, making unexpected associations in a way that creates a fiction in its own right. Through humour she plays with the tension between feelings of strangeness and familiarity.

www.anakazaroff.com

   

Wood Workshop Fellows are practicing artists who work 1-2 days in the Art School’s workshop in exchange for access to the facilities and technical support. Fellows are selected through an application and interview process prior to the start of each academic year. For more information, contact Wood Workshop Technician David MacDiarmid at d.macdiarmid@cityandguildsartschool.ac.uk.

Our Conservation course is one of the only courses that trains students to work as conservators of objects made of stone and stone related materials (as well of course as wood and decorative surfaces). We strongly believe that in order to make conservation decisions you really need to know about what it takes to make things as well.. Here are our 1st year students involved in one of the Historic Crafts that they learn during the year – Stone Carving. They are working in the beautiful carving workshop of renowned local stone sculptor and specialist letter cutter Tom Young and as you can see in just a week they have spectacular results and a much deeper understanding of how stone behaves.

During the 1st year of the course Conservation students are involved in a really wide range of activities from Chemistry and Conservation ethics through to specialist craft workshops.. here are some of the 1st year students learning about how to carve. Why? because if you are going to conserve wood carvings you need to understand how the material behaves and how the original maker’s approach…

 

Conservation Studies Head of Department, Dr Marina Sokhan, visited the Tbilisi State Academy of Arts Faculty of Restoration/Conservation, Art History and Theory in Georgia this month and had a fascinating week. Marina gave a number of lectures while she was there and was also able to visit live projects at various locations. It was a highly productive visit and the Conservation Department looks forward to keeping a dialogue with colleagues in Tbilisi in the future.

 

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.

 

 

Harriet Lam studied for her MA Library and Information Management at Manchester Metropolitan University, having previously gained BA (Honours) and MA degrees in English Literature at the University of Leeds. She has a background working in academic and art libraries including Christie’s Education, Courtauld Institute of Art, and Birkbeck, University of London. She is a member of ARLIS/UK & Ireland: the Art Libraries Society, sitting on the Professional Development Committee (2013-17) and Conference Working Party for the London 2018 conference.

At Winchester Cathedral, students have undertaken the cleaning of 13th century architectural stones and the conservation of a 17th century decorative wood carving frame.

Nick Moss hails from Adelaide South Australia, there he completed a BA in Creative Arts from Flinders University majoring in film production and animation.  Prior to completing his bachelors he obtained a diploma in Network Administration.  He has spent the better part of 13 years working as an IT Support technician, freelance film maker & video / performance artist.

He has been the primary IT support technician since he moved to London and started working for the Art School in September 2013

Anne Petters is a multi media artist with a background in glass art and design. In 2009 she received a Diploma in Fine Arts/ Glass at the Institute of Ceramic and Glass Art in Germany and in 2011 the Master of Fine Arts in Sculpture/ Dimensional Studies at Alfred University, New York. Anne has been showing work in glass museums and art institutions in Europe and the USA, such as the Saatchi Gallery, London 2018, the GlazenHuis Lommel Belgium 2018, the Nürnberger Kunshalle Germany in 2014, the European Museum for Modern Glass, Coburg in 2014, the Shack Art Center, Everett, WA and the Vergette Gallery at Southern Illinois University, IL in 2015.

Born in Dresden, Anne grew up in the German Democratic Republic. The political change in her country, which she experienced as a displacement of reality, has had a profound influence on her lifestyle and artistic work. Her interest in controlling and displaying moments of our fleeting, vulnerable existence leads her to a poetic, metaphoric use of glass and other materials, including natural phenomena.

Anne has developed a specific glass kiln forming technique and is teaching internationally. She has been a visiting lecturer at the Institute for Ceramic and Glass Art in Germany in 2012, a visiting lecturer at the Royal College of Art in 2016 and instructor at the Pilchuck Glass School in Washington, at NorthLands Creative in Lybster Scotland and the Summer Academy Bild-Werk in Germany.

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The visit in May 2017 of Tokyo University of the Arts’ Sculpture Conservation and Restoration Lab, led by acclaimed Tokyo based master carver Professor Yabuuchi Satoshi, was a great success. It is very warmly remembered by students and staff at the Art School as well as visitors to the various events that took place during their stay. The report on the activities, funded by grants from the Daiwa Anglo Japanese Foundation, the Great Britain Sasakawa Foundation and Toshiba International Foundation, can be read here

Masa Suzuki employs traditional Japanese woodcarving techniques to make artworks which focus on the differences and disjunctions between the religious practices and cultures in the West and in the East, and the `mis-readings’ that can occur between the two cultures.
Of his recent series of works he has written,

I am particularly intrigued by the way the beggars sit all day without doing anything else. They just sit still and beg. This reminds me of how the Zen monks spend their time. Monks seek enlightenment by sitting still for long periods as part of their practice in the temple, and they make their living through other people’s donations because their meditation is respected. The circumstances and differences between these two groups of people are great, but interestingly, there are similarities in the way they spend their time. By creating a work depicting beggars, I want to draw attention to the lowest class of people in society, and to place them in one of the most respected cultural contexts-the world of contemporary art.

The annual Degree Show Ceremony and Prize Giving is a highlight of the year, celebrating the accomplishments of our talented BA (Hons) and Diploma students.

This year’s event featured remarks by Gabriel Gbadamosi, a writer and poet who was previously our Royal Literary Fund Fellow, as well as from final-year students Oli Epp, Jeanette Gunnarsson and Will Ellyard. Below are a few images, followed by the full list of prize winners. Congratulations to all, and very many thanks to all the donors who support our students in this way.

Gabriel Gbadamosi

Oli Epp and Jeanette Gunnarsson

Will Ellyard

2017 Prizes and Awards

TRAVEL PRIZES
The Idun Ravndal Travel Award: Silje Jorgensen & Nell Nicholas
The Skinners’ Company Philip Connard Travel Prize: Polly Bennett
The David Ballardie Memorial Travel Award: William Hopkins
The Brinsley Ford Travel Award: George Edwards

PRINTMAKING PRIZES
The Artichoke Printmaking Prize: Natalia Gonzalez Martin, Hannah Hill & Liz Middleton
The Slaughterhaus Printmaking Prize: Natalia Gonzalez Martin
The Printmaking Prize for Technical Excellence: Clementine Hanbury
The Skinners’ Company Stephen Gooden Prize for Engraving: Polly Bennett & Giulia Lodigiani

DRAWING PRIZES
The Surveyors’ Club Drawing Prize: Sarah Davis
The Taylor Pearce Drawing Prize: Wilfe Gorlin

ART HISTORIES PRIZES
The Art School Prize for the Best Contributor to the Art Histories Programme: Natalia Gonzalez Martin
The Brian Till Art History Prize for Humanities Thesis: Sam Elgar

CONSERVATION PRIZES
The Art School Prize for Gilding & Decorative Surfaces for a Conservation Student: Harriet Lewars
The Michael Legg Prize: Tina Kenward
The Art School Prize for Best Conservation Research: India Carpenter
The Art School Prize for best Practical Conservation Project: Maria Ines Bravo
The Venice in Peril Residency: Jasmin Mackenzie & Anais Vlahakis

FINE ART PRIZES
The Artists Collecting Society Undergraduate Prize: Andrew Loggie
The Art School Andrew Vass Prize for Experimental Drawing: Lucas Dupuy
The Fishmongers’ Company Beckwith Scholarship for Sculpture: Polly Bennett
The Art School Sculpture Prize: Jordan Heighes
The Merlin Entertainments’ Group Madame Tussauds’ Project Fund Award for a Continuing Student: Maria Positano
The Merlin Entertainments’ Group Madame Tussauds’ Merit Award for a Graduating Student: Kirsty Armstrong
The Chadwyck-Healey Prize for Painting: Jeanette Gunnarsson
The Painter-Stainers Scholarship Prize: Coco Morris
The Acme City & Guilds of London Art School Studio Award: Lucas Dupuy

HISTORIC CARVING PRIZES
The Neil Shannon Memorial Award for Stonecarving: Thomas Clarke-Collins
The Masons’ Company – Outstanding Work by a Graduating Student: Liz Middleton
The Masons’ Company – Studentship and Commitment for a Continuing Student: Richard Barnes
Master Carvers Prize for a Final Year Student: Sam Elgar
The Art School Lettering Prize: Sam Elgar
The William Wheeler Woodcarving Prize for Outstanding Work: Kristy Flood

ART SCHOOL-WIDE PRIZES
The Fishmongers’ Company Menu Cover Design Prize: Justine Formentelli
The Honourable Society of the Knights of the Round Table Award: Richard Barnes, Sarah Davis & Melaney Gibson-Davies
The InterEsse Prize: Hannah Hill, Liz Middleton & Lucas Dupuy
The Art School Board of Trustees Prize for an Outstanding Piece of Work in the Graduate Show: Oliver Epp

From 27 June to 2 July, our 29 students completing the BA (Hons) Fine Art, BA (Hons) Conservation and Diplomas in Historic Carving showcased their work in the Art School’s historic Kennington buildings. It was a wonderful week of celebrations and recognition of their achievements, as the selection of photos below shows.

After three years at the Art School, these students will be tremendously missed, but we look forward to seeing what wonderful things these most recent alumni go on to achieve. Huge congratulations to all of them!

Work by Jeanette Gunnarrson

Work by Luc Nonga

Work by Jordan Heighes

Work by Giulia Lodigiani and Natalia Gonzalez Martin

Work by Lucas Dupuy

Work by Amelia Kate Sampson

Work by Seth Stewart-Brown and Kirsty Armstrong

Work by Oli Epp

Work by Kirsty Armstrong

Work by Hannah Hill

Work by Will Ellyard

Work by Laura Anderson

Work by Kristy Flood

Work by Liz Middleton

Work by Sam Elgar

Work by Akira Inman

Various works by Historic Carving students

Work by Liz Middleton

Conservation work by Jasmin Mackenzie

Conservation work by Anais Vlahaki

Conservation work by graduating students

My work is positioned around a continuous dialogue between historical and contemporary techniques of printmaking, drawing and photography. Through my process I investigate spaces and connections between the physical, immaterial, digital and ‘natural’, to form a relationship between the observed and the observer. As seen in nature, the pieces build in layers over time, resulting in hybrid objects that index both the computational and the artist’s attention. My process-based works often involve de-constructing and re-forming an image by means of digital intervention to using a scalpel to cut-away details by hand; pencil rubbings to reveal a surface or colour mixing through multi-plate transparency etchings.

Gabrielle’s practice is based around attempting to put shape and form to feelings of insecurity and loss in times of forced change. She is interested in how we react to the space around us including both what is physically there and our perceptions and feelings toward it. We are frequently changing states in order to fit in with changes around us. Each situation has its own set of unwritten rules to negate. Gabrielle is interested in how ‘difference’ is dealt with. When someone does not ‘fit’ in one-way or another. Who in this situation is forced to change or adapt? She is interested in the collective and the individual and which is prioritized during times of change. Her work comes about through process driven activity, becoming a metaphor to ways of reacting to situations that are constantly in flux.

8 members of the jury were assessing the objects before the oral exams

Ines Bravo presented a Plaster bust of Alicia Markova and a 17th C Footstool from Knole House

Anais Vlahakis presented the conservation of a Monument to Marie Corelli and a Sunderland Frame from the Valence House Museum

Lucinda Barnes presented the conservation of a part of a set of Composition Ornament Pressing Moulds and a Marble Hearth of William Morris Gallery

India Carpenter presented the conservation of a Clouet Frame and Beacon of Youth Maquette by Dorian Crone

Jasmin Mackenzie presented the conservation of a Indian Torador Muskets and a plaster of a Head of an Angel of the Victoria & Albert Museum

Sam Parkash presented the conservation of a Rococco Wall Bracket and Plaster Cast of the Victoria & Albert Museum.

Hannah Winn presented the conservation of a Neo-Classical Portrait Frame Late 18th / Early 19th Century and Pair of Medieval Sandstone Heads.

Sam and Hannah did not wish to be photographed during their VIVA.

Final Year Conservation Students Research Symposium
Wednesday 7 June, 10.00 am – 12.30 pm
Victoria & Albert Museum Lecture Theatre

All are welcome to this annual event which will showcase the original research of our graduating Conservation Students. Presentations will include:

Ines Bravo, Comparison of Matting Agents for Synthetic Varnishes Used on Decorative Surfaces

India Carpenter, A Development of a New Methodology for Recording and Monitoring the Condition of 3D Cultural Heritage

Jasmin Mackenzie, A Review of Current Applications of Additive Manufacture in Conservation and Investigation into the Sustainability of Use

Sam Parkash, An Investigation into the Effect of Aqueous Cleaning Gels on the Surface Appearance of Wood with a Wax Coating

Anais Vlahakis, Investigation into the Compatibility of a Lightweight Expanded Glass Aggregate for Lime Mortar

Lucy Devenish’s practice is driven by her explorations of remote landscapes. She makes journeys to far-flung coastal areas of the British Isles where she undertakes wild swims. Each swim is an act of endurance and immersion: working becomes breathing, sweating, struggling.

Lucy translates the sketches she has made, the maps she has scrutinised and the film footage from the swims into bodies of work relating to the coastlines experienced. Recognition of the dispersal of her wake in the water is the driving force for her making through which she seeks both to recollect and to map her encounters.

 

My work begins as exploration. Working with trees as primary subject matter is the perfect excuse to wander in woods and parkland.  Hours of walking and observation precedes all my work. Gathering tactile information, collecting interesting pieces of twisted wood and stones with meandering veins, but most importantly memories.

Inspiration comes from the mysterious and anthropomorphic nature of ancient trees. They invoke empathy and personal connection whilst simultaneously transcending human timescales and ideas of mortality. I use monochrome for its unnatural perfection, a visual incompleteness and polarizing of tonal values, making that which could be grotesque, appear beautiful and fascinating.

The Conservation course is unique in its emphasis on Historical Crafts. At City & Guilds of London Art School we agree with many professional practitioners and museums that Conservation practitioners must understand materials and their properties not only from the perspective of conserving but from the perspective of the maker. For this reason we run specialist classes for our 1st year students in a whole range of processes so that they can more deeply understand artefacts and how they have been made. This involves learning to cast in plaster, gilding, wood and stone carving, fresco, modelling in clay and in this case japanning. We work with leading specialists such as Professor Alex Schouvaloff, introducing students to techniques and the aesthetic principles underlying such historical art forms.



 

Gerry Alabone, the Art School’s Senior Tutor in Wood Conservation and Head of Frame and Furniture Conservation at the National Trust is a leading specialist in historic frames. As well as supervising 3rd year students’  major projects he introduces 2nd year students to the complexities of frame conservation – why complex? Because usually some serious detective work is involved, with layers of history being uncovered, from what might at first appear to be an innocent object.. then there are many things to consider, the carving, types of material used for the gesso layers, the gilding, structural supports etc. Gerry’s wealth of experience from working as the Head of Frame Conservation at the Tate Gallery and his current role at the National Trust clearly prove invaluable…

Wooden Polychromed Christ from a private collection

 

Sophie Barton is a freelance conservator and specialist in polychromy sculpture and gilded surfaces.

Here Jeanne Callanan & Catherine Gray are removing the old varnish of Japanned corner cabinet from a private collection.

 

Heraldic Cartouche, 1696: Technical analysis in progress with Meredith Thomas and wood conservation tutor Sophie Barton., the material is unknown but we think it may be papier-mâché with a thick pigmented varnish.

The heraldry on the centre shield is likely to be the Coat of Arms for Henry Sydney Earl of Romney, youngest son of Robert 2ndEarl of Leicester. He was Master General of the Ordnance under King William III and marked any warlike stores with his crest (The Broad Arrow or Pheon) which became, and still, is the Ordnance Mark on Government property.

On her final wood project Anais Vlahakis worked on the Sunderland Frame from Valence House Museum in Dagenham. Anais used laser and ethanol to clean it before applying gesso in preparation of to the integration of the replacements to the original decorative scheme.

For her final stone project Anais chose the Angel of Marie Corelli’s grave from Stratford-upon-Avon. She was cleaning the statue in preparation of fills with Lime Mortar toned with pigments to match the colour of the stone, replacing missing fingers with Carrara marble integrating the colour to match the weathered of marble with stain.

 

 

As her final stone projects Ines Bravo was working on a plaster bust of Ballerina Alicia Markova from Laine Theatre Arts. She had used a paint consolidate acrylic emulsion brushed on entire bust to consolidate the paint and to work as a protective coating. She has also reattached the hands and rebuild a finger.

 

 

As a final wood project Ines Bravo has worked on a Footstole from Knole House. She nailed back the top cover that was partially lifted with its original tacks that were cleaned and coated earlier in the week and in painting the distracting areas of loss to the paint scheme.

 

For her final wood project Jasmin Mackensie was working on an Indian Musket 1 Siege of Dehli from a private collection.

She has been coating the steel with Paraloid B8n and fixed some badly degraded metal using Japanese tissue and zinc to support the damage.

 

For a stone project Jasmin has worked on a Plaster Cast Angel playing flute(repro 187-25) from Victoria & Albert Museum. She had been replacing the lost piece of drapery and finger with a reversible plaster fill recessed.

 

For her wood project India Carpenter was working on a 16th Century Silver Frame from a private collection. Before gilding she has done some burnishing on a test panel and integrated fills Butvar b-98 with Microballoon and Whiting. The finished frame was varnished and placed in the fuming cabinet to dry.

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For her stone project India worked on a contemporary plaster model of a statue, The Beacon of Youth by Egon Altdorf

Private View
Tuesday 27 June, 6.30 – 9.30pm

Open Week
Wednesday 28 June, 11am – 8pm
Thursday 29 June, 11am – 5pm
Friday 30 June, 11am – 9pm
Saturday 1 July, 10am – 6pm
Sunday 2 July, 10am – 6pm

Studio Supper
Thursday 29 June, 7-10pm
Tickets £75 (advance purchase required)
Contact j.catalano@cityandguildsartschool.ac.uk for further information

Private View
Tuesday 27 June, 6.30 – 9.30pm

Open Week
Wednesday 28 June, 11am – 8pm
Thursday 29 June, 11am – 5pm
Friday 30 June, 11am – 9pm
Saturday 1 July, 10am – 6pm
Sunday 2 July, 10am – 6pm

Studio Supper
Thursday 29 June, 7-10pm
Tickets £75 (advance purchase required)
Contact j.catalano@cityandguildsartschool.ac.uk for further information

My work employs sculpture, wood working, metal casting, writing, and image production to synthesise various topics I am researching, often dipping into irreverence and hyperbole, but earnest at base. Current topics of research are the rise of genetic determinism (a deeply inhuman form of religion), the Chernobyl Nuclear Disaster, North Korea, and science fiction. As such my current works carry the appearance of objects of worship, altarpieces, totems and relics that are redolent of a modern day spirituality, but ultimately relate to the human in scale and use.

My research began with an obsession for perfecting movement up an accessibility slope in a newly designed architectural extension. As my research developed theories regarding embodiment started to influence and disciplines outside of sculpture including, contact improvisation dance, accessibility engineering, environmental psychology and spatial research in architecture, were used as a source of building a holistic understanding for my aim. This approach transformed the idea of the sensing body from being in contact with architecture, to being in connection with architecture, as though our surrounding is an extension of our own body.

My research began with an obsession for perfecting movement up an accessibility slope in a newly designed architectural extension. As my research developed theories regarding embodiment started to influence and disciplines outside of sculpture including, contact improvisation dance, accessibility engineering, environmental psychology and spatial research in architecture, were used as a source of building a holistic understanding for my aim. This approach transformed the idea of the sensing body from being in contact with architecture, to being in connection with architecture, as though our surrounding is an extension of our own body.

Alex Frost studied at Staffordshire University (1995), and The Glasgow School of Art (1998). His work has been shown nationally and internationally, including solo exhibitions in major private and public institutions including Flat Time House, Dundee Contemporary Arts and Milton Keynes Gallery. He has undertaken several public commissions and participated in the Venice Biennale in 2009.

18 years after graduating from his MFA at The Glasgow School of Art Alex Frost presents ‘Late Developer’ his first mid-career degree show.

Born in Honolulu (1982), lives and works in London. He received his MA in Painting from the Royal College of Art in 2014. He was shortlisted this year for the Catlin Art Prize. Upcoming exhibitions include Island at g39, Cardiff;  …and the soft ground is also a constellation… at Lychee one, London. Recent exhibitions include The Catlin Art Prize, London; A Crazed Flowering, Frameless Gallery, London; Saatchi New Sensations, London; and Art in Romney Marsh Visual Arts Festival, Kent.

When pressed, I say I paint flowers. I know this can come off naïve, but I like the dissonance such an obsolete sentiment can create around current discourses in art. And obsolescence is precisely the point, or perhaps decay; the idea that anything if abandoned will be reclaimed and repurposed.

My work mines histories that sit buried or latent within a landscape and can be invoked. At the same time it explores how modes of perception shift overtime, from the painted observation to the filmed image, what happens if the subject remains the same over so many years, but the method of representing it shifts? Do our methods of looking at it, of comprehending it also shift? This is how obsolete ideas can create discourse in a contemporary context, by positioning new methods in relation to old methods without giving precedence to either.

Molloy’s practice embraces painting, sculpture and installation as a way to explore what it is to exist as a human today. Human behaviour, our relationship with objects, each other and the world around us are some of the themes that Molloy explores, as she navigates herself and the work on a journey into understanding how our bodies and mind exist in the digital and physical worlds.

Video is used as a visual space which allows for Molloy to combine painting, object making and installation within the reality of the screen. This reality on first appearance is a candied world, that offers the viewer an encounter with pleasure and indulgence. On closer inspection this world offers the viewer a deeper understanding, one that explores the darker sides of having a body and being a human today.

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 office@cityandguildsartschool.ac.uk 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: office@cityandguildsartschool.ac.uk

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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Hannah Birkett studied fine art and creative writing at Lancaster University, and after graduating went on to study fine art at the Royal Academy Schools.  Her practice incorporates sculpture and painting, with a strong foundation in drawing.  She continues to exhibit both nationally and internationally, including Mostyn Open Exhibition (2014), the Royal Academy, Hack the Barbican, and Wisnicz Castle, Poland.  Hannah continues to teach both fine art and art and design to both Foundation and BA students in the UK.

 

Second-year Woodcarving student William 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.

William Barsley working on his heraldic crest commission.

 

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

Feb

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

MARCH

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

April

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

May

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

June

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

July

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

August

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

September

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

October

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

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

December

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

We are pleased to reproduce the obituary of Tony Carter, former Principal of the City & Guilds of London art School 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.’

ALISTER WARMAN

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

 

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.

Hannah’s role as Development and External Relations Manager, encompasses a range of projects at City & Guilds of London Art School, including fundraising, external partnerships, collaborations and graduate engagement.

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

We are a community of artists, crafts practitioners and designers, enriched by the cultural diversity, creativity, knowledge and skills of our academic and other staff and students.  Working with individuals from around the world, including from many EU nations, we value the exchange of ideas and the exploration of contemporary and historical approaches to creative practice from local, European and global perspectives.

Following the result of the UK Referendum of 23 June 2016 we can confirm that the status of our current and prospective students and staff who are EU citizens is unchanged. We will engage with our networks through our membership of Study UK and our partner institutions to ensure that we can continue to work with individuals from across Europe as well as further afield, supporting and championing their talent, insight, curiosity and commitment for our subjects.

The Department for Business, Innovation & Skills (BIS) released a statement from Jo Johnson MP, Minister of State for Universities and Science, on 28 June, confirming that:

  • EU students who are eligible under current rules to receive loans and grants from the Student Loans Company will continue to do so for courses they are currently enrolled on or about to start this coming academic year.

 

If you are an EU student planning to study with us and are concerned about your status please email admissions@cityandguildsartschool.ac.uk

 

The Art School was very pleased to participate in Art16, the global art fair held from 19-22 May at Kensington Olympia.

The Art School booth was in the not-for-profit section of the fair, alongside esteemed organisations such as the Wallace Collection, Villa Lena, and Iraq’s Ruya Foundation for Contemporary Culture. Fine Art tutor selected three graduating BA students – Amanda Mostrom, Antonia Showering and Odilia Suanzes – to represent the Art School. Their pieces showed the diversity of work being produced at the Art School and attracted hundreds of curious visitors, many of whom were amazed and impressed upon learning that these students had yet to even graduate from their undergraduate courses!

Many thanks go to the organisers of Art16 for giving the Art School a platform on this international stage.

22-26 June 2016

FINE ART
CONSERVATION
HISTORIC CARVING

Private View Wednesday 22 June 6-9pm

OPEN WEEK

Thursday 23 June, 10.00 am to 7.30pm
Friday 24th June, 10.00am to 6.00pm
Saturday 25th June, 10.00am to 5.00pm
Sunday 26th June, 10.00am to 5.00pm

124 Kennington Park Road London SE114DJ

 

Dulverton Trust Scholarships

Historic Carving and Conservation applicants 2016/17

City & Guilds of London Art School is pleased to announce a new scholarship, generously provided by Dulverton Trust, for students aiming to relocate to London to study historic carving or conservation at the Art School.

The aim of the Dulverton Trust Scholarship is to support applicants from outside London to relocate to London and to pay their fees. Two Scholarships of ca £6,000 are available for the duration of a three year course of study. Applicants will be selected on the basis of need and excellence.

If you wish to apply, please contact Emilia Yamamoto at admin@cityandguildsartschool.ac.uk mentioning the Dulverton Trust, to request a Bursaries/Scholarships application form.

If you wish to be considered, we recommend submitting your application together with your course application form. The final deadline for submissions for the 2016/17 academic year is 31 May 2016.
Scholarships are only offered to students who have received and accepted an offer to study at City & Guilds of London Art School. Please note that you will be required to provide yearly reports and the continuation of the scholarship support is subject to satisfactory completion of each year’s course of study.

Requirements: British Nationality; applying to year 1 of either Historic Carving Diploma or BA (Hons) Conservation; residents beyond the M25 at the time of application; preferably under 30 years of age, exceptions might be considered.

For more information, please contact Emilia Yamamoto admin@cityandguildsartschool.ac.uk.

John Shield graduated from the City and Guilds Art School in 1986, having studied Restoration in stone, wood and polychrome finishes. Since then he has worked on some of Britains best known historic buildings and monuments.  After staying in London, post-college,  to work as a self-employed carver, he moved to Cambridge in 1992 to work for the Restoration company Rattee and Kett, predominantly carving pieces for Henry VII Chapel, Westminster Abbey. Then, in 1996, came a four year stint in Malaysia making architectural detailing and carved furniture and ornament in wood for a private mansion. Since 2001, he has been based near Cambridge and during this time has produced stonework for Westminster Abbey, Kings College Cambridge, The Queen Mother memorial, The John Soane Museum, Ely Cathedral, Kenilworth Castle ,the Temple Bar, St.Pancras station and St. Georges Church, Bloomsbury among others. This period has also included two working jaunts abroad; to Japan in 2004 and to Germany in 2015 to work on the Berliner Schloss. Having been the external assessor for stone carving at the school from 2008-10, he was then invited to join the teaching staff. ‘ There is a great pleasure in seeing students make a leap of confidence in expressing themselves through stone, and realising that I played a part in this.’

What was your work/ background before starting the course?

Prior to starting the MA course, I have studied visual arts at the Academy of Arts, University of Novi Sad, Serbia. The emphasis of my making was on drawing, while my interest lay in the human face.

What attracted you to study at the Art School?

I was seeking an environment that could facilitate my growth through critical and theoretical support, while also being respectful of the hand-made object – City & Guilds Art School felt like the right place.

What aspects of the course did you most enjoy/ benefit from?

I feel that the biggest contribution of the course to my practice was the encouragement to conduct a theoretical research revolving around my practice and its relating fields, and the consistent presence of a team of tutors channeling and expanding that research.

I was very fortunate to have received bursary support from the Art School that immensely contributed to the payment of my fees, and without which the MA course would not have been possible for me.

Can you describe projects you were involved in while studying at the Art School?

During the course I devoted my energy to two projects, one being the contextualization of my practice that culminated in dissertation writing, and the other being the exploration of the materiality of paint as a second skin sitting on top of canvas, realized through the creation of large and small scale paintings.

What are you involved in now/ what have you been doing since graduating?

It has been busy since graduating – I have had my works shown in exhibitions in Geneva, London and Vienna. One of the paintings that I created while studying at City & Guilds was exhibited at the National Portrait Gallery in London, as a part of the BP Portrait Exhibition, they then useed the painting to advertise the competition the following year. I have also taken part in one residency, in Charleston, US. A couple of my works have been housed in the Saatchi Collection, while my work and its process of making have been featured in a programme presented on CNN. I am currently working on an exciting collaboration with a City & Guilds alumnus.

Would you recommend this course, and why?

I would recommend the MA course, primarily because of the enormous and valuable attention given to each individual student enrolled in the School.

Why do you think Fine Art matters?

I cannot but quote my friend Stacie McCormick: ‘Fine art is not important, artists are because they are alive enough to make people perhaps for a moment feel the majesty of what it is to be alive.’

 

Contrary to popular belief, Lorem Ipsum is not simply random text. It has roots in a piece of classical Latin literature from 45 BC, making it over 2000 years old. Richard McClintock, a Latin professor at Hampden-Sydney College in Virginia, looked up one of the more obscure Latin words, consectetur, from a Lorem Ipsum passage, and going through the cites of the word in classical literature, discovered the undoubtable source. Lorem Ipsum comes from sections 1.10.32 and 1.10.33 of “de Finibus Bonorum et Malorum” (The Extremes of Good and Evil) by Cicero, written in 45 BC. This book is a treatise on the theory of ethics, very popular during the Renaissance.

The first line of Lorem Ipsum, “Lorem ipsum dolor sit amet..”, comes from a line in section 1.10.32.Contrary to popular belief, Lorem Ipsum is not simply random text. It has roots in a piece of classical Latin literature from 45 BC, making it over 2000 years old. Richard McClintock, a Latin professor at Hampden-Sydney College in Virginia, looked up one of the more obscure Latin words, consectetur, from a Lorem Ipsum passage, and going through the cites of the word in classical literature, discovered the undoubtable source. Lorem Ipsum comes from sections 1.10.32 and 1.10.33 of “de Finibus Bonorum et Malorum” (The Extremes of Good and Evil) by Cicero, written in 45 BC. This book is a treatise on the theory of ethics, very popular during the Renaissance. The first line of Lorem Ipsum, “Lorem ipsum dolor sit amet..”, comes from a line in section 1.10.32.

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