SECOND-TO-LAST DEGREE SHOW MEETING—all 3rd years

Please come to a meeting this week to discuss the various events and plans that will occur during the degree show. You should come whether or not you’ve been actively involved in the degree show planning—this will relate to everyone in the year group. This is the last meeting before the installation of the show begins! (I realise some of you will still have you presentation to make, but try to come along.)

WHEN: Wednesday 10 June, 1-1:45 (timed to fit between Oral Presentations)
WHERE: Back Hill, 4th floor cafeteria (to be confirmed)

Unfortunately Jonathan Harvey for the radical incursions talk is away on the 25th of June. However, he is interested to share some toughts if that seems necessary.

Degree Show Volunteers!!

Hey guys,
As you know, for the degree show we will need student volunteers at the Innovation Centre to 'man' the show. We will need a minimum of 5 people present at all times, 1 at the Innovation Centre entrance to guide people, 2 inside the Innovation gallery, 1 person selling publications1 person in charge of refreshments (perhaps 2 for private view)The dates and times are listed below:

Friday 19th June: 6-10pm
Saturday 20th June: 12-6pm
Monday 22nd -Thursday 25th June: 12-8pm

If you would like to volunteer for any of these days please email us with the date and time you are able to commit and your telephone number.

Thanks!!

-Publication team
publicationccc@gmail.com

ethical fashion text

The bad news is that Stephen Jones has bowed out, but Mo Tomaney is in. Here's the text:

The Economics of Fashion
A discussion about sustainability and ethics in fashion in the current economy
Organisers: BACCC 3rd year students, Central Saint Martins
Tuesday, June 23rd, 2-4pm
Innovation Centre Gallery, Red Lion Square, London

Wherefore the fate of ethical and sustainable fashion in an economy looking to consolidate, retool and rebrand, as well as find new markets? Will the movement to be more responsible—both as an industry and as consumers—become a casualty of the next decade, or can it provide key models for production and consumption that survive the next century?

Some forecasters are pessimistic: “This thing comes at the Bermuda Triangle of the culture,” writes Faith Popcorn, founder of Faith Popcorn's BrainReserve. “Ethics, the environment and the economy are all failing at the same time.” Others see an important reshuffling: Gildas Minvielle, an economist at the French Fashion Institute, argues that “slow and fast-fashion concepts will operate side-by-side and smaller retail formats will return to repopulate town centres.”

In past years ethical and sustainable fashion has been most successfully adopted by smaller, independent brands, but they only represent a tiny portion of global sales of clothing. This panel discussion will look at issues surrounding scaling up and becoming more mainstream and global, as well as scaling down and becoming more local. Can ethical fashion become a staple of the high street, or is the over-consumption the high street promotes part of the problem? It will look at ethics and sustainability from a design perspective, considering the possibilities and limits of putting “creativity” and “responsibility” in the same brief. Can ethical and sustainable fashion move out of its niche? Can we imagine a future where it doesn’t need to be named? The Economics of Fashion will look at fashion’s past as a way of mapping out an urgent and realigned future.

The event will be moderated by Mo Tomaney, independent consultant in the fashion and textile industry who focuses on issues of fair trade, workplace ethics, and sustainability.

Organisers: Jaime Galbraith, Hannah Schweiso and Tine Hvisten, 3rd year students, BA (Hons) Criticism, Communication and Curation: Arts & Design, Central Saint Martins College of Art & Design

Contact: Jaime Galbraith
07706662642
jlee8279@aim.com

Publication reminder

Just a reminder, all publication material must be submitted by 1 pm tomorrow 21st may!!

There has also been a change to the word count as we've had spacing issues. Please submit a maximum of 500 words as your body text, footnotes are included in the wordcount. Again the email address to send this to is: publicationccc@gmail.com

Also, please let us know how many copies of the publication you would like, you are expected to buy atleast one copy at £4 each. We need your payment by the 3rd of June. You can give your money to Claire, Sarah or Maithili, or a member of staff.

Thanks!! -Publication team

To Peter: The template below is for the website not the publication. We are in the process of re-designing and formatting the publication layout, as Spela will be designing it for us, for a more professional finish.

For Publication Group

Hi. Sorry, which of the posted templates is for the publication? In the instructions for submitted work it states only two images can be used. Is this to be alligned horizontally or vertically?

Thanks
Peter

look at this link to see BA Graphics website/blog/PANEL!

http://2009.csmgraphicdesign.com/pastevents.php

quite impressive

FAO The Fashion Group

The Ethical Fashion Forum: Spotlight on Sourcing
The next in the monthly Spotlight on Sourcing event, this month's event focuses on successfully, sustainably and ethically sourcing from Asia.

Event Details
Contact name: fashion+@ethicalfashionforum.com
Organisation: Ethical Fashion Forum
Phone: 020 7739 7692
Email: info@ethicalfashionforum.com
Website: http://www.ethicalfashionforum.com

The Da Collectives next Adventure.......

http://www.temporaryschool.org/

Click here to review this review
return to worldwidereview.com, the home of critical reviews

Mayfair Squatters called The Da! Collective

From:     Veepa Patel
Category: Art
Date:     24 November 2008
Time:     06:25 PM

Review:

You have to admire the Mayfair art squatters, they have occupied a beautiful empty house in the
snootiest of neighbourhoods ( is this term even appropriate for the collection of hotels, embassies,
super rich, and restaurants that make this area up). Inside the house is a peaceful mix of seemingly
positive and motivated youngish people. They have made some scrappy art when actually more
highly finished work would be more surprising. And as once said many years on this site- why do rich
kids get the best squats, probably it is a question of being to the manor born, not feeling out of place
in this environment, and having the confidence born of good schools and supportive parents and
having never been poor not by choice. One squatter was on his gap year which made me smile.
Anyway it must be an awful effort living together, discussing it all, and deciding who to let in, and I see
why folks prefer the privacy of alienated capitalism, also hot water is one of the best things we trade
our souls for.  In a Park Lane Squat down the road, the people were more obviously needy, a
reformed mentalist homeless guy taking his meds, and a south african itinerant electrician. They were
housing some pleasant dogs, and were friendly and eager to chat, but seemed less ambitious and
organised than their fellow  squatters. Which would you choose? The more rule-based art middle-
class squatters, or the anarchic, colder, dirtier lower class desparate squatters? Overall a fascinating
central london vacation from my suburban slum hovel in the sticks and a glimpse of a kind of freedom
which requires hard work and dedication.

Click here to review this review
return to worldwidereview.com, the home of critical reviews

Instructions for submitting publication/website content

BACCC Degree Show website and Publication


Each student will get a page in the degree show website and a double page spread in the publication.

DEADLINE FOR TEXT AND IMAGES: 21st MAY by 1:00 PM


*If you do not make the deadline you WILL NOT get a place on the site or in the publication!

SEND TEXT AND IMAGES TO: publicationccc@gmail.com

Please send clean text in a WORD document (97, 2003 compatible file)
All text is subject to editing by the Degree Show publication team and staff readers.

Text:
Brief Profile: 70-80 words
Interests, internships. work experience, nature of Dissertation and London Project, future prospects, etc.
Body Text: 600-800 words
Excerpt from any piece of academic work from BA CCC.


IMAGES

Images should be in a separate WORD document in JPEG or GIFS format.
INCLUDE: your name, image information and caption.
Please specify which images are for the publication and which are for the website.
Publication: max 2
Website: max 8

* Images: preferably your own work/ photographs/ website or if you are using someone else’s work you MUST get authorisation from the source! (If you don’t, we cannot publish the image due to copyright issues)

Images should be sized to these specifications:

Size: Vertical pictures: 235px width by 350px or less
Horizontal pictures: 480px width by 350px or less

Open the images in Photoshop and check that the size is equal or larger to the size you want (Image>Image Size). Please do not include images that are too small, they cannot be used.

TEMPLATES

Useful links (R.I Group)

http://www.guardian.co.uk/artanddesign/2009/feb/18/slack-space-vacant-shops

http://blog.ivanpope.com/awol/2009/02/art-into-recess.html

http://thebeekeepers.com/2009/04/01/as-if-by-magic/

http://www.guardian.co.uk/artanddesign/2009/feb/18/slack-space-vacant-shops

http://www.artistsandmakers.com/staticpages/index.php/emptyshops

http://www.artsadmin.co.uk

http://www.emptyhomes.com/

http://www.skyscrapernews.com/news.php?ref=2075

http://www.theargus.co.uk/news/business/businessnewsbusiness/4325623.Finding_space_for_creativity/

http://squatpotato.blogspot.com/2009/04/slack-space.html

http://www.guardian.co.uk/society/2009/jan/28/housing-regeneration-communities

http://www.guardian.co.uk/business/2009/apr/14/government-high-street-shops-grants

http://dev.null.org/blog/tags/law

Radical Incursions group.


These two links arrived in my inbox today.....
http://www.flickr.com/photos/mattweston/3485716573/sizes/o/
http://www.facebook.com/group.php?gid=55317964802

Concerning the Slack Space and the commercial opportunities therein....

event relevant for Radical Incursions

Jonathan Harvey: where do creative people live and work?
Thursday 14th May 2009 @ 18:00

Talk about the options available for people looking for space in which to live and to conduct their creative practice

LCC Phd student Harvey is one of the founder directors of the remarkable artists’ organisation ACME, which has provided living and work space for visual art practitioners in the UK for the last 30 years. He has an outstanding level of knowledge of the issues surrounding different types of use of buildings for creative purposes, and is going to talk about the options available for people looking for space in which to live and to conduct their creative practice, whether as individuals or organisations.
Venue: Street Lecture Theatre, London College of Communication,
Elephant & Castle, SE1 6SB

There's an Artist in the Playground (perhaps Critical Incursions group should attend?)

A one-day conference about play



Wednesday 20 May 2009
9.30am – 5pm
Royal Vauxhall Tavern
372 Kennington Lane
London
SE11 5HY
Booking essential - click here to secure your place
£10 / £7.50 includes lunch

In 2007 we attended the PlayEducation conference in Wolverhampton, and became interested in using play as a metaphor to speak about artistic practice.

Play is something we can all relate to. It’s an essential part of our human development and we all have memories and experiences of it. Our attendance at the conference inspired two programmes of commissions, TAZ, which began in 2008 and will finish in May 2009 and Pirate Utopias which begins later this summer.

Part of our interest in Play practice is the way that it encompasses and embodies so many of our adult concerns; responsibility, risk, fun, recovery, politics, inclusion, conflict, environment, belonging, being.

This one day conference is for people who work in the arts and on the peripherals of Play. It platforms a discussion about the parallels between collaborative practice, socially engaged commissioning and Play and seeks to bring these dialogues out beyond the Playworld and into a broader context.

Speakers include key Play specialists and practitioners Pete King, Martin Maudsley, Jess Milne, Wendy Russell and Jayne Stansfeld.

Opportunity

frieze Writer’s Prize

frieze, the leading magazine for contemporary art and culture, is inviting entries for the Frieze Writer’s Prize 2009.

Frieze Writer’sPrize was established in 2006 and is presented annually. The aim of the prize is to promote and encourage new critics from across the world, and many of the previous winners and commended entrants, including Mia Jankowicz and Jeffrey Ryan, have gone on to contribute frequently to frieze magazine.

Entrants must submit one previously unpublished review of a recent contemporary art exhibition, approximately 700 words in length.

Entries must be submitted in English, but may be a translation (this must be acknowledged)

Entrants must be over 18 years old. To qualify, entrants may only previously have had a maximum of three pieces of writing on art published in any national or regional newspaper or magazine. Previous online publication is permitted.

The winning entrant will be commissioned to write a review for the October issue of frieze and be awarded £2000.

Closing date is 26 June 2009

Entries should be emailed as a word attachment to writersprize@frieze.com

Please do not send images

Please have a look at this text. I think it may be of use to all of us......


http://www.hermetic.com/bey/taz_cont.html

Radical Incursions Contact List (subject to change/update)

South London Gallery
Frances Williams, Education & Outreach Manager.
frances@southlondongallery.org
Phone:- 020 7703 6120

South London Gallery’s management is leasing shops for three years and taking on artists for six-month residencies.

Arts Council
Louise Wylie, Director of Media Relations
louise.wylie@artscouncil.org.uk
Phone: - 020 7973 5528

£44.5 million of initiatives to sustain the arts through recession, including £500,000 to slack space

Turner Contemporary (Margate)
Victoria Pumney – director.
vpomery@turnercontemporary.org
Phone:- 01843 294208

Due to open in a new building on the seafront in 2011, is currently operating out of a former M&S.

Hannah Barry Gallery
Hannah Barry and Bobby Dowler.
hannah@hannahbarry.com

Set up caretaking agreements with landlords for £5 month. Currently run cutting edge gallery Hannah Barry. (interested)

56a Collective
info@56a.org.uk

Run a radical advice centre and infoshop in the SE (positive feedback)

Hermione Hoby
hermione.hoby@observer.co.uk (???)
hermione.hoby@guardian.co.uk (???)

Journalist with the Guardian. Recently wrote an article entitled The Artists who are Hot to Squat.

Patricia Bickers
Editor of art monthly (debate moderator)

RampART
rampart@mutualaid.org
Phone:- 07050 618445

A non-commercial not-for-profit venue hosting cultural and political events.

Squatter.org
advice@squatter.org.uk
Phone:- 020 3216 0099

Information and resources for (potential) squatters and those interested in squatting.

Brompton Design Districts/Slack Space Agents
Anna Stewart
astewart@ske.org
Phone:- 020 8981 6811

The initiative has included temporary installations in shops and shop windows by Vessell Gallery, Ron Arad, Martino Gamper and Caravan; roaming galleries by curators Rachael Barraclough and Libby Sellers; a temporary bar designed and run by RCA students, and, for last year‘s LDF, a series of exhibitions including Townhouse DK, a mews house renovated as a showcase for new Danish design.

The Henry Lydiate Partnership/Artlaw
Henry Lydiate
henry@thehenrylydiatepartnership.com
Phone:- 020 7607 9373

Artlaw contains over 300 legal related articles written by Henry Lydiate, art and law specialist, for Art Monthly magazine since its launch in 1976. Henry Lydiate is a legal and business consultant specialising in the support of creative practitioners and organisations through innovation, people development and co-creation.

Wandsworth Borough Council
David Cruse - Principal policy and strategy officer (leisure and amenity services department).
cruse@wandsworth.gov.uk
Phone:- 020 8871 6365

Wandsworth in south London, is one of several councils spearheading a series of emergency measures giving thousands of grants to people who find creative uses for vacant commercial premises. This includes the use of empty shops for new galleries.

Acme
mail@acme.org.uk
Phone:- 020 8981 6811

Acme Studios is a London-based charity, formed by artists in 1972, which supports the development of fine art practice by providing artists with affordable studio and living space. Acme provides over 400 studio units, runs work/live and studio residency schemes and manages an international agency programme for visiting artists.

Arts Council England announces £44.5 million of initiatives to sustain the arts through recession

Arts Council England will invest an extra £44.5 million in artists and arts organisations over the next two years to help maintain artistic excellence during the economic downturn.

These counter-recessionary measures were announced by Chair Dame Liz Forgan, in a speech at an Arts Council sponsored seminar, Maximising the importance of arts and culture through the economic downturn, today 24 April 2009, in London.

The initiatives include:

* Sustain – a new £40 million open application fund for arts organisations suffering as a result of the recession
* £500,000 support for the Town Centres Initiative to enable more artistic activities to take place in empty retail spaces
* A £4 million increase in the Grants for the arts budget over the next two years

Dame Liz called for public and private funders alike to maintain their levels of investment in the arts, and for artists to see themselves not as victims of the recession but as a key part of its solution. She said:

“The Arts Council has three overarching aims as we plan for the coming years: Great art for everyone will be our mission in life. We will continue to support innovation and creative courage. And we will focus on recovery.

“Of course we understand that the national debt has to be tackled, but a few million off the arts budget is going to make no appreciable difference to that task. On the other hand it could undermine years of creative and financial investment.

“The Arts Council will do all it can to keep that investment in place. We cannot protect artists from the realities of recession, but we can be as imaginative, open and useful as possible in our efforts to get us all through this with minimal damage to the creative life of this country.”

The new funds have been made available by the Arts Council radically reducing its Lottery cash balances over the next two years.

Sustain is a new £40 million fund that will provide extra financial support and expert help and advice for organisations under pressure specifically as a result of recession. Grants from £75,000 to £3 million will be awarded and the programme will run initially over two years, 2009/10 and 2010/11. Any arts organisation can apply but priority will be given to those who are seen as vital to the Arts Council achieving its mission of Great art for everyone.

Sustain has been designed as a rapid response fund and it is hoped that the turn around from application to award will be a maximum of six weeks.

Arts Council England has also set aside £500,000 to support the Town Centres Initiative announced by Hazel Blears, Secretary of State for Communities & Local Government and Andy Burnham, Secretary of State for Culture, on 14 April. Hundreds of artists across the country are already helping to reinvigorate ailing town centres by taking over empty retail space for creative activities and it is hoped this new fund, which will award grants of £1,000 to £10,000 will enable many more to do so.

There will also be additional support for individual artists and smaller arts organisations through the Arts Council’s existing Grants for the arts programme. The 2009/10 budget for the Grants for the arts will be increased from £52 to £54 million and will rise again in 2010/11 to £56 million. These additional funds will be available to individuals and organisations not qualifying for a Sustain grant, as well as to anyone applying to Grants for the arts in the normal way.

Delivering the final speech of the day, Dame Liz Forgan concluded:

“The real challenge for the arts sector is not to ask ‘what is the government going to do to help us?’ but ‘what can we do to help the country weather and recover from this downturn?’

“Showing that we can make a real contribution in even the most difficult of times will be the best case we can make for continued public investment in the arts through – and just as importantly – beyond the recession.”

Artists are coming to a high street near you (all relevant groups contacted)

The curator of the Turner Contemporary, Sarah Martin

Shops stand empty while artists struggle to find exhibition spaces. Why not put the two together? Joanna Moorhead on a scheme that could transform urban Britain.

It's just one closed-down shop in a row of closed-down shops, its façade obscured by a corrugated steel roll-up door, an emblem of recession-hit Britain. But from this weekend, the shutters go up in this former hairdresser's salon in south London; the sunlight will pour once more through the plate-glass window, and passers-by will wonder what's going to happen here next.

Alas for the economy, this isn't a green shoot of the fiscal variety. The new enterprise at 4 Sceaux Gardens in Peckham won't be putting money into the nation's pockets in any conventional sense. Instead, artist Janette Parris will be taking up residence, to create an artwork based on West End musicals. Where commercial enterprise has stalled and shops shut out, artists and galleries are now taking the initiative and moving in - a development the government last week announced its support for, unveiling a £3m grant scheme to allow people to breathe new life into vacant shops. Tomorrow, Arts Council England will announce a further funding initiative.

If this works, Britain's high streets are likely to be transformed over the weeks and months ahead: shops that had closed their doors will morph into studio spaces, galleries and workshop venues. In Sceaux Gardens, a bank of hairwashing sinks are still ranged across the back wall, but from Saturday, Parris will start collaborating on her musicals project with local children. Hers is part of a project organised by the South London Gallery, a stone's throw away: its management is leasing the shop for three years and taking on artists for six-month residencies.

"Engaging the people around here with our work has been an issue with us for a century," explains the gallery's outreach manager Frances Williams. "When we found out there were unused shops just round the corner, we thought: there's potential. We have plenty of middle-class people visiting our gallery, which is great, but we've always been aware that just over the back fence are people who rarely come, but who we'd love to involve. The difference is that, in the shop, we're on their territory, we're in their space, so we pull in a different crowd. And of course we hope, and believe, that in time we'll persuade people to come into the gallery, too."

Giving artists space on the high street helps demystify the process of creating art, taking it away from the private studio and putting it into the shop front; spaces don't come much more accessible than your former Marks & Spencer or Woolies. How many people outside the art world ever get the chance to see an artist at work?

Of course, the government's new £3m scheme is presumably motivated less by the idea that it gives us all a ringside seat on the art world, and more by the notion that it could kick start things on the high street: the buzz of a new art project has to be an improvement on the sight of yet another boarded-up shop. The truth is that £3m is small change in Whitehall terms - but, as Arts Council England spokeswoman Louise Wylie points out, it could be an investment that punches far above its weight. "The public money that goes into the arts is only a small part of the national budget, but it goes a long way. We don't want the arts to be a victim of this recession. We believe that, with sufficient public funding, we can be a creative part of the solution."

That's certainly how it seems to be working in Stroud in Gloucestershire, a city that has been putting art into the high street for years. Back in 1996, after an out-of-town retail park had sucked the life out of the town centre, an organisation called Stroud Valleys Artspace was set up, with the precise intention of reinventing closed-down shops as art galleries. In the 13 years since, says its director Jo Leahy, at least 25 shops have been done up, painted, and used by artists to work or exhibit.

"The fallout has been tremendous," she says. "Every single one of the shops we've taken over has been let, and easily, when we've moved out. Because what we do is make a space attractive, we pull people in, and then businesses are keen to take over because they know the place is on the radar." Leahy adds that the estate agent she works with has reported lower rates of vandalism in shops used by artists, as opposed to those that are left empty. Art in shops puts the feelgood factor back, she argues. "It's another way of judging a town. We're used to measuring a place by how busy the cash tills are. This is about measuring somewhere by its ideas, by the things that people are making happen here."

It helps that artists, and arts administrators, tend to be people who are used to working on a shoestring, and who see opportunities in places where others don't. "Artists are incredibly flexible, and they're also used to taking risks," says Leahy. Exhibition space, for any artist, is always at a premium, and many landlords have been persuaded to give vacant shop-space for free, or on low rents. Rates are often waived and are, in any case, much lower for charities than businesses. This, Leahy warns, can have its drawbacks. "The downside for the artist is that they're welcomed with open arms during the recession, they help to regenerate an area - and then they get tossed out when they're no longer needed, because the economy picks up and the rents go up. So it's worth having eye on the future, and trying to insure yourself for when times improve."

The quality of the art making its way on to British high streets will vary wildly. Not every shop window will be showcasing the work of the next Tracey Emin or Sarah Lucas, whose takeover of an east London shop during the recession of 1992 has become the stuff of legend in art colleges. And not every high street venture will take its place in art history - as, you could argue, did Michael Landy's shredding of all his worldy goods in a disused C&A on Oxford Street in London in 2001.

For some artists, empty shop or office space is more than a venue to make or show art - it's an inspiration for the projects themselves. Damon Albarn, documentary-maker Adam Curtis, and Felix Barrett of Punchdrunk have been collaborating on a theatre/music/art project that will take people through disused offices in Manchester this July, as part of the city's second international arts festival. Described as "a kind of ghost walk", It Felt Like a Kiss will tell the story of America's cultural rise to power through the 1960s. And in Margate, artists Justin Mitchell and Emily Firmin have invited local residents to post suggestions for the kinds of shops they'd like to see opening here. They are now exhibiting papier mache salamis, prawns and power tools where these shops might be.

Over in Stroud, artist Colin Glen, who has taken over various shops there, says: "I've always been struck by what people think about when they walk past an empty shop. It's all about what it's been in the past, and what it might become in the future. I'm interested in nihilism, negative space."

For his next project, he'll recreate, in the middle of the Forest of Dean, the very empty shop space he has recently inhabited. "I like the idea of an urban space in a rural space," he says. While he respects any artist's need to make money, he feels that the public have got too used to judging art by its price tag. "What the recession could do is help educate people about the real value of art, especially if it's art that's right there in their midst," he says.

For galleries in the middle of regenerating their own space, the recession is a moment of possibility. The newly reopened Whitechapel Gallery relocated to an old shop during renovation. In Margate, the Turner Contemporary gallery, which is due to open in a new building on the seafront in 2011, is currently operating out of a former M&S.

This has its advantages and its disadvantages, says curator Sarah Martin. Readily available insurance cover for the art displayed is a big plus; stores like M&S come equipped with adequate security, and that keeps insurers happy. "But we probably wouldn't put a Turner in the shop," she admits. "Humidity and temperature control are difficult, but in general there's lots of scope." So far, she has curated five shows amid the vestiges of M&S - the company's green livery is still on the walls - and says she will miss it when they give up the space later this year to start planning for their new home.

"Having the shop has opened our eyes to the fact that we can do amazing things off-site," she says. "From now on, we'll only ever think of our new building as one of our sites. We'll always be aware of places we could borrow - especially shops".

With newspapers in terminal decline, what future for arts journalism?

Coverage of the arts is migrating online but unless someone is prepared to pay for it, the outlook is uncertai.

“Society doesn’t need newspapers. What we need is journalism,” media analyst Clay Shirky observed in his blog recently. “No one experiment is going to replace what we are now losing with the demise of news on paper,” he added, “but over time, the collection of new experiments that do work might give us the journalism we need.”

http://www.theartnewspaper.com/article.asp?id=17214

Opportunity for your general information.

I know that you all have a lot to occupy yourselves at the present, however it is also useful to keep informed about 'after'.

If nothing else enjoy reading.

Pop




Sponsored by The Gwangju Biennale Foundation, The Metropolitan City of Gwangju
Chaired by Yongwoo Lee
Directed by Byungsoo Eun (Artistic Director, 2009 Gwangju Design Biennale) Massimiliano Gioni (Artistic Director, 2010 Gwangju Biennale)
Visiting Professor: Barbara Vanderlinden

---------------------------------------------------------------------

The Gwangju Biennale Foundation sponsors the first edition of International Curator Course in Gwangju from August 24 to September 20, in collaboration with worldwide colleges running curatorial studies. The Course will offer the opportunity to 25 young curators from all over the world to work with an internationally renowned visiting professor and curators, dealing with many challenging issues of theoretical and practical aspects of curatorial research, and reviewing the contemporary art as a broadened terrain of culture.

Structure
The Course consists of lectures, seminars, workshops and practice in preparation of Gwangju Biennale and Gwangju Design Biennale, with an intensive schedule of classes and curatorial administrations led by the visiting professor as well as presentations of the participants' projects, and visits to artists, designers, museums, galleries and related institutions.

The objectives of curatorial course are aiming to:

- promote reflections questioning the role of the curator, and research projects in the field of contemporary visual culture
- set up working platforms that may enable participants to develop further curatorial works
- proliferate networking between young creators of the visual art scene and encourage international circulation of cultural projects

Contents
Themes examined during three weeks of lessons will be: concepts of "cultural hybrid," "aesthetic groundedness," "terrain," and the cultural topology and its relations between East and West; the role of museums and alternative spaces; the question of history and its redefinition; and the relations between art and its audiences will be included along with themes.

Visiting Professor
Barbara Vanderlinden is internationally renowned curator, author and founding artistic director of Brussels Biennial, Belgium (2008) and founding director of Roomade, Office for Contemporary Art, Brussels. She has curated numerous exhibitions including in 1999 Laboratorium (with Hans Ulrich Obrist), Manifesta 2 in Luxembourg in 1998 (with Maria Lind and Robert Fleck), Revolution/Restoration in Brussels in 2002 and Do You Believe in Reality? Taipei Biennial (2004). She is Chief Editor of The Manifesta Decade, Debates on Contemporary Art Exhibitions and Biennials in Post-Wall Europe, Cambridge, MA: Massachusetts Institute of Technology, 2005.

How to Apply
Interested applicants from any nationality may apply. No study certificate and academic degree required. Lectures and seminars will be delivered in English. The screen committee consisting of Yongwoo Lee, Byungsoo Eun, Massimiliano Gioni, Barbara Vanderlinden, and Sunjung Kim will select from the applications. The application form must be posted by May 15, 2009.

The applications must include:
1. Application form
Name:
Surname:
Date of birth:
Place of birth:
Citizenship:
Male/Female:
Postal address:
E-mail:
Phone:
List of studies /work experiences:
(Please attach your detailed CV to this form.)
2. A copy of the most relevant published texts and reports of realized curatorial projects.
3. A motivational statement illustrating the applicant's interests and explaining the reason for the application (max. 5.000 characters.)

The selected applicants will be contacted via email by the end of May 2009. The Gwangju Biennale Foundation will sponsor tuition and accommodation during the International Curator Course. Selected applicants will be responsible for travel from place of residence to Gwangju and back, and meals. The material sent for the application will not be returned. According to regulation of the Course, personal data of the applicants is exclusively used for the Course selection procedures and not communicated to others.

SUBMIT BY POST OR EMAIL TO:
Exhibition Department /Gwangju Biennale Foundation
211 Biennale 2 Gil, Buk-Gu, Gwangju, 500-070, KOREA
E-mail: curatorcourse@gb.or.kr
Info: Gwangju Biennale Foundation + 82 62 608 4233

Deadline: Material Submission - Publication

If we do not receive a profile picture of you, we will be using the pictures on the CCC bulletin board taken in the first year. If you have any queries email the Publication team on: publicationccc@gmail.com
(Please try to submit your work as soon as possible, as we will have a LOT of material to format and edit, and are working towards a strict deadline for both the publication and the website)

BACCC Degree Show website and Publication


Each student will get a page in the degree show website and a double page spread in the publication.

DEADLINE FOR TEXT AND IMAGES: 21st MAY by 1:00 PM


*If you do not make the deadline you WILL NOT get a place on the site or in the publication!

SEND TEXT AND IMAGES TO: publicationccc@gmail.com

Please send clean text in a WORD document (97, 2003 compatible file)
All text is subject to editing by the Degree Show publication team and staff readers.

Text:
Brief Profile: 70-80 words
Interests, internships. work experience, nature of Dissertation and London Project, future prospects, etc.
Body Text: 600-800 words
Excerpt from any piece of academic work from BA CCC.


IMAGES

Images should be in a separate WORD document in JPEG or GIFS format.
INCLUDE: your name, image information and caption.
Please specify which images are for the publication and which are for the website.
Publication: max 2
Website: max 8

* Images: preferably your own work/ photographs/ website or if you are using someone else’s work you MUST get authorisation from the source! (If you don’t, we cannot publish the image due to copyright issues)

Images should be sized to these specifications:

Size: Vertical pictures: 235px width by 350px or less
Horizontal pictures: 480px width by 350px or less

Open the images in Photoshop and check that the size is equal or larger to the size you want (Image>Image Size). Please do not include images that are too small, they cannot be used.

Radical Incursions proposal

Radical Incursions:
Autonomous Occupation & the Slack Space Movement
Organisers: BACCC, Central Saint Martins
Innovation Centre Gallery
Red Lion Square, London
Thursday 25th June 2009


“Taking their cue from similar movements in Berlin and Amsterdam, artists in this country are realising that squatting provides not just freedom from paying rent but also extraordinary creative freedom. The chance to make large-scale work, to put on frequent, artist-curated exhibitions and to form collaborative relationships based on sharing a space, has made squatting more than simply a housing solution.”
Hermione Hoby, The Observer, Sunday 12 April 2009

When Germany legalized autonomous occupations following the collapse of the G.D.R. a new verb - Instandbesetzen - entered the language; a portmanteau of “to occupy” and “to renew”. There are tentative signs that a “Berlinification” of artist-led initiatives is currently taking place throughout towns and cities in the U.K. Encouraging creative use of the “slack space” left empty by the recession, local authorities such as Wandsworth in southwest London and Dursley in Gloucestershire are working alongside burgeoning collectives to legitimise the use of disused commercial and municipal buildings. However, the current and future autonomy of the Slack Space Movement remains unclear. Is it better then to remain self-reliant: to maintain a strong emphasis on consensus decision making and rely on the DIY assurances as laid out in Section 6 of the Criminal Law Act?

Radical Incursions is a day-long symposium affecting the changing topography of site-specific practice, curation and research. Framed by the current economic crisis and its accruing impact on the liberal arts, it is informed by those actively involved in or engaged by the utilisation of underused or undiscovered space for artist-led initiatives. Open to both students and public alike, its opportune programme begins with a panel-led discussion on the viability of autonomous occupation and the emerging Slack Space Movement. Continuing with a platform geared towards future collaboration and praxis, and providing free drink and live performance, Radical Incursions is one of a series of events organised and staged by third year B.A. Criticism, Communication and Curation students at Central St. Martins.

The culmination of three-years research, the Brave New World series of talks (20-20th June, Innovation Gallery) will offer that glimmer of possibility; a counter-narrative in which the predominantly top-heavy discussion regarding the uncertainty of the recession is brought back to those individuals sitting on the cusp of this new and untested epoch.

let me know who I should send a formatted copy to.
peterjwylie@googlemail.com

Fundraising/Sponsorship Letter

Dear..,

Central Saint Martins (CSM) is renowned internationally as the hub of cutting edge and creative talent. The BA Criticism, Communication and Curation is a pioneering relatively new degree course that offers its students a unique opportunity to study and become involved in the exciting world of the creative and cultural industries.

The class of 2009 is organising an exhibition for their degree show to give an insight into their final projects to the public and professionals alongside a symposium named “Brave New World”.
The series of talks, held at the Innovation centre in Southampton Row from the 19th to the 25th of June, will question the current financial crisis. Through a series of a head-to-head debate, film screenings and workshops, each event will offer that glimmer of possibility; a counter narrative in which the predominantly top-heavy discussion regarding the uncertainty of the arts is brought back to those individuals sitting on the cusp of this new and untested epoch.

Due to the recession, we are working with a limited budget and we are seeking your support and generosity in helping us put together a successful show.

Over 6 days, your branding will be visible to an audience of over thousands artists, designers and professionals of the art world. Your support for emerging curators and journalists will be publicised and your branding will appear on the invitations, promotion and degree show catalogue.

We would appreciate any flat donation or donation in kind of catering (food or beverages) to support the private view which will occur on Friday the 19th of June in which we expect over 500 guests.

For more information, please do not hesitate to contact Claire or Sarah, on behalf of the entire class, on smoore10@csm.arts.ac.uk and claire.alliotsoto@gmail.com

Yours sincerely

Sarah Moore
Claire Alliot Soto.

Inspiration?

http://www.ica.org.uk/?lid=19466

6 May - 31 May 2009A month-long season of artworks and live events addressing that central feature of human life - the act of speech

The programme, most of which is free, will activate the ICA during both daytime and evening, and is being presented in the institute's Galleries, Theatre and other spaces. It features over a hundred participants, including artists, performers and others whose activities centre on speech and vocal performance, such as linguists, speech therapists and voiceover artists. This chorus will address the primacy of the spoken word in our social and cultural landscape, and its use as a tool to produce and negotiate meaning in art, life and politics.

Many contemporary artists employ the voice as a medium, and Talk Show includes an exhibition of speech-based works in the Lower Gallery and other spaces. Meanwhile, the Upper Gallery is being used as a location for a series of artists' residencies, events that are open to the public and in which participants will research, rehearse and produce new work. The Lower Gallery and Theatre will also host performances and presentations by artists, musicians and others, a programme that promises an array of extraordinary experiences. Further events include workshops for training the voice, discussions on different aspects of language, and a conference that will call on the newest thinking in the science and sociology of speech.

Talk Show is an experiment in inter-disciplinary programming, and has been curated by the artist, writer and designer Will Holder, working together with Richard Birkett and Jennifer Thatcher of the ICA, and with the help and support of The London Consortium (a multi-disciplinary graduate programme in humanities and cultural studies). A wide range of resources are linked to the season, including a magazine containing a variety of new and reprinted texts. Many of the events will be streamed on the ICA website, as well as by other broadcasters. Finally, the ICA's new Reading Room is presenting a number of archives of spoken word recordings, allowing visitors to pursue their own research.

Exhibition
6 May - 31 May 2009 Pierre Bismuth / Paul Elliman / Chris Evans / Robert Filliou / Ryan Gander / Beatrice Gibson with Jamie McCarthy / Adam Pendleton / Falke Pisano / Seth Price / Manuel Saiz / Frances Stark / Mark Wilsher

Residencies
6 - 17 May castillo/corrales 18 - 24 May Melanie Gilligan 25 - 31 May Fia Backström 26 - 31 May Plus Minus Ensemble

Performances and Presentations
6 May Robert Ashley 7 May Jeremiah Day / Simone Forti 8 May In conversation: Audio Arts9 May Speakeasy11 May Jimmy Robert & Ian White14 May Interview: Audio Arts15 May Stephen Sutcliffe16 May School of Sound16 & 17 May Sharon Hayes19 May Anne-James Chaton & Andy Moor / Chris Mann / Alex Waterman23 May Ben Cain30 May Dexter Sinister31 May Joan La Barbara

Workshops and Discussions
12 & 21 May They Give Themselves Away Every Time They Open Their Mouths13 May The Vocal Knot18 May Latin American Political Chants22 May Doublespeak28 May Effective Speaking in Groups

Conference
17 May Our Speaking Selves

Films
10 May The Shout17 May My Dinner With Andre24 May The Aristocrats

Working doc 3: roles & tasks

BACCC 2009 Degree Show
Roles/tasks

Now:
Deadline keeper & task reminder
Designer of London Project slide show
Designer/producer of Brave New World video installation

[Ongoing but needs support]:
event organisation

During Degree Show:

Private View:
Person on door + 2-3 ushers
Person selling publications
Person selling tickets for drinks?
2-3 behind bar
2-3 people with laptops

During talks:
Person responsible for furniture (chairs, podium, sound system, tables)
Person responsible for speakers
Usher/person at door
Person documenting events

During all opening hours of Degree show:
1-2 people with laptops (possibly could sell publications too)
Person to turn on and off & take responsibility for media displays

June 26th Get-out
Chairs & furniture returned
Material returned to Back Hill
Equipment returned
Clean-up

Working doc 2: equipment & furniture

BACCC 2009 Degree Show
Equipment & furniture list
[28 April draft]

Video installation for Brave New World
3x video monitors
3x DVD players or ?
sound? Headphones or speakers

Slide projection for London Project work
Video projector, projected onto wall
Laptop or DVD to run it?

Laptops to display individual students’ work

Documentation of events:
Video camera plus tripod (needs sound); tapes

Furniture:
Chairs [how many?]
Podium
Table for displaying programmes/documentation
Table for displaying website/LP work by individual students [can we use the round table outside gallery?]
Table for bar during PV

Working doc 1: draft budget

BACCC 2009 Degree Show budget
[28 April draft]

Outgoings:
Catering for private view
Beer (£5 per case of 18 bottles x 40 cases = 536 bottles) £200
Ice £20
Tubs/bins £20
Sparkling water & cups £20
Delivery/taxi £20

Catering for individual events
Water & cups for speakers (£20 per event) £60
Tea & coffee?
Beer?

Marketing
Programmes (photocopied at BACCC Studio) £0
Posters £?

Publication
100 copies at £? Each £500
[plus copies students order]

Speakers fees (working budget of 4 x £100 per speaker) £400

Total £1240


Income:
Contribution from course £1000
100 degree show books @ £2 each £200
500 bottles of beer @ £1 each £500

Total £1700

Next Meeting: Innovation Gallery 12-2pm

The Innovation Gallery has been bokked for the next meeting (Wed 22nd 12-2).

Nicola Milham (co-ordinator for Innovation Gallery)will be attending to answer any queries.

zeitgest and/or opportunity to collaborate

Chelsea Conversations is back for a new season of lively discussion and heated debate. This season’s focus is on exploring intersections between art and politics.

FORUM
The Art & Politics season begins with an ongoing online discussion on Art in the Recession. Artists, designers, curators and other cultural practitioners are invited to kick start the discussion, and we will encourage all interested parties to pitch in and have their say.

‘What can the arts sector expect to happen during the recession? Does it mark the beginning of the end for public funding of the arts? Or should government see the recession as an opportunity to reconfirm the importance of art and artists, in the manner of Roosevelt’s Works Progress Administrations ‘Federal Project Number 1’? (link) What strategies should cultural practitioners and institutions adopt to support themselves and each other during this time? What effect will the downturn have on you?

Join the discussion online via our blog http://cltad.arts.ac.uk/users/chelseaprogblog/

This discussion will run throughout the duration of the talks and beyond. We will also include links to other sites/articles of interest.

PUBLIC DISCUSSIONS

The Art of Protest (5th May)
A discussion with three artists who, in different ways, are engaged with practice – based activism, or adopt what might be called ‘activist stances’ within their work.

Mark McGowan (artist), Yara El-Sherbini (artist) Guyan Porter (artist)

Left is Right? (12th May)
Are the arts intrinsically ‘progressive’? Is there a ‘left’ consensus in the arts? If so, how do we explain the ‘art market’ and reliance on ‘free labour’? Where are all the right-wing artists / curators? What does ‘left’ & ‘right’ mean now anyway for politically engaged art / artists?

Claire Fox (Institute of Ideas), Emma Ridgeway (curator, RSA) and one other tbc

What is Engagement? Contesting ‘socially engaged practice.’ (26th May)
‘Socially engaged’ and ‘participatory’ practices are increasingly attracting public subsidy and support, with some artists naturally seeing this form of practice as a positive way of engaging with ‘communities’ and others as a form of cheap social work. Three leading cultural practitioners discuss..

Ana Laura Lopez de la Torre (artist), Sophie Hope (curator), Dave Beech (artist)

All discussions are free and take place in the Banqueting Hall @ Chelsea College of Art & Design, between 6 – 7.30pm.

TO BOOK – please contact cpbookings@chelsea.arts.ac.uk clearly stating the name of the event and the number of places you would like to book. *Please note – places are limited so book early to avoid disappointment.*

Please mention any additional requirements (wheelchair access, BSL etc.) if applicable.

Sonya Dyer
Chelsea Programme Co-ordinator
http://cltad.arts.ac.uk/users/chelseaprogblog/
Chelsea College of Art & Design
16 John Islip Street
London SW1P 4JU
020 7514 7948
(Please note: I usually work two days per week)

More from Art Monthly

ART MONTHLY LETTERS PAGES

"Can't get no satisfaction"

"Anyone considering studying fine art (at undergraduate level) in England and Wales should google the National Student Satisfaction Survey, particularly the Results By Institution. Six of the bottom ten are or were art schools. Bottom of the survey, that is to say the 'least satisfactory', is the University of the Arts London. This will come as no surprise to anyone who has studied or taught there recently."

http://www.artmonthly.co.uk/letterGC.htm

See:
http://education.guardian.co.uk/students/tables/0,,1574395,00.html

Life After Art School

Henry Lydiate reflects on the way that professional practice is taught in art schools and how it could be improved.

http://www.artmonthly.co.uk/lifeafterartschool.htm

It's the (Creative) Economy, Stupid

Art Monthly.

Frederika Whitehead reports from a debate on the government's new strategy document Creative Britain: New Talents for a New Economy

"'I get it now. I get it now. I understand it. I didn't understand for all those years.' This was Estelle Morris speaking in a debate on the future of the creative industries following the publication of the DCMS's new strategy document for the creative industries. She was re-enacting the Damascene moment of her own conversion to the side of the creative industries. She also described the 'awakening' effect of her time at the DCMS, a time in which she met people she had 'never naturally mixed with before', people who were 'rebels' and 'outsiders', people who 'take risks', 'push the boundaries' and 'make us think unacceptable things that 10-20 years later might become mainstream, but you know, they push us a bit too far and too many of them waste money on things that never actually come to anything'..."

http://www.artmonthly.co.uk/creativeeconomy.htm

alphanumericcharacter

Comment responding to Alexandra Peers' article in New York magazine: Why recession isn’t good for art.

http://nymag.com/news/intelligencer/55021/


[W]ithin the art world, a lot has been written and spoken in anticipation of an economic downturn. Much of this was based on the (not unfounded) assumption that, like Icarus, the market had dared fly too close to the sun and was due for a free fall. Auction prices had soared, new markets for (Chinese and other previously overlooked) art developed seemingly overnight, following the money, and MFA candidates were selling out their student shows to speculative collectors...

The art world seems to recognize its hubris and awaits its deserved chastisement: the fiery sword of the recession that will "cleanse", cutting away the diseased parts of the bloated body while hopefully leaving the true believers to soldier onward through adversity. Unfortunately, the market's swift retribution is not always so morally circumspect. It cuts indiscriminately: the good the bad and the ugly. So I expect many of the bloated ogres will weather the storm, while some of the more deserving - emerging artists, younger and newer galleries, smaller museums and art spaces - will be most affected.

The one solace we can take in the present moment is that, historically, adversity has bred a more daring aesthetic climate. As the money disappeared, art became more a concern for the artists and less for the speculators. When art is allowed to develop free of market constraints, in its own separate hothouse, wonderful things can ensue. The great first generation of SoHo (Gordon Matta-Clark and others) and the YBAs (Damien Hirst and others) had their first aesthetic flowerings when there was no money, when gumption and experimentation were prevalent, when the "alternative" became the norm. So while the immediate road ahead is bound to be bumpy, it will also likely be exhilarating.

(cont)

Hadn't thought of it then, but it now seems obvious that the "gumption" I mentioned in my second posting might also encourage more self promotion among artists, for better or for worse. As the usual gatekeeper professions of curator, dealer and critic shrink with the recession and become less formidable or pervasive, artists will take up the slack and be emboldened to do their own PR, to shout "Look at Me!" online and in other grass root situations, to claim they are the fulfillment of their own particular art theories. This has always been a danger, but could lead to a dilution of quality going forward.

Surrend

1.11.2008: Surrend have stopped making political art - instead we now introduce a new depressed figure, Moll Morgengrau, in Berlin, Kassel and Copenhagen. Moll Morgengrau is a satirical story about a depressed artist who starts his life in winther-dark Berlin/Copenhagen and then escapes to Cuba. But still with nice young girls and sun every day Moll Morgengrau is caught in his depression. So he returns poor to Berlin to live in Prenzlauer Berg. Moll Morgengrau is also a satirical comment to the cult around depression in the art-world. Moll Morgengrau is inspired by the global financial crisis who will hit people hard with bankruptcy, divorce, depression etc. Moll Morgengrau will occur in magazines, as street posters in Berlin and Copenhagen and in the end as an gallery exhibition with posters and drawings in the two cities.

Exhibtions:

Berlin: 10.3 - 11.3.2009, "Victim of the financial crisis",Galerie Verrückt, www.galerieverrückt.de

Hamburg: 27.2 - 26.4.2009, Cash Flow, Gallery White Trash Contemporary.

Copenhagen: October 2009, participating in poster exhibtion at the Danish Museum of Art and Design.

Aarhus, Denmark: October 2009, participating in opening exhibtion of the new danish poster museum.

http://www.surrend.org/

Groups for Talks

Themed talk on Fashion:
Jaime - Jlee8279@aol.com

Themed talk on Art:
Peter - peterjwylie@googlemail.com

Themed talk on Cultural Theory:
Aliina - aliinaastrova@googlemail.com

Publicity/Marketing/Web presence/Publication:
Sarah - s.moore10@csm.arts.ac.uk

Closure of Yvon Lambert's newly opened London branch + downsizing at a number of high end galleries. 

Berlin's art boom goes bust

Art sales in Berlin are imploding after a fat 15 years. But for some artists and collectors, the closure of top galleries is a godsend.

http://www.guardian.co.uk/artanddesign/2009/mar/26/berlin-art-scene-market

Is the Cultural Olympiad a runner?

Sebastian Coe takes part in a special performance of Martin Creed's work No 850 at Tate Britain.

It is already buckling under the weight of its own bureaucracy. So who's in charge of the Cultural Olympiad? What's it for? And who's paying for it? Charlotte Higgins.

http://www.guardian.co.uk/uk/2009/mar/25/cultural-olympiad

event tonight!

Wednesday 1st April, 6pm
ART & ECONOMY

ANTHONY DAVIES (writer & organiser)& BENEDICT SEYMOUR (Frieze & Mute magazines)
Chaired by
IAN HUNT (art critic)
The panelists will discuss art and its links to finance in the context of global economic meltdown: corporate sponsorship, speculative investment, and the un-productive forces of capital.

STANLEY PICKER GALLERY
Kingston University, Knights Park, KT1 2QJ
6.00 – 8.00 PM
Drinks from 5.30pm
Public Lectures ON ART

The Party's Over (FLYP)

Online interactive magazine article. Interesting videos from leading practitioners talking about their concerns/non-concerns of the economical downturn. Maybe useful for publication/internet group.


"The best artists make art because it is what they do, what they must do, not because they are driven by market demands.
Another is that they will act, as they have always acted, as the first responders to cultural crisis. At every major historical economic turning point - from the early Modernist artists whose work emerged from the Paris communes of the 1880's to those whose work was central to the Russian Revolution of 1917 or the Great Depression - artists have shown enormous creativity in response to adversity."

www.flypmedia.com/issues/25/#1/1

Next Meeting

Innovation Centre provisionally booked for next meeting (April 22nd 12-2pm). Nicola Milham - Innovation Centre co-ordinator - will hopefully be on hand to answer any questions during the meeting.

Will re-post when confirmed.

Alumni of Central St. Martins.

Norman Ackroyd - Printmaking
Jo Adams - Fashion Journalism
Bora Aksu - Fashion
Zeev Aram - Furniture Design
Bruce Archer - Industrial Design
Diana Armfield - Fine Art
Frank Auerbach - Painting
Gillian Ayers - Painting
Jacques Azagury - Fashion Design

Bobby Baker - Painting
Gordon Baldwin - Ceramics
Reyner Banham - Interior Design
Celia Bannerman - Directing
Jeff Banks - Fashion Design
Jonathan Barnbrook - Graphic Design
Colin Barnes - Fashion
Lionel Bart - Painting
Luella Bartley - Fashion Journalism
Nicola Bayley - Painting
Nadine Baylis - Theatre Design
Hildegard Bechtler - Theatre Design
Sarah Beddington - Fine Art
Cressida Bell - Textiles
Antonio Berardi - Fashion
Adrian Berg - Painting
John Berger - Painting
Paul Bettany - Acting
Drusilla Beyfus - Fashion Journalism
Stephen Billington - Acting
Derek Birdsall - Graphic Design
Maria Bjornson - Theatre Design
Peter Blake - Painting
Tamsin Blanchard - Fashion Journalism
Sandra Blow - Painting
Phil Borg - Animation
Antoni Borokowski - Textiles
Derek Boshier - Painting
Hamish Bowles - Fashion Journalism
Sally Brampton - Fashion Journalism
Alison Britton - Ceramics
Caroline Broadhead - Jewellery
Pierce Brosnan - Acting
Sheilagh Brown - Fashion
John Burningham - Illustration
Miriam Buther - Theatre
A S Byatt - Literature

Simon Callow - Acting
Mel Calman - Graphic Design
Michael Cardew - Ceramics
Anthony Caro - Sculpture
David Carter - Industrial Design
Robert Cary-Williams - Fashion
Helen Chadwick - Sculpture
Hussein Chalayan - Fashion
Maria Chen-Pascual - Fashion
Gordon Cheung - Fine Art
Alison Chitty - Theatre Design
Michael Chow - Fine Art
Joyce Clissold - Textiles
Jeanetta Cochrane - Theatre Design
Jarvis Cocker - Film and Video
Emma Cook - Fashion
Bernard Cohen - Painting
Cecil Collins - Painting
Matthew Collings - Fine Art
Peter Collingwood - Textiles
Sebastian Conran - Industrial Design
Terence Conran - Textiles
Stephen Cox - Sculpture
Nick Crosbie - Product Design
Theo Crosby - Graphic Design

Martin Darbyshire - Industrial Design
Alan Davie - Painting
Peter de Francia - Painting
Frances de la Tour - Acting
Giles Deacon - Fashion
Richard Deacon - Sculpture
Len Deighton - Graphic Design
Jonathan Denham - Industrial Design
Robin Denny - Painting
Paola Dionisotti - Acting
Peter Doig - Painting
Sokari Douglas Camp - Fine Art
John Drummond - Textiles
Keith Dunne - Theatre Design
Jennifer Durrant - Painting
James Dyson - Fine Art

Eileen Ellis - Textiles

Stephen Farthing - Painting
Theo Fennell - Fine Art
Colin Firth - Acting
Carl Fischer - Photography
Rodney Fitch - Product Design
Tara Fitzgerald - Acting
Barry Flanagan - Sculpture
Alan Fletcher - Graphic Design
Gerda Flockinger - Jewellery
Colin Forbes - Graphic Design
Shelley Fox - Textiles
Mark Francis - Painting
Caryn Franklin - Graphic Design
Lucian Freud - Painting
Elisabeth Frink - Sculpture
Thorsten Fritz - Product Design
Anthony Froshaug - Typography
Hamish Fulton - Sculpture

John Galliano - Fashion
Ken Garland - Graphic Design
Bill Gibb - Fashion
Gilbert & George - Painting / Sculpture
A A Gill - Fine Art
Eric Gill - Stone Carving
Nigel Goode - Product Design
Frederick Gore - Painting
Anthony Gormley - Sculpture
Andrew Grassie - Fine Art
Nicolette Gray - Lettering
John Gunther - Theatre Design

Kathleen Hale - Illustration
Dinny Hall - Jewellery
Richard Hamilton - Painting
Katharine Hamnett - Fashion
P J Harvey - Sculpture
Tim Hatley - Theatre Design
Mona Hatoum - Fine Art
F H K Henrion - Graphic Design
Patrick Heron - Painting
Susanna Heron - Jewellery
Richard Heslop - Film and Video
David Hicks - Interior Design
Anastasia - Hille Acting
John Hilliard - Painting
Bobby Hillson - Fashion
David Hodge - Industrial Design
Ian Hogg - Acting
Geoff Hollington - Product Design
Richard Hollis - Graphic Design
Rebecca Horn - Fine Art
Craigie Horsfield - Painting
John Hoyland - Painting
Barbara Hulanicki - Fine Art
John Hurt - Fine Art
Paul Huxley - Painting

Geraldine James - Acting
Tess Jarry - Painting
Edward Johnston - Lettering
Dylan Jones - Graphic Design
Stephen Jones - Fashion
Isaac Julien - Film and Video

Iannis Kakleas - Directing
Tom Karen - Industrial Design
Rachel Kelly - Textile Design
Lydia Kemeny - Fashion
Morris Kestelman - Painting
Philip King - Sculpture
Rodney Kinsman - Furniture
Wakiko Kishimoto - Textiles
Sophia Kokosolaki - Fashion
Ralph Koltai - Theatre Design
Leon Kossoff - Painting

Denys Lasdun - Interior Design
Malcolm Le Grice - Film and Video
Mike Leigh - Theatre Design
David Leland - Directing
Robin Levien - Ceramics
Ian Logan - Textiles
Richard Long - Painting

Stella McCartney - Fashion
Josie McCoy - Fine Art
Helen McCrory - Acting
Bruce McLean - Sculpture
Alexander McQueen - Fashion
Pearce Marchbank - Graphic Design
Enid Marx - Textiles
Will Maskell - Industrial Design
Glen Matlock - Foundation
Bernard Meninsky - Painting
Sara Midda - Book Illustration
John Minton - Painting
Bill Moggridge - Product Design
Bruno Monguzzi - Graphic Design
David Morris - Jewellery Design
May Morris - Embroidery
Bryan Morrison - Fine Art
Sarah Mower - Fashion Journalism
Morag Myerscough - Graphic Design

John Napier - Theatre Design
Paul Nash - Painting
Bernard Nevill - Textile Design
Winifred Nicholson - Fine Art
Adrian Noble - Directing
Tilly Northedge - Graphic Design
Sonja Nuttall - Fashion

Jessica Ogden - Fine Art
Bruce Oldfield - Fashion
Thérèse Oulton - Painting
Rifat Ozbek - Fashion

Reema Pachachi - Jewellery
Anita Pallenberg - Fashion
Eduardo Paolozzi - Textiles
Victor Pasmore - Painting
Mervyn Peake - Painting
Reynold Pearce - Fashion
Muriel Pemberton - Fashion
Julia Peyton-Jones - Fine Art
Phoebe Philo - Fashion
Platon - Photography
Antony Powell - Theatre Design
Paul Priestman - Product Design
William Pye - Sculpture

Wendy Ramshaw - Jewellery
Dai Rees - Ceramics
Clements Ribeiro - Fashion
Neal Rock - Fine Art
Claudia Roden - Fine Art
Michael Rothenstein - Printmaking

Edgar Saba - Directing
Sade - Fashion
Russell Sage - Fashion
Jonathan Saunders - Fashion
Bernard Sams Product - Design
Gerald Scarfe - Graphic Design
Hans Scheirl - Fine Art
Douglas Scott - Industrial Design
Richard Seymour - Graphic Design
Raqib Shaw - Fine Art
Jack Shepherd - Acting
Yinka Shonibare - Fine Art
John Simm - Acting
Posy Simmonds - Graphic Design
Sandro Sodano - Graphic Design
Peter Souter - Graphic Design
Ruskin Spear - Painting
Charles Spencer - Theatre Design
Herbert Spencer - Graphic Design
John Standing - Fine Art
John Stoddard - Product Design
Marianne Straub - Textiles
Elizabeth Suter - Fashion
Anthony Symonds - Fashion

Howard Tangye - Fashion
Teague & Wright - Jewellery
Colin Tierney - Acting
Joe Tilson - Painting
Mark Titchner - Fine Art
William Tucker - Sculpture
William Turnbull - Painting
Philip Turner - Sculpture

Keith Varty - Fashion
Keith Vaughan - Painting

Gavin Wade - Fine Art
Polly Walker - Acting
Scott Walker - Fine Art
Nigel Walters - Product Design
Iain R Webb - Fashion Journalism
Tristan Webber - Fashion
Robert Welch - Product Design
Matthew Williamson - Fashion
Lambert Wilson - Acting
Penelope Wilton - Acting
Cerith Wyn Evans - Film and Video

Communication

If you dont receive your uni emails via your regular email account please let your co-ordinator know asap with alternative contact details. Co-ordinators please post your email address up on the blog.

Both Aliina and I are awaiting replies to emails sent out days ago... please make sure you reply (at the very least to tell us that you are no longer intersted in the project).

Also, does anyone have objections to holding the next meeting in the Innovation Centre? Please let me know via the blog or contact me at peterjwylie@googlemail.com

Thanks
Peter

The Guardian: Arts Project to tie in with Olympics

* Charlotte Higgins, chief arts writer
* The Guardian, Friday 20 March 2009
* Article history

Cultural Olympiad launch

London 2012... Artists line up the for launch of the Cultural Olympiad. Photo Andrew Baker

The first of the major projects for the Cultural Olympiad, the slew of arts projects linked to the London Olympic Games in 2012, was launched yesterday. Artists Taking the Lead is a series of 12 commissions planned to come to fruition in 2012.

Reaction from artists was mixed for the project, which is funded to the tune of £5.4m by the arts councils of England, Scotland, Wales and Northern Ireland.

The composer and producer Nitin Sawhney has already dreamed up his application - an international online orchestra - but the Turner-prizewinning artist Grayson Perry was sceptical. He said: "The Cultural Olympiad is set-dressing, isn't it? I suspect one of these projects will end up being quite good, some of them OK and a few really naff."

Artists from any genre have an open brief to submit ideas. The works, according to Moira Sinclair, of Arts Council England, "might be a piece of public art, a ballet, a symphony, a play, or a choral piece".

She said funds would come from a specific Arts Council fund for strategic projects and would not be diverted from core grants to arts organisations.

The works will be spread through the UK. Submissions will be shortlisted in the summer and honed down to a final list in the autumn. Each project will have a budget of up to £500,000. The arts minister, Barbara Follett, welcomed the announcement, saying: "Now people will finally stop asking me what the Cultural Olympiad is."

Lord Coe, chair of the London Organising Committee of the Olympic Games, said: "This is a games for ever: it is not limited to 500 acres of regenerated land in east London."

At a time of great pressure on funding for the arts, Alan Davey, chief executive of Arts Council England, justified spending funds on Olympic projects, saying: "We haven't seen this level of commissioning before for a long time, perhaps ever."

Coe added: "There is never a bad time to invest in excellence."

Current RCA Curating MA show is up

18 - 29 March 2009
Open daily 11am - 6pm
Admission free

Royal College of Art Galleries
Kensington Gore, London SW7 2EU
+44 (0)20 7590 4494
Friends of the Divided Mind is an exhibition that addresses the organisations that support contemporary art. The show is divided into four projects that consider potentialities for the future of exhibition histories, artist-run spaces, performative and durational practices, and financially independent art spaces, initiated by a strong desire for alternatives. This is reflected in the partitioning of inquiries, working groups and resources, in support of a shared undertaking by the thirteen curators that in turn subverts traditions of consensual decision making. The results of this engaged and agonistic process as well as the individual projects will be considered in a related publication, which will be launched at RCA Show 2 on 13 June 2009

www.cca.rca.ac.uk/friendsofthedividedmind

The Times: Time for a cull in the art world

The art world is plunging, along with the rest of the economy.
Waldemar Januszczak

Lucky you. Lucky me. Both of us have ahead of us in 2009 the totally tantalising prospect of watching how the art world responds to the recession. Will the entire house of cards collapse in on itself, leaving the thinnest of messes? Or will some cunning redrawing be embarked on that eventually results in a new version of the tottering edifice? Ask me again in December. What is absolutely certain is that this recession has come in the nick of time, and that we should welcome it with open arms. The art world has spent a decade and a half metamorphosing into something ugly and worthless. That process has been halted. There is hope.

The art world itself will see things differently, of course. It decided long ago that it was a special case, ungoverned by the usual societal rules. I remember, back in the 1980s, interviewing that dramatic German painter Georg Baselitz, the one who specialised in painting figures upside down, and asking him if he felt any guilt about the astronomical prices his pictures were fetching at auction. Baselitz, who lived in a castle at the time, took a big puff on his cigar and actually blew the smoke out in my face, with the words: “What is better than a painting? Nothing.” Conversation over.

This idea that art exists in a different societal realm to anything else is merely laughable when a human cartoon like Baselitz takes to believing it. But when greed begins to be passed off as a redemptive force at the most basic, democratic levels of society — as happens annually at London’s Frieze Art Fair, say, where tens of thousands of us career past zillions of examples of unwatchable art in the mad search for a redemptive bargain we haven’t a hope in hell of seeing properly, because of all the other redemptive bargains jam-packed into the same tent — then all of us are in desperate need of a good shaking.

As recently as the November auctions, you could still find plenty of inhabitants of Sotheby’s-and-Christie’s-land who were insisting that art was recession-proof, that aesthetic values would, like the salamander, survive any fire. A mere month ago, nobody seemed to be batting much of an eyelid at the prospect of the nation having to come up with £50m to “save” the Duke of Sutherland’s fine pair of Titians from resale. The great works, we were told, would fetch £150m on the open market. The nation was getting a bargain.

Now, I admire Titian as much as the next art-lover, and nobody with half an eye would question the quality of these paintings, but look properly around you and you will see Britain is already Titian-rich. Yes, it would have been sad to see the duke’s pair go abroad, but when a nurse in Yorkshire is paid £17,000 per annum to save lives, and a teacher in an inner-city comprehensive makes do with not much more, there is surely something grotesquely warped about a scale of modern values that brands the giving of £50m to a rich duke for an Italian painting as a national bargain.

This, then, is the art world’s chief and most catastrophic problem — as its prices have risen, so its values have collapsed. In 1986, someone asked Andy Warhol about money. By that time, he was much too experienced a rich man and much too canny an interviewee to pass up the chance to promote his utterly appalling world-view. “Being good in business is the most fascinating kind of art,” quipped the paper-thin Warren Buffett of pop. “I wanted to be an art businessman or a business artist.” Other epochs would have pounced on him immediately and told him to explain himself. How could anyone in their right mind be unable to tell the difference between business and art?

Back in 1986, however, the world was already turning into the one that has been collapsing around our ears in these past few months, and nobody gave a fig. To my eyes, the worst villain in the piece is Tate Modern, which has managed to pull off the Warholesque trick of persuading us that millions of people turning up somewhere for the wrong reasons adds up to a good and gee-whiz thing. The biggest free crèche in town is, amazingly, planning to grow bigger still. Having recently been given £50m by the government towards its projected £215m mega-expansion, the gallery is looking to increase its exhibition space from 9,000 square metres to 15,000! Excuse me, but isn’t it already gigantic enough? Rattling around in the Turbine Hall at twilight when the mothers have taken their kids home is already a profoundly lonely and alienating non-art experience. Does it really need to be doubled?

Instead of pumping more money into this oversized amusement cavern, we should be asking ourselves why it is that at exactly the same time as Tate Modern has been growing, the achievements of British art have been shrinking. The last British movement to have any real impact on the international stage was Brit Art, which emerged a decade and a half ago. That generation, of Hirst, Lucas, Quinn, the Chapmans et al, was a real global player. Since then — nothing. The reason this year’s Turner Prize was so dismal is not only bad selection, but that, frankly, there is nothing out there to choose from. British art has entered one of those crashingly dull theoretical eras when not having anything to say is covered up with oodles of explanation and artspeak. Tate Modern may be giving the public something it wants (the aforementioned free crèche), but British art is getting nothing from it.

Why? Because the whole tottering art-world edifice has grown soft, blubbery, arrogant, self-congratulatory and decadent. I cannot remember the last time I encountered an artist with the kind of fire in their belly that made Damien Hirst so unmissable when he emerged. Or anyone boasting the passions of the early Tracey Emin. British art needs a recession for the same sorts of reasons that those forests in South Africa need the occasional fire: to strengthen their wood, to return to an essence, to get rid of the weeds and to regenerate.

While we are on the subject of bloating, another excellent result of the recession will, hopefully, be a dramatic reduction in the number of art galleries in London. All these Johnny-come-latelys from Zurich or Berlin or New York who have ended up here because this is where the hedge-fund money was are as crucial to the national art scene as another branch of Starbucks. The recession will also see the end, I presume, of the silly sums being spent here by foreign millionaires on third-rate examples of their national art. I don’t mind Chinese billionaires kidding themselves in Shanghai that their trite pop artists are worth squillions, but flaunting appalling nouveau-riche tastes at our auctions is embarrassing.

So, roll on the recession. It’s all good news. A leaner, meaner, angrier art world that has to fight harder for our attention is exactly what we need.

AND

AND

A collaboration between With (withyou.co.uk) and Artprojx
A New Fund For New Times

5 February - 20 March 2009

PREVIEW: Wednesday 4 February 6-9pm

WITH (withyou.co.uk) and Artprojx (artprojx.com) have joined forces to create AND a durational project that questions the value of artistic production in light of recent upheavals in financial systems around the World. AND is an opportunity and a provocation that gleefully revisits a tradition within conceptual art of economic deconstruction, in an attempt to reflect and overcome creaking systems that dictate collective notions of value.

By appropriating the readymade structure of a fund, AND have turned the artwork into a simple tool for generating capital in exchange for a collection of objects that have no function beyond their accumulation of financial value. Stripped almost entirely from any form of individual authorship the work itself becomes the hand that feeds the concept - it lives or dies depending on its ability to generate capital as it progresses through its self designated phases of growth.

And yet is AND its own suicidal monster waiting to suffocate under the weight of its own potential? Where does the capital value of each PHASE begin and end? By the time PHASE SIX is swinging into production will those who own a part of PHASE ONE have a more valuable asset? When will the raw value of the projects materials in the new phases overtake the symbolic value of the early phases? Are the objects of each phase worth more collectively than individually?

There's only one way to find out: invest early and take your chances. AND, A New Fund For New Times - a failsafe self-fulfilling prophecy? You decide.

WHAT IS AND?

AND is a new fund created by WITH (withyou.co.uk) and Artprojx (www.artprojx.com)

HOW DO I INVEST?

By visiting the AND exhibition or by reading this information you will qualify to become an investor in PHASE ONE of AND

WHAT IS PHASE ONE?

• Fifty individuals have the opportunity to invest into AND for Five Hundred Great British Pounds (+VAT)
• In return for this investment you will receive a unique version of the AND logo, a copy of this poster, a secret and an investors DVD
• These items are AND and represent the value of your investment

WHAT IS PHASE TWO?

• When the first fifty investors have been found for PHASE ONE, a new scheme will be available for fifty new investors
• In the new scheme fifty individuals will be able to invest into AND for One Thousand Great British Pounds (+VAT)
• In return for this investment you will receive a unique version of the AND logo, a PHASE TWO poster, a secret and an investors DVD
• These items are AND and represent the value of your investment

WHAT IS PHASE THREE?

• When the second fifty investors have been found for PHASE TWO, a new scheme will be available for fifty new investors
• In the new scheme fifty individuals will be able to invest into AND for Two Thousand Great British Pounds (+VAT)
• In return for this investment you will receive a unique version of the AND logo, a PHASE THREE poster, a secret and an investors DVD
• These items are AND and represent the value of your investment

Information about PHASES FOUR, FIVE, SIX etc. will be released when appropriate

http://www.artprojxspace.com/index.html#images/andsunrise.jpg

Round up of 18 March Degree Show Planning meeting: “Review Panel”

Thanks to all who came along.
The main idea going forward is the series of talks, “Brave New World” (see post below for text outline).
There was also discussion about the London Project having a presence—as a tool for networking, as the platform for another level of activity, and a way of providing information on the course. The output of this is still to be determined. Ideas proposed are: posters, website, publication, or moving image presentation (to be shown on the course’s new touch-screen plasma screen).
We also set up groups and a basic organisational structure. Those who were not there today can still be a part (indeed should be!)—do so by getting in touch with the coordinator of the group that interests you.
As of summer term, we’ll be meeting weekly, on Wednesdays from 12-2.
On the first Wednesday of the summer term, 22 April, the talks groups will have progressed their individual session themes, and possibly confirmed speakers.

A few pointers for those groups:
Use the Brave New World pitch document, but also start to draft your own blurb/statement (treat it like a research essay!).
Try to get the speaker for free; if they want a fee, the offer is £100.
The publication group should definitely be developing a very clear production schedule, to be ready for 22 April. Deadlines for copy and images should be ready to be given all students then.
The Overall Team should also be writing a production schedule, to be given to the individual talks groups.

Other things:
The publication and marketing groups should be in touch with Lee Widdows (l.widdows@arts.ac.uk), the Head of Marketing & Enterprise
Nick Gorse has offered to liase on our behalf with Estates in Southampton Row

Overall co-ordinating Team:
Peter, Jaime, Alina, Claire A-S

Themed talk on Fashion:
Jaime (lead co-ordinator)
Francesca?
Natalia
Ida?

Themed talk on Art:
Peter (lead co-ordinator)
Anouk
Matt
Joy
Johann
Nadine

Themed talk on Cultural Theory:
Alina (lead co-ordinator)
Emma N
Emma D
Danielle
Charles

Publicity/Marketing/Web presence:
Publication:
Sarah (lead co-ordinator)
Claire R
Joanna
Ida
Maithili

Marketing:
Theodora
Daniel

Web:
Claire A-S (lead co-ordinator)
Ida?
Neuza?

Proposal for Wed 18th (comments welcome)

Brave New World
Collapse & Transgression: A series of talks
Organisers: BACCC, Central Saint Martins
Innovation Centre Gallery
Red Lion Square, London
20-25th June 2009


Capitalism 2.0 is in crisis – the liberal arts seemingly set adrift amidst the most destructive economic downturn seen in over half a century. In early March of this year the U.S. Senate approved an amendment to the financial stimulus package that strips funds for jobs in arts and culture. In Britain, the creative industries continue to slurry their grievances amongst a governmental department that speaks for both sport and the arts. No financial recovery is expected until at least 2012, a year in which the creative industries within the UK will be directed towards and dedicated to an increasingly irrelevant and divisive Olympiad.

How extraordinary that the World exists. A two-stroke rhythm. Crisis and reveille. Need the current financial crisis be the bitter end of established practice and to what degree should the current generation of young artists worry about this added uncertainty? History reminds us that financial collapse is not the end of art; rather, that it gives birth to new praxis and burgeoning movements; of fresh and interesting ways to approach and curate the ripening fruits of creativity. BACCC and affiliates wish to bring together leading industry experts and cutting-edge practitioners to discuss such an awakening. Through a series of head-to-head debates to be held in conjunction with Central Saint Martins' Degree Shows, each talk will offer that glimmer of possibility; a counter-narrative in which the predominantly top-heavy discussion regarding the uncertainty of the arts is brought back to those individuals sitting on the cusp of this new and untested epoch.


Potential Speakers:

Martin Creed (winner Turner Prize 2001) and Billy Childish (The British Art Resistance)

Matthew Slotover (editor/founder of Frieze magazine and Fair) and Patricia Bickers(editor of Art Monthly)

David Cunningham (artist, founding member of The Flying Lizards) and Joanne Robertson (international painter, musician, nominee of Becks Futures 2006)

Vanessa Friedman (fashion editor Financial Times) and Carri Mundane(designer/founder of fashion label Cassette Playa)

Live web debate: Buck Naked (How's My Dealing? blogspot - rates gallerists’ treatment of their artists according to anonymous informants) vs. Edward Winkleman (Winkleman Gallery, NY. “Everything about it is ghoulish”)

Art Monthly: What is The Future of Art Education?

Introduction to the special issue on Art Education

The idea of this special education issue arose in response to the volume of correspondence Art Monthly has received following the publication in the April issue (AM315) of a letter by the artist Graham Crowley in which he voiced his concerns, with enviable clarity and succinctness, about the present state of art education in London.

After a long and distinguished parallel career in teaching, he was willing to speak out. However, many still actively involved in teaching or studying art, as Crowley also pointed out in his letter, are not free to do so either out of loyalty to colleagues or through fear of compromising their jobs or, in the case of students, their degrees. Despite this, the number of correspondents who were, and are, willing to risk putting their heads above the parapet is impressive, as anyone following the correspondence in the magazine, or checking it out on the Art Monthly website, will know. However, the focus of this special issue of the magazine, and of the related debates taking place at the ICA, London and the Ikon Gallery, Birmingham is the future of art education. To this end, a number of contributors with experience of teaching art have been invited to analyse some of the main problems with the status quo and, where possible, to propose alternative models for art education. The results make for some fascinating reading and will, it is hoped, move the debate along.

The contributions begin with an extract from a longer conversation between Seth Siegelaub and Pavel Büchler. The conversation, chaired by Ian Hunt, was an Art Monthly event that took place at Spike Island in Bristol last October, during which Büchler and Siegelaub touched on a number of topics including art education and the changing perception of art and artists since the 60s. In the section quoted, Siegelaub regretted that art had become absorbed entirely into the capitalist system, while Büchler went further, describing art as a 'ruthless business' and as possibly 'the last remaining unregulated sector of capitalist enterprise'. And this was before Damien Hirst made headlines last month with his sale of the century at Sotheby's, a story that was only driven off the front pages by the news of the collapse of Lehman Brothers - chillingly a bank that survived the 1929 Wall Street Crash.

Michael Corris's contribution was also written before Hirst's market killing, but who is to say whether in the long term he is not right when he says that the art market 'is holding its breath to see whether art is indeed recession-proof', and whether it will really 'outperform the stock market, property, precious metals, oil and commodities'. His point is still valid, that art, and artists, are now as vulnerable to the economic downturn as any other sector and this has a direct impact on art education at a time when in any case recruitment in fine art, as in the whole university sector, is falling as a result of funding cuts and demographic changes: 'art education', he points out starkly, 'is in danger of becoming extinct in the context of liberal education', which could be said to render this whole discussion academic.

As all three are aware, one effect of the influence of the private sector on all things formerly publicly funded has been the growing instrumentalisation of art and the professionalisation of artists, with the result that, in Siegelaub words, the role of art schools is increasingly to 'legitimatise, authorise and support the production of a certain type of artist'. A number of the contributors argue for a less 'administered' education system and a reduced role for 'educational handlers', to use Corris's expression, and a greater role for students. In 'The Fourth Way', Liam Gillick offers the alternative, supplementary, model of a free school formed along the lines of the unitednationsplaza project in Berlin, organised by Anton Vidokle in collaboration with others. Welcoming 'theorists, curators and artists', as well as non-artists, it proposed an open space between standard art education and professional practice where artists and theorists could present their ideas 'to a set of participants unrestricted by the pragmatism of the university or academy structure'.

Gillick is one of the 'artists who teach' interviewed by John Reardon for his forthcoming book, Ch-ch-ch-chchanges. He began by thinking that teaching art was for him, but 32 interviews later he was less sure, though he became convinced that, despite his own doubts, 'a lot of good work is done by people not so convinced by things'. The project includes artists who teach elsewhere in Europe who have not perhaps experienced the degree of change that we in Britain have in recent years, changes that have, in the words of Jaki Irvine, dragged those who teach further and further away 'from the difficult inspirational thing we worked so hard to build up'.

For Terry Smith, the constant round of wholly inappropriate assessment procedures has been one of the factors dragging art education down, a result of the merger mania that led to the absorption of previously autonomous art schools into the new university system. Like professionalisation, constant assessment is, according to Smith, inimical to experimentation and risk-taking: 'Joseph Beuys destroyed all his college work, calling it his training work [...] maybe instead of a degree show at the end, we should have a huge bonfire.'

Gareth Jones, with experience of teaching art on both sides of the Atlantic, focuses on the curriculum and argues against both instrumentalism in art education and student-centred learning and for some shared educational principles: 'The responsibility of education' he argues, 'is to illuminate not reflect'.

While highly critical of management structures within the new universities, Maria Walsh is almost alone in finding much to celebrate in contemporary art education when compared with the 'not-so-good old days'. Not least among these is the goal of 'widening participation', despite the fact that, as she points out, 'increasingly high fees make the latter catchword risible and actually encourage the kind of bourgeois romantic individualism traditionally - and still - associated with studying art'. And whereas Smith would like to propose dropping the dissertation from the curriculum altogether, Walsh argues that theory, far from being 'an unnecessary burden' on students, actually empowers them. Finally, she even puts in a good word for the dreaded the Research Assessment Exercise (RAE), making the important point that the process generates a sense of belonging to a wider educational community and, cycnicism aside, makes for a more 'dynamic' academic environment, though one can't help wondering about the quality of that environment if it has to be stimulated by an external, government directed agency.

Paul Wood's contribution to the debate is taken from his introduction to a chapter he has written for the forthcoming book History of British Art, in which he admirably summarises the situation in which we now find ourselves: 'They say you should be wary of desire lest you are granted that which you wish for. The elevation of modular over linear teaching programmes, the educational incorporation of theory, the breakdown of modernist medium-specificity, the critique of the (mostly male) expressive author, perhaps even a questioning of the authority of the western canon, were all songs in our radical repertoire. Yet the fact that these have come to pass, and now count if not as the norm, then as significant components of a contemporary education in art and design, has counted in the end for less than the fact that the underlying structure (and of course, the wider structure-beyond-the-structure) has remained intact.' And yet, as Walsh maintains, these achievements are not nothing, so why does such success feel like ashes? As Wood suggests, one reason is that the underlying structure remains intact, but another may be that in addressing these issues we have all been dragged away 'from the difficult inspirational thing we worked so hard to build up' in the first place. Let's hope it is not too late.

Patricia Bickers is editor of Art Monthly and is principal lecturer in history and theory of art, department of mixed media fine art, school of media art & design, University of Westminster.

http://www.artmonthly.co.uk/arteducation.htm

from http://www.saatchi-gallery.co.uk/blogon/art_news/jerry_saltz_the_art_market_is_more_moral_than_the_stock_market/5458

Recent Intelligence Squared Debate in NYC: THE ART MARKET IS MORE MORAL THAN THE STOCK MARKET

JERRY SALTZ comment:
With Wall Street in self-inflicted ruin it might seem ridiculous to argue that the art market is less ethical than the stock market. Yet that was the position taken last month by art dealers Richard Feigen, Michael Hue-Williams and collector Adam Lindemann in a debate sponsored by the Rosenkranz Foundation at Rockefeller University, New York. They faced artist Chuck Close, critic Jerry Saltz, and auctioneer Amy Cappellazzo, who defended the integrity of the salesroom and the art world in general. This pro-art market team was trounced. A before-and-after poll of the audience found that tales of chandelier bidding, bidding rings, the lack of regulation and so on resulted in 55% agreeing that the art market is less ethical than the stock market (only 33% opposed, 12% undecided). Amid the worst economic meltdown in half a century, caused by the unregulated greed of bankers and securities traders, the art market lost the debate. Here is one losing debater's perspective on the defeat.
Jason Edward Kaufman

In the green room, minutes before going on stage to debate the proposition, a man who helped found the organisation behind the event, frame the debate and assemble the teams told me that he became involved with Intelligence Squared after working in "conservative think-tanks for years". I said: "I'm just curious, did you vote for Bush twice?" He replied: "As a matter of fact, I did." I then asked: "Does that mean you also voted for McCain?" He replied: "Yes." Then I said: "Don't you think that may mean you have no sense of judgement about these things?" He stared at me and led our team to the debating floor. As we entered the auditorium I noticed that I barely recognised anyone in the packed audience, and that the crowd looked fairly conservative. We were on stage by the time I put two and two together and understood why Karl Rove and Dick Cheney had participated in other debates sponsored by Intelligence Squared. By then, I knew our goose was cooked. I don't blame losing the debate on the crowd being conservative. Rather, I blame myself and my team for having no idea how to debate, and for existing happily in what I consider a parallel art world.

Intelligence Squared framed the question (which seemed subtly slanted against my team's position and laced with Schadenfreude), and assembled the teams. Our team--Chuck Close, Amy Cappellazzo, deputy chairman of Christie's, and I--defended the position that the art world was not "less ethical" than the stock market. Their team was art dealer Richard Feigen, who the day before sold a Turner at auction for more than $12m, Michael Hue-Williams, owner and chief executive of London's Albion gallery, and super-collector and nice guy, Adam Lindemann (who during the debate said: "I wish I was on your side").

To me, their side was making a logical-sounding but smug, monstrously cynical argument. Their position essentially broke faith with art, believed in the hype of the past few years, was nihilistic and hollowed out. They said that even with all the abuses on Wall Street, the fall of Enron, insider trading, Bernie Madoff, the collapse of the stock market, widespread job losses, rampant suffering, and the world economy in a shambles, the art market was still less ethical than the stock market! Ironically, all those on the other team were likely involved in most of the unethical behaviour they railed against. To me, this seemed infinitely hypocritical and self-hating. But evidently not to the audience, who seemed to agree with every stone they lobbed at the art world, and sneered at every mention of bad behaviour by the art world.

Our argument was simple and straightforward, even if we utterly failed to make it properly. The art world, we said--like all worlds--has unethical practices.

"Chandelier bidding" happens and is disgusting; art dealers can be sharks; art fairs are like tent-city casinos; the market revved up the bullshit machine. Yet even considering all this, we said the art world is not more corrupt and less ethical than Wall Street. We acknowledged that the system may be damaged, but added that in our studios and in front of works of art when we experience moments of genuine stillness, intensity and meaningfulness, places on the edge of language, the market cannot strip away these things. In this imperfect realm, we sometimes experience the elemental otherness of art. That cannot happen in the stock market, ethics or not.

Mr Hue-Williams talked about how the art world has no regulations and that anyone can get into it. I said that other than basic guidelines already in place (especially in the auction sector), the art world is a "world" and not an industry. I'm lucky that "anyone can be in the art world". I have no degrees and no qualifications, other than the fact that I want to do it. If there were guidelines about who could be in the art world, most of us wouldn't be allowed to be here at all. Basically, they were arguing for a form of cultural-ethical cleansing. They claimed that with no regulations the only thing an art dealer needed was "to have two eyes".

Once our side admitted to "chandelier bidding" and the rest, however, the day was lost. To the audience, the argument turned on the concept, "the art world is unethical". To us, it turned only on the word "less". Either way, these are semantic points that we clearly lost. As one blogger later noted: "I found that the 'against the motion' side made many errors of strategy and fact."

Debate strategies and rules aside, I think it's utterly ridiculous to claim that the art world is "less ethical than the stock market". The stock market made more people richer, made more people lose money, and brought the US to its knees. By comparison, the art world is relatively benign, and the unethical parts are relatively limited. No one in the art world jumped out of a window because a painting's price decreased. No one was put out of their home because of the art market. Even at its height, 1% of 1% of 1% of all artists made money. You can rail against the business practices of the art world, but even in flush times reputations are built on credibility, not on money or the market. The public is suspicious of the art world because the art market, and not art, is what they saw first when they saw art. Regardless, just because a dealer makes a lot of money doesn't mean that they have the respect of the art world. Money doesn't earn respect. Respect exists outside of the market. If you are in art for the money, you're not really in art at all. As Brice Marden said: "It's not the art that's suffering; it's the market that's suffering. They don't have anything to do with each other."

An audience member identified himself as a lawyer and said he agreed with the other side because we can never be certain about the true value of art. I agree--the art world, especially now, is not about "certainty". The art world is a space where uncertainty, doubt and paradox exist, and can transform the world. Art is not a decorative ornament on the edifice of philosophy, religion or economics. Art is not optional. Art is a universal force that helps make things happen, even if some of those things are tainted. The debate made me understand several things: cynicism about the art world runs deep; I have no clue how to debate; the art world exists in a realm that can be described by, but is nevertheless beyond, words. The following day, an old Beatles lyric drifted through my mind: "Although they thought I knew the answer; I knew but I could not say."

Jerry Saltz

Round-up of yesterday's meeting

Thanks to all who came an participated in the workshop groups. Andy & I honestly feel that all four ideas were strong enough to go forward, but we were also pleased that the vote produced clear results. It was fantastic to hear good ideas and passion.

For those who did not make it yesterday: two Degree Show proposals are being brought forward:
1. Degree Show as a series of discussions on the subject of the art world and the credit crunch
2. Degree Show to present London Projects

also: a working group has emerged to investigate the possibility of a publication to support either project

The next step is to develop each of these ideas to present at the 'Planning Review Board' meeting in two weeks.

Can we go forward with the two working groups who presented the successful projects yesterday, joined by others who can add to and help develop them?

Aide memoire: the groups yesterday were (forgive me if I've left you off):

1. Series of talks: Peter, Tine, Charles, Jaime
2. London Project: Melany, Tom, Matt, Maithili, Theodora

Publication group: Ida, Claire, Sarah, Alina

ACTIONS:
join group, develop each proposal
come to next meeting: Wed March 18th, 2pm

Suggestions/critiques for each group:

1. Series of talks: develop lists of potential speakers (secure one or more?) and refine the topics that will be covered; develop strategy and/or design for 'exhibition'; write short text and find a title?; cost the project (chairs, sound system, documentation, signage, speakers' fees, hospitality)

2. London Project: develop one or more curatorial strategies to present the work; propose an exhibition design; identify or design a prototype for signage; cost the project (signage, furniture, production costs)

All best and see you on the 18th. Please be in touch with any questions

link to site for booking 'Preparing for Your Degree Show' events

Go to www.arts.ac.uk/yourdegreeshow for more information and to book.

MAKING THE MOST OF YOUR DEGREE SHOW EVENTS

This should be really important for you guys--please make sure that some of you go to all of the relevant events (skip ones on selling, definitely go to the ones on organising and networking and getting your first job and putting the show online.

I realise this overlaps with the last few days before the dissertation hand-in, but ALL of you should plan to attend at least one session from Wednesday afternoon and those who can go earlier, do so.

Alison

Monday 23 February

11am–12pm Showtime: putting your work online

Conference room, Innovation Centre, CSM

The Showtime team will talk you through the process of exhibiting your work on a personalised Arts London web page. Read more and book

3.30pm–5.30pm Preparing for your Fine Art degree show: panel discussion and Q&A

RHS Centre, LCF

Learn about time management, strategy, presentation and what to expect on the day of your Fine Art degree show. Read more and book

6pm–8pm Look into the future: the potential of your degree show

Main Lecture Theatre, LCC

Learn how from recent graduates about how to make your degree show the start of your future career. Read more and book

Tuesday 24 February

10am–11am Practical networking skills

Careers Centre, Student Hub, Davies Street

Creative Careers' Guidance Specialists show you how to develop your networking skills. Read more and book

10am–5pm Pricing your work: one-to-one advice sessions (20 minute sessions, booking essential)

Room A335, Chelsea and Meeting Room, Innovation Centre, CSM

A chance to talk to University Curators on a one-to-one basis about pricing, your future or anything else. Read more and book

Advice sessions at Chelsea. Read more and book

Advice sessions at CSM. Read more and book

12pm-1pm Showtime: putting your work online
Lecture Theatre, Student Hub, Davies Street

The Showtime team will talk you through the process of exhibiting your work on a personalised Arts London web page. Read more and book

2pm-4pm Making money from your show

Conference room, Innovation Centre, CSM

Covering how to deal with potential customers, make sales, process orders and how to land freelance work. Read more and book

6pm-8pm Making it happen: planning for your show's success

Podium Lecture Theatre, LCC

Shows you how prepare and organise yourself to make the exhibition a success. Read more and book

Wednesday 25 February

10am–11am Practical networking skills

Careers Centre, Student Hub

Creative Careers' Guidance Specialists show you how to develop your networking skills. Read more and book

11am-12pm Showtime: putting your work online

Street Lecture Theatre, LCC

The Showtime team will talk you through the process of exhibiting your work on a personalised Arts London web page. Read more and book

2pm-4pm Feeling exposed: understanding your intellectual property rights

Main Lecture Theatre, LCC

Advice on how to prevent people from copying your creative work at your show. Read more and book

6pm-8pm Get yourself seen: attracting attention for your work

Lecture Theatre, Student Hub

Key steps to help get you and your show noticed, including how to create a brand identity and produce promotional materials. Read more and book

Thursday 26 February

10am-11am Showtime: putting your work online

Main Lecture Theatre, Camberwell

The Showtime team will talk you through the process of exhibiting your work on a personalised Arts London web page. Read more and book

4pm-5.30pm A collector's point of view

Main Lecture Theatre, Camberwell

Find out what the top UK collectors think about degree shows and how to they decide what to buy. Read more and book

Friday 27 February

11am-12.30pm Make a statement: writing promotional text

Room 213, Student Hub

This practical, hands-on workshop will show you how to write an artist's statement or press release to promote your show. Read more and book

2pm-4pm Satisfied customers: keeping your exhibition audience happy

Room 323, Student Hub

A series of video diaries will give you practical insights into what previous visitors have thought about Arts London degree shows, helping you shape your preparation. Read more and book

5pm-7pm Final Year Forum 2009: top tips for landing your first job

Lecture Theatre, Student Hub

Ask a panel of Arts London Alumni about their experiences working in journalism, graphic design, creative enterprise, communications and branding. Read more and book

DSP09 Timetable:

DSP09 Timetable:
10 February version

Wed. 4 March (Week 8) Workshop on Degree Show ideas
Group divides into 4, each to discuss and develop one of the 4 ideas proposed at the Dec 3rd meeting. Discussion of skills and tasks; breakdown of group into task groups

Wed. 18 March (Week 10) Planning Review Board (Alison, Andy, Pop and Steve) Students give a (or several) presentations of Degree Show ideas and staff gives feedback—formal, Powerpoint, narrated like a pitch. Feedback will be immediate, and, if possible, task groups can begin to plan

Wed. 23 April (Week 1) Check-in meeting

[intermittent meetings on Wednesdays through the Summer term]

Wed. 20 May (Week 5) Unit 14 final submission

M-Th 8-11 June (Week 8) Oral Presentations

Friday 12 June Begin installation of Degree Show

M-F 15-19 June (Week 9) Install show

Friday 19 June Degree Show private view

Sa-F 20-26 June (Week 10) Degree Show open to public

Friday 26 June De-install show

Four Degree Show Concepts

1. CCC Journal: Instead of a show, we could produce a journal of our work. The journal or book would act as platform for our various projects over the three years as well as new material. It would be a history of coursework, a 'curated' archive - perhaps featuring essays, show proposals, a history of the course. Apart from our own work, we could possibly commission work - articles, essays, photography, illustration, reviews, etc - from outside sources. Also look into sponsorship, as publishing is expensive. A book would serve as a mobile exhibition, circulating in a wider sphere than the show would and lasting much longer. The space, in this situation, would serve as a book-launch site.



2. The Best Of Show: This would be an exhibition curated by us, showcasing the best of CSM (or UAL) many disciplines. Unlike the current Future Map show at Davies Street, this would include only BA work. CCC students would be acting as curators, or editors, surveying work produced within the college. Teams would be set up to visit various studios, acting as editors and curators research and communication being as important as illustrating values of display in the final show. There is also the potential to use the existing CSM collections to draw on for pieces to display.



3. Event: Over the week we could run a series of talks on subjects relating to the course, as a 'curated event.'



4. Continue with the degree show as it has been in previous years, showing work from the London Project.

Link to Blackboard

http://blackboard.arts.ac.uk/webapps/portal/frameset.jsp

6 hour Curatorial Project

BACCC Degree Show 09
6-hour Curatorial Project Brief
*this idea was proposed and agreed upon at the Dec. 3rd planning meeting

DATE: Wednesday 28 January
FROM: 12 noon to 6pm
LOCATION: Back Hill Foyer (confirmed)
1. The curatorial project must utilise the ‘gazebo/tent’ (set by tutors)
2. Groups of 5 students take turns with the space
3. Each group gets one go, for 45 minutes
4. Each group can do what they wish—add, rearrange, reinterpret, perform, not do anything, invite collaborators, divide the time further, etc., etc.
5. Andy, Pop and Alison will stop by periodically, and come at the end
6. There is a budget of £30 provided by the course (you MUST have a receipt to get cash back)

PLANNING:
1. It’s advisable that groups set up a means of communication and organise one meeting in advance of the day
2. As an overall group, consider a way of documenting the process
3. Remember that this is meant to be fun, a process of trying out ideas, methods, concepts, styles, procedures, skills, and organising structures, as well as a way of figuring out what works and what doesn’t (and why)

REFERENCES:
Surrealist Exquisite Corpse; Rauschenberg’s Erased de Kooning; Robert Morris, Continuous Project Altered Daily; Sol LeWitt’s instructions for wall drawings; Public Freehold works by Lawrence Weiner; and more . . .

TIMETABLE: (the groups were picked and ordered randomly)
12:00-12:30
Gazebo is set up
12:30-1:15
Anna Beesley
Johan Deurell
Tine Hvidsten
Melany Rose
Natalia Stiris
1:15-2:00
Daniel Davis
Charles Fulford
Joanna Lee
Spela Strukelj
Emma Noon
2:00-2:45
Joyce Lau
Nadine Ekloef
Peter Wylie
Angelina Sabino
Jaime Galbraith
2:45-3:30
Francesca White
Tom Robinson
Joy Simmons
Hannah Schwieso
Ori Altarace
3:30-4:15
Claire Aliot-Soto
Ida Borneskog
Pandora Lavender
Matthew Retallick
Teri Davies
4:15-5:00
Danielle Berg
Emma Doughty
Theodora Vafiadakis
Maithili Pradhan
5:00-5:45
Alina Astrova
Sarah Moore
Clare Rose
Neuza Teixera
Anouk Van der Heyden
5:45-6:00
Take-down

Guest lectures next week--Matthew of particular relevance for DSP

GUEST LECTURES
Wednesday 19 November BACCC Studio

10:30 Abraham Thomas

Abraham Thomas is Curator of Designs and lead curator for architecture at the Victoria & Albert Museum, London.

He curated the exhibition ‘Paper Movies’, which explores the ground-breaking work of the two Russian émigré-designers, Alexey Brodovitch and Alexander Liberman during their tenures as art directors for the American editions of Harper’s Bazaar and Vogue respectively, during the 1940s and 1950s. He curated the photography/illustration section of the current major V&A exhibition, ‘The Golden Age of Couture: Paris and London 1947-1957’. He has curated a number of architecture displays including ‘On The Threshold: The Changing Face of Housing’ (2005/6) and ‘World Expo 2010 Shanghai: Designs for the British Pavilion’ (2007). He also co-curated ‘Alternating Currents’ (2005), a 5-month season of V&A events looking at historical and contemporary Islamic architecture.


12.00 Matthew Krishanu

Hackney resident Matthew Krishanu was born in Bradford in 1980. Matthew's art practice is based in drawing and painting. His work is often narrative - places and people glimpsed and quickly sketched, then worked up into acrylic, oil and water colour paintings. Sometimes the work is site specific, drawn/painted directly on to the floor or the wall of a space.His largest solo show was Roots & Branches at Wednesbury Museum & Art Gallery and The Works Gallery, Birmingham (late 2004 to early 2005). Group shows include: Hackney Artists Collective, The Foundry and the Tab Centre, London, 2005; Crow, Custard Factory Gallery, Birmingham, 2005; Small Works, Periscope, Birmingham, 2004; Radioactive, X-Ray factory, Birmingham, 2003.Matthew combines time spent in the studio with working on a wide range of arts education projects. He was Exhibition Organiser for the RIBA Trust/Arts Inform project Architects in Residence: King's Cross, an exhibition of work by six secondary school and sixth form students working in partnership with six architectural practices. The exhibition took place at RIBA during architecture week 2006.Among other projects, Matthew has worked as artist educator with Creative Partnerships, Action Space, Stepping Up Youth, Birmingham Museum & Art Gallery and the AAVAA (African and Asian Visual Arts Archive) Online project. His work for AAVAA is documented in the educational CD Rom Selecta.

Most recently, Matthew organised the exhibition ‘The Mausoleum of Lost Objects’ at iNIVA. http://www.iniva.org/learning/learning_projects/2008/mausoleum_of_lost_objects

MEETING NOTES

Add notes on meetings, large and small here:

Research

Chelsea Wiki: Degree Show Ideas 2007

John Crossley: studio in London and teaches at The University of Leeds in the School of Fine Art, History of Art and Cultural Studies.

"Going Places": Leeds 13 Degree Show 1998

Times Higher Education - On Leeds 13