CSM Time 8 - Time to Update You by Central Saint Martins

csm time Toâ&#x20AC;&#x2030;UPdate you

NEW HORIZONS Welcome to the winter edition of CSM Time. With less than a year to go till we ‘open for business’ at our new home, this is our chance to update you on what’s been happening – and on what’s coming up – as we count down to King’s Cross in summer 2011. On the ground, our vision of a state-of-the-art building and campus is fast becoming a reality. Check out the verdict of visitors to the site (see p4–7), or take a virtual tour of the ground floor by visiting our King’s Cross blog www.csm.arts.ac.uk/kings-cross-move

Annual Report 2009–10 http://intranet.csm.arts.ac.uk/ annualreport0910

If you’re dreading the thought of whittling down your filing and storage in preparation for packing up, fear not. MovePlan, our move management consultant, is on hand (see p8) to lend practical and moral support! Our spring issue will have further updates on progress towards King’s Cross. We will bid a fond farewell to our current buildings. We’ll also be adopting a new, more compact format the next time we meet. Our print run is set to be expertly hosted by new neighbour-to-be, the Guardian. New horizons, new friends … By the way, if you want to hear about other news and events, check out our blog at: http://blogs.csm.arts.ac.uk/snapshot Here’s to 2011. Email your stories to editor@csm.arts.ac.uk

The full report is available on the intranet from 17 December 2010

Central Saint Martins College of Art & Design

+ kX news (4) + number 10 back hill(9) + New art out of King’s Cross (10) + MOVERS & SHAKERS RESEARCH (12) + Student projects update (14) + MA APPLIED IMAGINATION IN THE CREATIVE INDUSTRies (15) + THE PERFECT GIFT (16) + ART IN MOTION (18) + WIDENING PARTICIPATION (20) + PERFORMANCE (22) + BEFORE AND AFTER MODERNISM: BYAM SHAW (24) + PRIVATE COLLECTION (26) + BEST OF BOOKS (28) + PRIVATE VIEW (30) + WHAT’S ON (31)

CSM Time to update you winter issue 8—12/10 CSM Time is produced by Marketing and Communications editor@csm.arts.ac.uk in association with Rhombus Writers, and designed by Paulus M Dreibholz (alumnus and associate lecturer) and Sunny Park (alumnus). With thanks to Drusilla Beyfus, Seamus Mirodan and Rena Valeh. © 2010 Central Saint Martins College of Art and Design unless otherwise indicated. We have made all efforts to credit images correctly. Please contact us if we have omitted to credit or miscredited an image – amendments will be made in subsequent issues.

Kx NEws king’s cross tour

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QUOTE, UNQUOTE … ‘Fantastic. It’s an amazing progression’ —Nick Brooks, School of Art

Intelligently designed, impressive, reassuring – our new King’s Cross home gets the thumbs-up during October’s site visit

The Street

‘Change is good’ —Pete Smithson, School of Art

The canteen The Granary

TAKING THE TOUR Autumn drizzle couldn’t dampen our sense of anticipation. Security-cleared and colour-coded, we set off in groups at halfhourly intervals – staff members, guests and foundation students – along a route marshalled by helpful people in hard hats. We had viewed the plans and heard the explanations. Now we’d come to see if the reality matched expectations. What we witnessed at close range was a vision taking impressive shape and an environment undergoing a remarkable transformation.

It ended at the Theatre with its enviable full height fly tower and flexible configuration accommodating multiple staging options and orchestra pit. In between, we glimpsed locations for our Reception area and our new Student Centre – the one-stop shop for all things currently handled by our School Offices. We passed the venues for our Performance Labs and Studio Theatre, and skirted the Lecture Theatre, a versatile space that can seat up to 450 people.

Above all we saw the Street, the imposing thoroughfare at the heart of the new building, its soaring atrium traversed by walkways on three floors. There’s no doubt – this is the showstopper. With its cathedrallike dimensions, the Street is a place to see and be seen, to meet and interact. It’s also an inspirational way of getting from A to B.

The ground floor tour offered just a glimpse of the whole. On the three floors above are spaces designated for Research & Innovation, Art Studios, Performance, Product & Spatial courses, the Library, Fashion & Textiles, We saw the sites of the Canteen and Students’ Jewellery and Ceramics workshops, Graphic Union bar. We passed through the Project Communication, Digital Media and more. The King’s Cross site visit took the form of Space where students will be able to book a tour of the building’s ground floor only. Want to get the bigger picture? You can take a workbench for a day or a corner site for The itinerary began in the Gallery & Museum an art installation. We saw the workshop a virtual tour following the same ground floor area – a spacious, environmentally controlled area earmarked for Wood, Metal & Casting, itinerary by visiting our King’s Cross blog at: home for our collections. www.csm.arts.ac.uk/kings-cross-move and the back-of-house delivery zones.

Reception

‘What you get is a sense of the volume and it’s reassuring to have that. I think it’s going to be a great building to show people around – I mean as a symbol of what we represent. I like the imprint of the old on the new. It makes the place seem less self-conscious, so that people feel they can leave their own tracks’ —Tricia Austin, Creative Practice for Narrative Environments

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‘It’s intelligently designed. It seems to make sense as a space’ —Daniel Wasik, Foundation student at CSM

Students in The Street

‘I think it will make us a community at last’ —Louis Loizou, BA Fashion

The Theatre and Eastern Transit Shed

3D workshop and project space

‘Very impressed by the open spaces. I just hope they don’t get broken up too much! Working alongside other courses is a really exciting departure. It’s got to be the way forward’ —Carol Morgan, Fashion Communication with Promotion The auditorium

Project space

‘The architects have worked very hard to translate what they’ve heard about how an art college should be. You can see they’ve listened. Now we have to see how it works when we decamp. But at this stage you can imagine being here. I think that’s the real test of today’ —Anne Tallentire, School of Art

NUMBER 10 BACK HILL

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MOVE PLANNING GEARS UP

An exhibition that combines stories and images from Back Hill’s past aims to give the building an identity

Planning for the relocation to King’s Cross of hundreds of staff, thousands of students and tens of thousands of pieces of equipment and furniture has begun in earnest with the help of move management consultant MovePlan.

As Central Saint Martins prepares to move to King’s Cross in 2011, discussion is underway as to what will become of current college buildings, write first-year BACCC students Shelly Asquith and Laura O’Leary.

MovePlan specialises in moving organisations and their people into new premises as smoothly as possible. Having helped UAL relocate to High Holborn, the team already has an excellent grasp of our needs and culture.

Our Charing Cross building will be sold. Southampton Row has already been sold and will become an upmarket hotel. However, our Back Hill site – home to Foundation, Performing Arts, and Criticism, Communication and Curation – isn’t owned by University of the Arts London, and could be demolished.

MovePlan Senior Project Manager Jane Arthurs is now meeting weekly with the CSM King’s Cross Project Office and UAL Estates to co-ordinate our move.

Back Hill isn’t easy on the eyes at ﬁrst, but its lack of glamour is part of its charm, and its history gives it character. Formerly home to the London School of Printing and before that the Daily Mirror, the walls of Back Hill have witnessed generations of creativity.

Jane and her team are responsible for appointing and managing the removal contractor, detailed scheduling of when individual areas (studios, workshops, offices) will shut down, and co-ordinating services like phones and IT . Recent progress includes:

1. Drawing up a 350-point checklist to monitor the move 2. Provisional identification of staff to act as Move Co-ordinators 3. A provisional area-by-area move schedule 4. A draft disposals policy covering the sale or freecycling of items we won't be taking 5. Off-site archiving of necessary but rarely accessed records 6. A communications plan – how best to keep staff informed about the move and ensure they know what’s happening at the right time 7. Building induction and orientation – creating handbooks for staff and students that detail facilities at King’s Cross while considering what tours and briefings we can offer in 2011 8. Setting up a move telephone helpline for staff from spring 2011 to support our existing kingscross@csm.arts.ac. uk email helpline

To document this history, first-year Criticism, Communication and Curation students are mounting an exhibition that pieces together stories and images from the building’s past in order to give Back Hill an identity. The show will be in the foyer of No. 10 Back Hill, and all students, staff and our Clerkenwell neighbours are warmly invited to take a look.

The Street

MovePlan will work with the Project Office to ensure staff members get regular updates on how, what and when to pack up.

The exhibition includes a mix of photographs, interviews, architectural drawings and reports to let people know why this charming old building is so special.

Over the next few months the team will be getting familiar with our sites and helping us with the dreaded task of reducing our filing and storage. So do keep an eye out for them and try to assist where possible. Further updates will be posted at our King’s Cross blog in the weeks to come as more move details are firmed up. We’ll also continue to publish KX updates here in CSM Time while alerting staff to new blog posts in CSM News, the monthly college e-newsletter.

‘Number 10 Back Hill’ runs from 9 to 17 December 2010.

Nora Heidorn and Anne Destival, 2010

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Graham Hudson, Hardboard test 3 (bucket and post)

King’s Cross Culture at the Lethaby Gallery last month presented its theme as an ongoing story: the artist’s eye at work on the here and now at a unique parish in London. Drusilla Beyfus meets two of the exhibiting artists

Graham Hudson, Frame: cup with hole

Graham Hudson, Parallel complex

Graham Hudson, Fence armature

Among the exhibits was the work of two practitioners who are fired by the existence of public spaces. They are sculptor Graham Hudson, the second artist-inresidence with the developers King’s Cross Central, and the Arts Council, England, and internationally exhibited videographer Marc Atkins, commissioned by Central Saint Martins. Each artist was given a free hand. Graham Hudson (b.1977) graduated from the Royal College of Art in 2002. He describes himself as a sculptor ‘in an elastic sense’. As an artist, he is known for working in nontraditional spaces. His six month residency from November to May produced an archive of photographs of temporary sculptures, shown at the Lethaby. Six short films – one for each month of the residency – were edited into a thirty minute documentary, and together with sculptures, were shown at his exhibition at The German Gymnasium in October. An exhibition catalogue included six especially commissioned essays.

the space just as it has been left, apparently untouched. In a low light, the camera picks up on the remains of a DJ booth, a heap of old film and a pair of discarded underpants lying on the floor. Hudson told me that the clubs had been built for temporary occupation, and were made of plywood painted black to give a nightclubby atmosphere. Outside of the clubs, the filmmakers pick up an old glow stick where it had rested on the ground, a memento of an era. Hudson suggested to me that, ‘These clubs don’t seem to be on the heritage radar but the film we have made may help to keep memory alive.’ The club premises are listed and closed to the public. Marc Atkins’ video Pro Tempore (for the moment) gets to grips with defining the character of the neighbourhood through ambient sound, visuals and, on camera, the spoken voice. He wanted to show King’s Cross as a place in its own right. ‘I walked the area for two days and then the notion of flux and movement came to me. I definitely didn’t want it to come across as rail-centric.’

Graham Hudson, Anarchitecture (Bagleys VIP)

create a sufficient number of sculptures to represent ‘one for each day’ but in practice he made about 300 pieces. He found much of his material in the Eastern Goods Yard. For example, he selected a rusty old armature which hadn’t worked efficiently in its original form, but ‘could be something turned upside down.’ It was. Sometimes he would make ten pieces a day, other days he would return to find his work taken down and he had to compensate. Underlying his approach, as he explained, was an interest ‘There was no shortage of inspiration’ in opening up new materials for making he said when I interviewed him. Assisted sculpture. He asks, ‘How do I make art that by Ben Borthwick from Butchers, the east dovetails with what’s out there, and is as London curatorial group, he made temporary free and energetic?’ sculptures from materials found to hand at the gated building site. He piled up A response lay in one of the short cobble stones, shifted scaffolding into films, Crane Choreography, made with new positions, discovered aesthetic aspects director Jared Schiller. They persuaded in builders’ leftovers. His intention was to the authorities on site to allow them to

conduct the gigantic arm of a crane to perform a pendulum movement. On the day of filming crane driver Andy gets the message from his boss and the swing of the arc, set at 180 degrees, becomes progressively smaller. Hudson recalls, ‘We show the last action of the last crane on the site. It became a great piece of public art involving rhythm, motion, timing’ he said. Finding a future for what is neglected or ignored is something of a preoccupation for Hudson so he grabbed the opportunity to make a film of the abandoned nightclubs on the developer’s land. The clubs were once home to the rave scene in the late eighties and nineties, notably Bagley’s, the best known of them. The camera explores the interior of one of the clubs, depicting

Old Father Time plays a part, as usual. Many are the images in his compositions of working clocks – some with Latin inscriptions in elaborate lettering – up on lofty towers. A reminder of the very spots where generations of travellers have looked up and realised they are about to miss the bus, whatever the bus stands for. The camera catches glimpses of the parish church of St Pancras and its saint, where Sir John Soane is buried (we learn his tombstone is the prototype for London telephone boxes), the grand gothic architecture of St Pancras railway station, electric pylons, modern British railway signage, snatches of historic texts, the spectacle of sleek modern trains snaking home and, asserting its dominance in the imagery as in the urban scene, the intricate architecture of the gas holders. That the gas holders play so strongly is as much due to the fact that he recalled ‘a shot of them done by the great American

Marc Atkins, Pro Tempore

documentary photographer Robert Frank’, as the buildings. One of the unexpected elements is the pastoral atmosphere conveyed in hints of a wildlife park, flowers cultivated and wild and, in the flowing waters of the canal, instead of the dark stories of legend, reflections of green trees. His impressionistic style is achieved through superimposing different negatives on top of each other so one catches an essence of place. London’s grey light seeps into the photography from pearly grey to sunlit grey, interspersed with ruddy tones from sunrise or sunset. Background sound comes from King’s Cross on the move, from bird cries in flight to the rumble of the trains. A narrator plays a part with an independently written commentary on the history of the parish. In it the point is raised, ‘King’s Cross is a place which has the vaguest of connections with community.’ I asked Marc if he thought this was likely to change in the future. ‘Once people come and stay, the rest will follow’ he said.

The respective exhibitions are closed. Readers can access Graham Hudson’s films from the German Gymnasium at www.youtube.com/user/SchillerJared and his 181 sculptures at http://gallery.me.com/ grahamhudson#100248 Marc Atkins’ video Pro Tempore is online at Central Saint Martins www.csm.arts.ac.uk/63488 and further work at www.marcatkins.com Drusilla Beyfus was a Senior Lecturer on our Fashion Communication and Promotion pathway for 19 years. A former features editor at Vogue, she contributes regularly to the Telegraph Magazine and continues to work closely with CSM on special projects.

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MARINA WALLACE

CSM researchers continue to break new ground with innovative and creative collaborations. This past year has seen some exciting developments and outcomes

The EU ’s €10m MitoSys Project has awarded CSM ’s Artakt, led by Professor Marina Wallace, €350,000 to create an exhibition to help disseminate its research into a comprehensive mathematical understanding of mitotic division within human cells. Funded under the Seventh Framework Programme (FP 7), MitoSys will investigate how certain genes behave in healthy cells and cancers. The research may eventually identify markers that could help with diagnosis and lead to better treatment decisions.

For more information regarding research visit the annual report http://intranet.csm.arts.ac.uk/annualreport0910

ANNE TALLENTIRE ‘This, and other things, 1999-2010’, a survey exhibition of key works by the artist over the last ten years, was held at the Irish Museum of Modern Art from 17 February to 3 May 2010. The exhibition brought together ‘Nowhere else’, ‘The Readers’, ‘Document’ and ‘Drift: diagram xi’, working with architect Dominic Stevens (all 2010), ‘Instances’, 1999, and a staging of ‘Manifesto 3 (… instead of partial object)’, 2004, in collaboration with John Seth. An illustrated catalogue designed by Åbäke, with texts by Charles Esche, Vaari Claffey and Rachael Thomas, and an interview with the artist by Hans Ulrich Obrist, accompanied the exhibition.

JENNY TILLOTSON CSM Senior Research Fellow Jenny Tillotson has received a £249,000 AHRC Knowledge Transfer Fellowship to develop her ‘E-scent’ user-worn controllable fragrance delivery device, which has potential health and lifestyle applications. The project, ‘Smell The Colour Of The Rainbow’, is a joint collaboration with the Royal College of Art and Philips Research, with input from Cardiff University School of Biosciences and Girton Labs in Cambridge (inventor of the wearable computer ‘Sensecam’ for Alzheimer’s and iPhone sensors).

ROB KESSELER

CAROLINE EVANS Professor Caroline Evans has just completed a three-year fellowship supported by the Leverhulme Trust. From 2007 to 2010 she researched and wrote a book to be published by Yale University Press and provisionally entitled Modelling Modernity: French and American Fashion Shows c.1900-1929. She’s presented papers at the universities of Colorado, Copenhagen, London, Milan (Boccone), Oxford, Warwick and Zurich, and at FIT in New York, the ICA in London, and for the MSA in Montreal. As well as completing her book, Caroline wrote papers based on her research for the journal Modernism/Modernity (Johns Hopkins University Press) and for publishers Routledge and Indiana University Press.

Rob Kesseler, who has extensive experience of working with botanical scientists at Kew Gardens, has been collaborating with scientists at Instituto Ciencia Gulbenkian (IGC ), examining micro patterning and cellular structures in Portuguese wildflowers. The Calouste Gulbenkian Foundation has launched a cross-cultural interdisciplinary project, inspired by International Year of Biodiversity, 2010 with a view to forming a transnational partnership of science research, arts and crafts. Using images made from thousands of microscopic samples, Rob is now working with Vista Alegre, the Portuguese porcelain manufacturer, to develop designs for ceramic print.

CAROLE COLLET The Technology Strategy Board has awarded a £100,000 grant to Carole Collet of Textile Futures Research Centre to share with Nanoforce, Atelier Ten and King’s Cross architects Stanton Williams, for a research project on ‘Harnessing nanotechnology to combat climate change – using a multi-disciplinary approach to design effective adaptation solutions for the built environment’. The project was designed with the support of Monica Hundal at the Innovation Centre, and will explore retrofitted solutions to help CSM ’s new King’s Cross building cope with climate change and specifically to adapt to forecasted increased temperature in summer.

GRAHAM ELLARD & ANNE TALLENTIRE CSM research project Double Agents and Acme Studios have secured a two-year Knowledge Transfer Partnership to review the changing role of the artists’ studio within contemporary art practice. The partnership is the result of discussions between Graham Ellard and Jonathan Harvey, Acme’s Chief Executive. The KTP , which began in June 2010, will generate primary research through a programme of studio visits and interviews to create an informed and authoritative model of the functions of the artist’s studio and a template for future design, provision and management.

STUDENT PROJECT update

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it’s only rock and roll Sony Music

Over 150 BA Graphic Design students have participated in a project with Sony Music to create an original and arresting installation – a work illustrating the history and heritage of the brand from 1888 onwards – for Sony Music’s new headquarters in Kensington.

MA APPLIED IN THE CREATIVE IMAGINATION INDUSTRIES

A re-imagined postgraduate course at Central Saint Martins that invites students to ‘discover what is really needed’ and then create it and evaluate it

Sony wanted the installation to give employees and visiting artists a powerful sense of its rich and varied cultural legacy and to inspire them to ‘make history today’. Over 250 students took a brief on the label’s artists and history from Emma Pike, Sony Music VP Communication & Artist Relations, and Richard Connell, General Manager, Arista Records.

Pringle exhibition

RENEWING PRINGLE’S HERITAGE

A curated exhibition of key archive discoveries will be presented during London Fashion Week in February 2011. Our BA Fashion: History and Theory pathway The intention now is for CSM ’s MA Fashion has teamed up with Pringle of Scotland to students to design and create modern deliver a project entitled The Pringle Archive interpretations of the iconic archive pieces. 1815-2010. ‘We’re elated to have CSM take such an active role in developing our archive,’ The Scottish knitwear brand wanted to says Pringle CEO Amy Adair Macaire. recast its archive as an effective showcase ‘Access to our richly innovative past can only for Pringle’s 195-year heritage. Besides serve to inspire our future. Many, many researching and restructuring the archive, CSM participants set out to uncover iconic thanks to Louise Wilson, Alistair O’Neill and vintage styles suitable for reissue and to all students involved for their enthusiasm, explore original Scottish manufacturing scholarship and fresh ideas.’ techniques. Says Grace Bowen, Fashion History and As part of the project, students contributed Theory student and project leader: ‘This brief to the Pringle ‘Day of Record’ in August represents a wonderful opportunity to put in Hawick, focus of Scotland’s knitwear our skills into practice. The ‘Day of Record’ industry. Community members, many was a huge success – among local donations with family links to Pringle, brought along was a wardrobe of 120 exquisite Pringle generations-old Pringle memorabilia to garments. I’m very excited about showing swell the archive. our findings during London Fashion Week.’

Anuja Singhal, 2010

More than 100 students submitted initial concepts, prompting Emma Pike to praise their ‘boundless creativity and enthusiasm’. Finalists presented ideas to a panel of judges who chose three runners-up plus joint winners Eva Vestmann and Clas Celsing. Eva and Clas were invited to merge their approaches to create the final concept, which features quotes from legendary Sony Music artists including David Bowie, Elvis Presley, Patti Smith and Michael Jackson. Sony plans to install the work in 2011. ‘We took a decision to use quotes rather than lyrics,’ say Eva and Clas. ‘The trick was to find quotes that had to do with music because ‘it’s all about the music’ was an essential part of the brief. It’s been a fantastic opportunity and a great experience.’ Project manager Bobby Gunthorpe adds: ‘This awesome brief was a once-in-a-degree opportunity on an epic scale that generated an unprecedented response. When clients offer our students commercial projects they have it within their gift to elevate briefs into challenging experiential events. I think Sony achieved that with great skill.’

Ravindra Foolhea, 2010

Elizabeth Sawyer, 2010

How do you begin to change culture and society for the better? You start by asking the right questions.

They develop strategies that are less to do with traditional career paths and more about changing culture and society for the better.’

That’s the essential premise of MA Applied Imagination in the Creative Industries, an innovative postgraduate programme at Central Saint Martins that introduces you to new things to think about and sparks new ways to think about what you already know.

The course views as appropriate and viable any research project that connects with what it calls ‘external gatekeepers’, including business partners and industry experts.

The new course aims to attract individuals from every type of background. Crucially, it makes active use of cultural differences to help students explore who they are and what they might become. ‘We’re not interested in portfolios,’ explains Course Director Geoff Crook. ‘We look for people who understand they need to change their lives. What we provide is staff who are good at helping students frame the question that will spark their MA project.’ The course asks individuals to arrive with a completely open mind in order to develop a ‘now’ project – something unfettered by expectation or preconception. ‘What happens,’ says Geoff Crook, ‘is that students move between disciplines. They become increasingly entrepreneurial.

It also sets out to build a highly supportive culture around its students. In working together they enable and empower each other. The programme is more interested in getting students to benchmark against their own ambition than limiting their imagination to the parameters that have already been defined. ‘What we do is manage progress,’ says Geoff Crook. ‘Our best definition of a good year is what did we learn from our students rather than what did they learn from us’. ‘We don’t want to tell people what they’re going to be doing in the future. We want them to discover what’s possible and what is needed and then create that.’ Selection of imagery from MA Design Studies, 2010 (MA Applied Imagination in the Creative Industries from 2011). See page 31 for details of this year’s MA Design Studies graduate exhibition.

The perfect gift 16

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CSM has produced a college calendar for 2011. Designed by Phil Baines, it is a showcase for the CSM Museum & Study Collection. The selected posters form a key part of the archive, documenting exhibitions and events of the past 100 years, from early advertisements and degree shows to the first ever Sex Pistols gig in 1975. The posters include the work of well known graphic designers including Phil Baines, Catherine Dixon, Ian Hands and Eric Kindel (calendar size 30cm × 30cm).

On sale at our winter pop-up book stall on 6 December, in The Central Club, 11am–3pm or for sale in The Lethaby Gallery and the College shops, costing £10 or get 3 for 2

ART IN MOTION

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Changes to our fine art offer are all about building on strengths and creating synergies, says Dean of the School of Art Mark Dunhill

Kristina Kostadinova

WHAT’S THE BACKGROUND TO THE CHANGES?

Mark McCulloch

will help students develop their work For the last three years we’ve been looking and practice. At the moment it tends to be at how we can collaborate more closely with a bit of a sprint. At the start of the course Byam Shaw. In part the process was driven you’re already thinking about the end. This by our impending move to King’s Cross. change will mean more time for reflection But we also wanted to understand the and revision in progressing the work. relationship between broadly similar courses So we’ve looked at the structure. The other at Byam Shaw and CSM with a view to thing we’ve done is look closely at how we shaping a more integrated art offer – one can build on our research strengths within that created synergies between the two the School. Schools. And we recognised that this would WHAT IS THE POSTGRADUATE ART become increasingly important in the runPROGRAMME? up to King’s Cross. So far it’s been a very Our new Postgraduate Art Programme fruitful journey. We’ve been through a has four courses. It includes the MA Fine Art validation process of writing new courses course that brings together the best of the and redeveloping existing ones to support existing Byam Shaw and School of Art studioour postgraduate and undergraduate based courses, with a reduced number of offers within the new College frameworks. about 50 to 60 students. We’re introducing WHAT ARE THE POSTGRADUATE CHANGES? an MA Photography course, which builds Our postgraduate course structure is moving on the existing PGCert, and MA Art and from the existing 45-week, one-year course Science, a completely new field for us. We to a 60-week course over two years in the want to diversify and give students an extended full-time mode. This has been opportunity to engage with the scientific found to work well at CSM and we think it community in recognition of the growing

Kecheng Diao

interest in this area. We’ll also have a new MRes Art course offering three pathways. The aim here is to build a stronger bridge for students who want to progress to PhD research. We also saw the potential in a course that was written research rather than studio oriented, but which coexists with the practice based courses.

WHAT ARE THE THREE NEW MRES PATHWAYS? The Exhibition Studies pathway is founded on our strong links with Afterall, the CSM based fine art publisher that’s extremely well placed to help deliver this course. Students will get a great opportunity to engage with research and publishing in a field for which we envisage strong demand. The Moving Image pathway also reflects our research strength in the field as custodians of the British Artists Film & Video Collection. We’ll be working closely with LUX , keepers of one of the largest holdings of artists’ moving image in the world, to offer students some really in-depth curatorial research opportunities. The Theory and Philosophy

pathway also builds on research strengths, focusing on an area all fine art students engage with at some level, but offering exploration in exceptional depth.

Shusuke Nakano

WILL MA AND BA FINE ART BE BASED AT BYAM SHAW OR KX?

Both. At this stage we envisage a postgraduate centre at Byam Shaw with studio and project space that will link WHAT ABOUT UNDERGRADUATE CHANGES? strongly with a King’s Cross space developed Our BA Fine Art course combines specially for postgraduate and research the existing 2D, 3D and 4D pathways based students. At undergraduate level we’ll take at Charing Cross Road with Byam Shaw’s advantage of the many benefits King’s interdisciplinary course – what we call our Cross offers in terms of workshop and other XD pathway – to create an enlarged, fully facilities while retaining the studio pluses integrated entity. We’re also introducing of Byam Shaw. Archway presents us with the Diploma in Professional Studies, to offer an alternative environment – scruffier, no students an optional work placement year doubt, and set slightly apart. But art often between stage 2 and stage 3, and we’ve thrives on the edge where it can look both improved the Part Time mode in a much in and out. If King’s Cross is all about crossmore integrated stucture. We’re consolidating fertilisation, Archway’s focus is on fine art. the strengths of the two Byam Shaw So, hopefully, we can have our cake Foundation courses and the very large course and eat it. at Back Hill to create a single Foundation programme with several pathways. Although HOW WILL OUR TEACHING DEVELOP? We’re very excited about the new eventthe new Foundation is based mainly at Back Hill over the next two years, workshop based teaching model we’ve been piloting. It gives staff, including research staff, a links with Byam Shaw and King’s Cross chance to engage with students in a new are planned.

way. For short periods we’ll run intensive workshops or projects led by staff around a series of propositions that students sign up for. Traditionally in teaching I come to you and say ‘what ideas have you got?’ and then I help you realise them. In event-based teaching we switch that around so that the member of staff says ‘this is the proposition I want you to consider’. Students step out of their practice for an intense experience that helps them think differently about what they’re doing, helping them to take risks. We’ve got to make sure we’re not so driven by assessment that students stop taking risks. One of the great benefits of going to art school is that you can fail in a safe place, learn and pick yourself up again, then succeed. Find out more visit: www.csm.arts.ac.uk/ prospectus-2010/postgraduate

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DESIGN MATTERS UPDATE The Design Matters project launched its publication 'Drawing on Windows: Engaging Young People with the Built Environment’ at a seminar in November. The publication describes the teaching tools and methods used by the project to introduce 13 to 19-year-olds to the world of design and architecture. The seminar, held at the Innovation Centre, was an opportunity for the Design Matters team to show UAL colleagues, partners and peers what Design Matters is all about. Says project manager Kirsty Morris: ‘The seminar aimed to build on the publication, allowing you to view the project through a young person's eyes. It's an exciting way to share teaching models and methods with the aim of widening access to arts and design.' And it proved a great success with the audience. Upcoming Design Matters initiatives aim to extend relationships with CSM 's partners within the King’s Cross community and beyond it.

FASHION AND TEXTILES ACADEMY

The audience try out the diorama exercise

observational skills, project based learning and preparing sketch books, plus verbal communication, presentation skills and written work. Central to the programme is a project that brings second-year BA Fashion students and CSM alumni together with young participants to explore and workshop the idea of Fair Trade, experimenting with fair trade crafts from developing countries.

Buki Akib's knitwear collection ‘Fela’

BLACK HISTORY MONTH

For second-year fashion knit student Nathaniel Lyles, the project fits well with CSM ’s collaborative ethos: ‘Fair Trade balances the needs of producers, sellers and consumers,’ he says. ‘It’s innovative, progressive, and based on values like equality.’

From October to December, ‘A’ Team Arts and Central Saint Martins are delivering the Saturday Fashion and Textiles Academy 2010, a 10-week programme that helps young Led by a team of professional tutors, people build a portfolio for college entry. designers and guests, the programme includes still life and life drawing, research Targeting 14 to 19-year-olds in Tower and design development, applied textiles Hamlets, the programme also supports including silkscreen printing, stencil and course work preparation for GCSE and block printing, heat transfer printing, and A Level in Fashion, Textiles and Design. constructive textile techniques including It aims to give participants an insight knitting, embellishment and fabric into the creative industries while helping manipulation. them make more informed choices about progression to further education. Participants are presented with a brief to design and print household items and Practical sessions, which take place at the gifts for the Brady Centre, culminating in Brady Centre, focus on developing good a group critique on Saturday 11 December.

Black History Month

To mark Black History Month at CSM , our WP team collaborated with students and graduates from courses across the College to create ‘Ensemble’, a special one-night event at the Innovation Centre.

and installation. At the end of the event, visitors were only too happy to help with the removal of those 8,000 post-its in – let’s say – some interesting styles. The gallery was aflutter with multi-coloured notes.

Guests were greeted by a troupe of male models wearing alumna Buki Akib’s knitwear collection, ‘Fela’, inspired by her Nigerian roots, while over 8,000 meticulously printed ‘post-its’ on the walls showcased the work of our exhibitors. Guest speaker Harun Morrison, joint artistic director of Fierce and CSM alumnus, gave a talk about emerging artists to rapturous applause. Four Drama Centre students entertained us with an acapella. And the crowd absolutely loved it.

Says student Aline Raymonde Raphaelle Caretti: ‘When [WP leader] Berni Yates invited me to curate the BHM event as a post-it installation, I thought it would have more visual impact to select one or two pieces from each student and to enlarge them massively. Well, it may have seemed like a good idea – but not if you’re doing the printing! I’m glad it produced such a vibrant display. It made the event more about celebrating great work and performances and less about the idea of minority.’

After the entertainment, guests mingled and took a close look at the work on display, which included fine art, ceramics, short film

A huge WP thank-you goes to our exhibitors, our friends from Drama Centre London, and our guest speaker Harun Morrison.

Fashion and textiles academy

Performance Standing on the Shoulders Of tradition 22

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Annie Tyson, who stepped down this summer as BA Acting Course Director, talks to Seamus Mirodan about her 40-year association with the school

Images courtesy of © Alan Pitchforth, Kamilian Limited 2010

The Second Mrs Tanqueray, 2008

On the second floor of the Clerkenwell building which today houses the Drama Centre London, at the end of a locker-lined corridor bustling with students chattering and changing for class, is the office of a local institution. Sitting across from a coffee table piled high with texts, Annie Tyson, until recently Course Director of BA Acting, contemplates her 40 year affiliation with the school. ‘I somehow got seduced by Drama Centre,’ she says, ‘and it was worth it. Despite all the madness and attendant worries there’s no more thrilling job in the world.’ But this deep and enduring interconnection is now entering a new phase. At the age of 61, Annie Tyson has decided that what lies

ahead ‘needs someone younger to take the lead’ and in Summer 2010 stood down as Course Director. However, while she will hand on the baton of leading the acting programme, she intends to stay in touch by continuing to teach and direct at the Drama Centre.

An introduction by her university tutor to Stanislavski and his successors awoke within the young actress a firm desire to understand the process. Keen to continue pursuing this line of enquiry, Annie auditioned for the Drama Centre and took up a place on the Instructors Course.

Her original path to the Drama Centre was carved out while she studied Drama and Theatre Arts at Birmingham University in the latter part of the sixties. Annie had become fascinated by ‘how acting works.’ She found her performances in student productions were positively received, but arrived in her final year ‘without understanding how I do what I do,’ a question that was ‘beginning to matter more and more.’

She remembers the training as artistically challenging. Every day the students were forced to respond to questions such as: What right do we have to do this? In what way is theatre political? Why put on plays by dead authors? ‘We were shot down in flames, but endorsed, stimulated and inspired. The hours were very long and the resources shockingly bad – one winter we had no heating so everyone

huddled with blankets in Room 1 swigging from bottles of Benylin – you had to have a sense of humour and real robustness. It wasn’t right for everyone,’ she says. After several years of continuing to work predominantly as an actress, it was only in 1998 that Annie found herself considering teaching as a full time career. At the time, Christopher Fettes offered her ‘a substantial amount of work’ and she decided. ‘If I was going to dedicate myself to teaching, Drama Centre was the place to do it, because it stands for a philosophy, a seriousness of intent and a unique passion.’ But her return home to Drama Centre coincided with considerable changes in the realities facing the entire British drama training system. ‘It had become abundantly clear that the only real way for drama

schools to protect their finances and guarantee that their students could pay the fees, was to get in under the academic umbrella.’

And, Annie believes, that is exactly what has been achieved: a modern drama school Tyson played an integral part in brokering preparing actors for the modern world, but the marriage between what was then the drawing heavily on a historical context London Institute and the Drama Centre. which boasts ‘a remarkable alumni list, not Through this relationship the school became just the household names, but those a Centre within Central Saint Martins College who keep on working and maintaining the of Art and Design, which itself had a school’s traditions.’ few years earlier become part of the London Institute, now the University of the Arts. For Annie Tyson, the legacy of the school’s founding fathers is to offer those with talent ‘We were trying to maintain a unique a way of working that underpins their identity and ethos amidst a very different intuition and instinct. ‘Unlocking the door to context,’ she explained. ‘Then Vladimir the subconscious, and the understanding arrived as Principal and it was clear he that acting is both an art and a craft, wanted to take the school into a new era, necessary to the world, that’s what the while maintaining its fundamental school stands for,’ she says.

All’s Well That Ends Well, 2002

Love’s Labour’s Lost, 2008

Richard III, 2007

traditions. It was time to open the window and let in some air.’

A Laughing Matter, 2005

BEFORE AND AFTER BYAM SHAW MODERNISM:

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We end the centenary year of Byam Shaw with an exhibition that explores the artistic legacy of the school’s founding fathers

John Byam Liston Shaw by Frederick Hollyer, 1894

Rex Vicat Cole in his studio, 1899–1900 Yinka Shonibare, MBE, Diary of a Victorian Dandy: 14:00 hours, 1998

This year marks the centenary of Byam Shaw School of Art, founded in 1910 by Rex Vicat Cole (1870–1940) and Byam Shaw (1872–1919). Close friends, the two Edwardian artists shared a teaching philosophy that valued traditional methods, particularly in drawing, while encouraging individual creativity. In November 1910, Roger Fry’s ‘Manet and the Post-Impressionists’ introduced London audiences to Parisian avant-garde painting, including work by Van Gogh and Cézanne, triggering what Virginia Woolf dubbed the ‘art-quake’.

This exhibition showcases a major work, ‘Egg Fight’, by Yinka Shonibare MBE , who studied at Byam Shaw in the 1980s. Shonibare is a Londoner who grew up in Lagos, Nigeria. Hs work engages critically with the legacies of the British Empire at its height. Uncanny connections emerge between the witty, post-modern, postcolonial work of Yinka Shonibare and the pre-modernist, sometimes imperialist works of the founders of the art school at which he studied.

‘Before and After Modernism’ is at the Lethaby Gallery until 16 December 2010. A catalogue is As Modernism became the critical orthodoxy, the work of the school’s founders available for sale at the Lethaby Gallery. was marginalised. In this post-modernist moment, however, we can reassess the striking ﬁgure paintings of Byam Shaw, and Rex Vicat Cole’s opulent, elegiac landscapes. Byam School of Art has remained a centre for art education for a century.

Studio at Campden Hill for R Vicat Cole Esq. 1910

‘In this post-modernist moment we can reassess the striking ﬁgure paintings of Byam Shaw, and Rex Vicat Cole’s opulent, elegiac landscapes’

PRIVATE COLLECTION

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His bus route to work provides Tim Hadrian Marshall, photographic technician on BA Graphic Design, with a moving window on the capital Everybody maps the city in their own way. My map of London started in 1980 when, as a student, I travelled from Battersea to Leicester Square on the old number 19 Routemaster bus to CSM’s graphic design site at Covent Garden.

The characters I encountered intrigued me. I started drawing my fellow passengers, painting them up in black and white gouache before reducing them on that legendary piece of art school equipment, the photocopier. My location eventually changed and I went underground to become a Northern liner for two years, then, in 1986, a Piccadilly line man. The tube became another project, this time photographic, and I rarely travelled by bus during that period. When I moved to Islington in 2006 I was pleasantly surprised to find the Routemaster was still running, like a giant Dinky toy from my childhood, conjuring up everything I thought was good about London. Everyone seemed happy on the Cliff Richard bus, even if they weren’t exactly going on a summer holiday. You invariably knew the bus conductor and you didn’t have to worry about stops – you could jump off where and when you wanted to. Then one day, like Triffids, the dreaded bendy buses emerged. I started the ‘38 Special’ project largely because the bus was always too crowded to get a seat or read the paper. To fill the time I began taking photographs on my way to and from college. Life’s rich tapestry unfurls on a bus, but I soon extended the brief to include small dramas happening outside the bus too. In retrospect Red Ken’s bendy bus wasn’t all bad. Seats facing seats enable at least a kind of awkward interaction with your fellow passengers. Often these connections prove more rewarding than the act of taking a photograph. ‘38 Special’ is very much a work in progress. At weekends I’m tempted further afield by the rich photographic pickings of Oxford Street, with indulgent shopping diversions to Liberty or M&S followed by falafel and mint tea at Maroush in Edgware Road. Of course, when the College moves to King’s Cross I’ll be bringing a new adventure, the 73 bus route, to my mapping of the city. You can see more of Tim’s stunning images at: http://rm409.tumblr.com To share your private collection contact editor@csm.arts.ac.uk

best of books 28

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PHILOSOPHERS ON ART FROM KANT TO THE POSTMODERNISTS

edited by Christopher Kul-Want

Here, for the first time, Christopher Kul-Want brings together 25 illuminating texts on art written by 20 great philosophers. Spanning movements and ideas from the Enlightenment to Postmodernism, the texts draw on Continental philosophy and aesthetics, the Marxist intellectual tradition, and psychoanalytical theory. Each is accompanied by an overview and interpretation.

The volume features Martin Heidegger on Van Gogh’s shoes and the meaning of the Greek temple; George Bataille on Salvador Dalí’s The Lugubrious Game; Theodor W Adorno on capitalism and collage; and Walter Benjamin and Roland Barthes on the uncanny in photography. Also included are Sigmund Freud on Leonardo and his interpreters; Jacques Lacan and Julia Kristeva on Holbein’s paintings; Freud’s postmodern critic, Gilles Deleuze, on the visceral art of Francis Bacon; and Giorgio Agamben on the twin traditions of the Duchampian ready-made and Pop Art.

GRAPHIC DESIGN FOR FASHION

DESIGN: GPO POSTERS

by Paul Rennie

During the 1930s, the General Post Office (GPO ) was at the forefront of a new form of public relations. Under the stewardship of Sir Stephen Tallents, the GPO became a major patron of art and design in Britain. Design: GPO Posters showcases the posters and graphic design of the Post Office from the 1930s to about 1970. Using the collections of

the British Postal Museum & Archive, the book discusses the major themes and personalities of what was an ambitious and long-running campaign. The posters contribute, through the extraordinary prescience of Tallents’ outlook, to the emerging concept of a networked communications economy, evoking modernity, community and service – themes that resonate powerfully today. Paul Rennie is Head of Context in Graphic Design at Central Saint Martins.

Christopher Kul-Want elucidates these texts with essays on leading thinkers from Hegel and Nietzsche to Badiou and Rancière, showing how philosophy embraced aesthetic experience and subjectivity in the wake of Kant’s powerful legacy. MA Fine Art director at Byam Shaw School

of Art, and acting Course Director of MRes Christopher Kul-Want is the author of Introducing Kant and Introducing Aesthetics.

‘Experienced graphic designers looking to take the next step up will also find plenty of food for thought’

by Jay Hess and Simone Pasztorek

Arranged as four sections covering branding, invitations, lookbooks and packaging, this international survey of contemporary graphic design for fashion is more than a showcase for the best ideas – it also examines the creative forces in action here. The authors put the work into context and explore the partnership between client and designer. Though creative enthusiasm and visual language may be shared, there are no rules for, or guarantees of, a successful relationship.

Mevis and Van Deursen discuss the financial constraints that led them to deploy a singlesize logo on everything from letterheads to swing tags for Viktor & Rolf. The result has been a greater consistency across the brand offer. Antoine + Manuel, who design for Christian Lacroix, say ‘fashion gives you a certain freedom – you can experiment, play, have fun.’ Motivated by the seasonal nature of fashion, the duo believe ‘each new invitation must be better than the last one.’ Bernhard Willhelm is well known for offering his collaborators creative freedoms, and Freudenthal Verhagen has been a notable beneficiary. ‘Fashion clients,’ they agree, ‘want added value – more in the field of inspiration than in controlling the message.’

WINNING PORTFOLIOS FOR GRAPHIC DESIGNERS

by Cath Caldwell

Setting out in graphic design? Between these covers art students will find everything they need to know to launch a successful career in a competitive sector. This large-format, highly illustrated volume shows you how to transform your design projects into eye-catching portfolio pages. It has presentation tips for leaving a lasting impression on potential employers, and advice on maximising your digital presence through online self-promotion.

Also included is helpful advice on creating a winning CV and mastering the interview process. Cath Caldwell presents hundreds of useful illustrations, crucial lists of dos and don’ts for job seekers, and a wealth of practical advice on creating an outstanding portfolio to help you win that all-important first job at an agency or studio. Experienced graphic designers looking to take the next step up will also find plenty of food for thought in the shape of dozens of careerboosting ideas and approaches. Each page showcases examples of effective portfolio design with captions explaining the thinking behind each design element or decision.

This visually varied collection is a rich source of inspiration for production techniques and a desirable object in its own right – the ideal creative sector reference work.

Written to get results and thoughtfully illustrated throughout, this book will appeal to art and design teachers, careers advisors, and students who aim to make their mark.

Graduates of Central Saint Martins, Simone Pasztorek and Jay Hess manage London-based studio by BOTH , focusing on editorial, typographic and web design.

Cath Caldwell is a BA Graphic Design Senior Lecturer at Central Saint Martins.

POSTCARDS FROM THE EDGE OF THE CATWALK

by Iain R Webb

Over the past three decades, wherever he’s worked as fashion editor and whenever he’s been leaving the office with suitcase packed to cover the latest round of fashion shows, the chorus of goodbyes has always been the same: Off on holiday again? ‘Although the four-cities-in-four-weeks trip is akin to being sent away to summer camp by your parents – every six months your editor packs you off to New York, London, Milan or Paris to report on what’s new on the season’s catwalks – the schedule,’ says Iain R Webb, ‘is gruelling, the air-kissing exhausting …’ Each season his front row survival kit is the same. Along with bottle of water, sweets (for that late-in-the-day low sugar moment), painkillers, file of the day’s schedule and invitations (organised with military precision by a trusty executive editor and team of assistants), Iain R Webb has always juggled a camera alongside his notebook.

MR CHARTWELL

by Rebecca Hunt

July 1964. In bed at home in Kent, Winston Churchill is waking up. There’s a visitor in the room with him – someone he hasn’t seen for a while, a dark, mute bulk watching him with tortured concentration. Chosen for Radio 4’s book at bedtime and long-listed for the Guardian First Book Award, this startlingly original novel tells the story of Black Pat Chartwell, the real life embodiment of Churchill’s depression, which he famously called the ‘black dog.’ Later that day, Esther Hammerhans opens the door of her Battersea house to greet her new lodger. What she encounters instead is Mr Chartwell, who is ‘unmistakably a dog, a mammoth muscular dog about six foot seven high’.

In this personal photographic record spanning 30 years, he documents the glittering circus that attends the ready-towear and haute couture collections presented in the fashion capitals of the world.

Charismatic and dangerously seductive, Mr Chartwell exerts his dark influence on Esther and on Winston Churchill. But how will they explain to others who or what he is? Or why he’s come to visit?

It’s a designer roll call that includes John Galliano, Marc Jacobs, Ralph Lauren, Jean Paul Gaultier, Vivienne Westwood, Anna Sui, Valentino, Donatella Versace, Oscar de la Renta, Yves Saint Laurent and Alexander McQueen.

With shades of magical realism in the vein of Mikhail Bulgakov, Rebecca Hunt’s debut proves she’s funny and distinctive. In this inventive, exuberant and moving novel, she shows lives colliding in unlikely fashion as Mr Chartwell’s motives are revealed to be far darker and deeper than they seem.

Supermodels and style icons include Linda Evangelista, Catherine Deneuve, Isabella Blow, Naomi Campbell, Kate Moss, Anna Wintour and Björk. Celebrity front row faces include Gwyneth Paltrow, Grace Jones, George Michael, Kate Winslet, Liz Hurley, Tilda Swinton, Paris Hilton, Bernadette Peters, Nick Cave, Ivana Trump, Roman Polanski and RuPaul. There can be no better entrée to fashion’s inner sanctum, no better guide to fashion’s most significant moments over three decades. Few enjoy such privileged access as the author. His book is the next best thing to being there in person.

Rebecca Hunt is a graduate in fine art of Central Saint Martins. This is her first novel.

‘Iain R Webb’s book is an incredibly natural vision of the impossibly unnatural world of fashion’ – Nick Knight

FASHION DESIGNERS’ SKETCHBOOKS

by Hywel Davies

MODERN BRITISH POSTERS

by Paul Rennie

Sketchbooks are tools for researching, exploring and resolving ideas. In a revealing insight into the creative processes that drive contemporary fashion practice, Hywel Davies asks where designers get their ideas from and explores the journey they go on to make those ideas happen.

A distinctive characteristic of modern society is the progressive integration of art, design and environment. The poster, as this book demonstrates, has been a key expression of this integration since its invention, in modern form, during the 1860s.

The book investigates when designers are most prolific and examines the materials they assemble to ease their (often erratic) creative progress. For fashion designers, sketchbooks

Modern British Posters explores the interaction between art, graphic design, and the twentieth century vision of utopia in Britain through images that reflect the developing

are trusted companions and confidants – they facilitate research, support design development, and communicate new ideas.

visual language of modernism. Implicit in this development is the transformation of commercial art into graphic design.

As well as sketchbooks from designers including Alice Temperley, Boudicca, Deryck Walker, John Galliano, Karl Lagerfeld for Chanel, Kenzo, Margaret Howell, Matthew Williamson, PPQ , Vivienne Westwood and Yohji Yamamoto, the author showcases photographs, mood boards, toiles and fabric swatches.

The poster’s cultural significance as a means of mass communication is discussed in detail. The collection speaks of people, landscape, technology and identity, covering themes that range from transport and architecture to the seaside and popular culture.

Much of the material has never been seen before. Also included are interviews with the designers discussing the role of sketchbooks in the evolution of their work. In celebrating the idea that the creative process is as dynamic and stimulating as the garment outcome, the book offers a unique glimpse into the imagination and working methods of the fashion world’s major players today.

Modern British Posters draws exclusively on the collection of Paul and Karen Rennie and includes work by Edward McKnight Kauffer, Paul Nash, Abram Games and Tom Eckersley, among others. Paul Rennie is Head of Context in Graphic Design at Central Saint Martins.

Hywel Davies is Pathway Tutor for Fashion Communication with Promotion at Central Saint Martins, and the author of Modern Menswear, 100 New Fashion Designers and British Fashion Designers.

Iain R Webb is an alumnus and professor of CSM . He is a leading fashion journalist whose

work appears in newspapers and magazines internationally. His books include Bill Gibb: Fashion and Fantasy. A window display by Iain R Webb to promote his book will be in the Window Gallery, Charing Cross Road, from 6 December.

A selection of the Best of Books will be on sale at our winter pop-up book stall in the Central Club, 11am–3pm 6 December.

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The private view of KX Culture, Before and After Modernism: Byam Shaw and our special events were well attended by staff, friends and alumni

what’s on

Our regular round-up of events, happenings and lunchtime lectures at CSM 7 – 10 December Rochelle School, Arnold Circus, London E2 7ES

24 January to 4 March 2011 Lethaby Gallery

63 Degrees – MA Design Studies degree show

Tim Barringer, curator, Alister Warman, Principal of Byam Shaw and Clare Byam Shaw

In Exchange

Chris Kul-Want and Heather McReynolds

4 April to 28 May 2011 Lethaby Gallery

14 March to 18 March 2011 Lethaby Gallery Lee Widdows, Stephen Carter, Phil Baines and Douglas Allsop

Drusilla Beyfus and Alister Warman

Francois and Marc Atkins, artist

You say Goodbye we say Hello

Menswear tailoring/ Italian Trade Commission Memphis project

Manolo Blahnik in The Window Gallery, Charing Cross Road

To check times and dates for the following please visit: www.csm.arts.ac.uk/csm_news_events

Josh Love and Jack George, curators of King’s Cross Culture

— Christopher Kul-Want, Lunchtime Lecture at CSM — Shaping Sculpture lecture, John Roberts — UAL Green Month, February 2011, including CSM’s green events and lectures Suggs in Archway © Anna Hart

Nicole Plascak, researcher on King’s Cross Culture

Breaking News: New Contemporaries 2010, ICA 6 CSM graduates selected 26 November 2010 – 23 January 2011 www.newcontemporaries.org.uk http://blogs.csm.arts.ac.uk/snapshot/2010/12/02/ new-contemporaries-2010/