Research degrees prospectus 2013 by UAL Research

ual:

university of the arts london

Research Degrees Prospectus

Contents

2 Foreword 4 6 7 7 8 8 8 9

12 16 20 24

About the Colleges Camberwell, Chelsea, Wimbledon – CCW Graduate School Central Saint Martins College of Arts and Design London College of Communication London College of Fashion

28 29 32 36 40 44 48 52

University of the Arts London Research Centres Centre for Sustainable Fashion – CSF Creative Research into Sound Arts Practice – CRiSAP Design Against Crime Research Centre – DACRC LIGATUS Research Centre Photography and the Archive Research Centre – PARC Textile Futures Research Centre – TFRC Transnational Art, Identity and Nation – TrAIN

56 University of the Arts London Archives and Special Collections 57 University of the Arts London Archives and Special Collections Centre 60 62 65 66

College Archives and Special Collections Camberwell, Chelsea and Wimbledon – CCW Graduate School Central Saint Martins College of Arts and Design London College of Communication London College of Fashion

67 Contact us

Research is at the heart of our creativity

Foreword

Our vision is to develop a sustainable, world-class research culture that informs and raises the University’s academic reputation, producing internationally recognised research and supporting the development of the creative economy. University of the Arts London brings together six of the world’s most recognised colleges for study in Art, Design, Performance and Communication. It is the largest specialist provider in Europe of higher education and research in these subjects offering research degree programmes in all six Colleges: Camberwell, Chelsea, Wimbledon – CCW Graduate School Central Saint Martins College of Arts and Design London College of Fashion London College of Communication Each College offers both theoretical and practice-based research programmes leading to a PhD or MPhil awarded in any subject area where the University can provide appropriately qualified supervision. Students studying for a research degree at any one of the Colleges benefit from access to cross-college resources, interdisciplinary dialogue, and to the Research Network University of the Arts London (RNUAL), which offers research students support and ongoing training to enhance their studies and future careers as researchers.

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Research Degrees at University of the Arts London Length of study Research Training RNUAL – Research Network University of the Arts London Student support International students Entry requirements How to apply Funding opportunities Writing an outline of proposed research Length of study A Master of Philosophy (MPhil) or Doctor of Philosophy (PhD) at the University of the Arts London is achieved through an individual research project in a programme of study. Research students engage in a programme of independent research with guidance from their supervisors. Each student has a team of supervisors (a Director of Studies and one or two co-supervisors). Programmes of research may be proposed in any field of study within the expertise of the University of the Arts London, provided that the proposed programme is capable of leading to scholarly research and to its presentation for assessment by appropriate examiners. A research degree is characterised by the sustained, rigorous and critical investigation of a defined subject, by the openness of the research methods and results to evaluation by others, and by the contribution to public knowledge and understanding of its outcome. When creative work forms a significant part of the research programme, references to the ‘thesis’ are understood to mean the totality of the submission for the degree, which will include the creative work and/or documentation of the creative work, and the written text. Duration

Minimum

Expected

Maximum

MPhil – Full-time MPhil – Part-time PhD – Full-time PhD – Part-time

1 year 3 months 2 years 2 years 3 years

1 year 9 months 3 years 2 years 9 months 5 years

3 years 6 years 4 years 8 years

Research Degrees at University of the Arts London

UAL allowed me the freedom to explore and develop, both conceptually and technically. Though this process was often challenging, the rewards have been immense. Dr Leon Barker â&#x20AC;&#x201C; PhD awarded 2011

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Research Training

RNUAL (Research Network University of the Arts London) is an extensive training programme in research methods and skills, and is a very important feature of studying for a research degree at University of the Arts London. It is a cross-college initiative bringing together research degree students in a series of seminars and training sessions to develop research skills, and as a forum for students to present their work at different stages in their study. The RNUAL programmes are delivered by a wide range of researchers and experts from both within and outside the University. RNUAL is not a taught course, it is offered as a flexible training programme. Students negotiate their own use of it in relation to their field of study and their training needs in addition to the three compulsory units which have to be completed in the first year. Research Training in the context of research degree programmes does not just involve engaging with the formal programmes offered in RNUAL, it also consists of the many other informal activities in which you are likely or expected to become involved; for example: attending, participating or organising conferences, scholarly seminars; organising or participating in exhibitions; involvement in other professional activities for arts organisations, networks, or other external research groups.

Research Degrees at University of the Arts London

International students The international student body is one of the characteristics of the University that contributes to the range and quality of our research community. Each College has an International Student Coordinator (ISC), who leads international affairs at the College, and is the first point of contact for international students.

Student support There is a wide variety of support available at the University to help you while you study, covering areas such as accommodation, careers, library and computer use, health, wellbeing and language learning. The Student Centre at our High Holborn site in central London hosts the support services for students across the University under one roof. It houses the Student Advice Service, the Language Centre, the Learning Zone, Students’ Union, galleries for student and alumni work, a café-bar and an activities studio.

Within Student Services at your College or at High Holborn a Student Adviser can help with queries about immigration, money matters or your rights in the UK, like banking, part-time work and healthcare. The Student Adviser (International Students) ensures that Student Services support is available and relevant to all our international students. The Student Services website www.arts.ac.uk/student has the latest information on practical issues that affect international students and hosts a mailing list aimed at the University’s international community. All University of the Arts London students have free membership of International Students House, which offers a programme of social and cultural events, sport facilities, a travel club, and a residential programme at Christmas. More information is available from the International Office or www.arts.ac.uk/international.

More information is available from Student Services or at www.arts.ac.uk/student.

Undertaking a research degree at UAL has connected me to international scholars in my field and provided a platform for my future professional life. Dr Simon Grennan – PhD awarded 2011

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Entry requirements A Master’s degree in an appropriate subject is considered to be a particularly valuable preparation for a research degree, although the normal minimum entry requirement for a research degree is an Upper Second Class honours degree, or its equivalent, from a recognised University or Institution of Higher Education. In some instances, applicants without this requirement may be considered if they can demonstrate appropriate alternative qualifications, professional experience or previous research. If English is not your first language you will have to pass an International English Language Test (IELTS) with a minimum overall score of 7.0+ with a 7.0 in writing or a TOEFL Internet Based Test with a minimum score of 100 (with a score of 24 or above in the Writing Test). Please note that having lived or studied in an English-speaking country does not constitute proof of language and an English language test may be required. Scores should be as recent as possible (i.e. within the last year) and you must provide proof of your language score (i.e. copy of appropriate certificate) with your application form. How to apply All information regarding the application procedure, deadlines and the relevant forms can be found on our website at www.arts.ac.uk/research/apply/. Your application should be submitted electronically to researchdegrees@arts.ac.uk.

Once the application is received it will be reviewed by a panel for selection to interview. Candidates who are selected will then be invited to interview to discuss their proposal, supervision and resource requirements. Candidates who are accepted will be sent an offer letter following the interview. We recommend that you use the website to explore the many different research areas in which the University specialises prior to making your application and that you consider each College and its specialisms carefully. You can consult College Research web pages for further information on the research undertaken at the University: CCW Graduate School (encompassing Chelsea, Camberwell and Wimbledon Colleges of Art) – www.chelsea.arts.ac.uk/ccwgraduateschool CSM Research – www.csm.arts.ac.uk/research LCC Research – www.lcc.arts.ac.uk/research LCF Research – www.fashion.arts.ac.uk/research

It is also recommended that you look at the staff research profile pages to find out more about the research expertise of our world-class researchers. You may wish to identify and contact your potential supervisors during the application development process. They can give you some valuable input as to the relevance and shaping of your proposal. Funding opportunities Funding opportunities for PhD students are available from the University’s website www.arts.ac.uk/ research/apply/funding/. Full information about funding schemes is normally released in December for funding to start in the next academic year i.e. from September.

Research Degrees at University of the Arts London

Writing an outline of proposed research When you apply to enrol as a research student you will need to prepare an outline proposal. This will be used as the basis for discussion at your interview. It will also be the starting point for preparing your submission to register the programme with the University of the Arts London’s Research Degrees Sub-Committee. We would encourage you to use the headings below to define the sections of your proposal. Title This should express the main area of investigation, implying its questions and potential argument or standpoint. While being a working title, which will inevitably change over time, it is important that you are as specific and precise as possible. The title should be brief, and reflect the main question of the project. You should avoid over-long or technical words and phrases such as ‘an investigation into…’ Subject area, aims and objectives Briefly define your subject and the main concerns of the investigation, including a set of aims and objectives that will guide your research. If your proposal is primarily practice-based you should also use this section to describe your practice. It is worth thinking hard about this section, as it will form the basis of your study for the next few years (though it will inevitably evolve as you make progress).

After defining your subject, you might find it helpful to consider the main concerns of the project as questions you are asking yourself, to which you hope to find the answer or as issues that your research will address. The aims and objectives are important because they, in a sense, declare the criteria for your investigation, against which the success or failure of your project can be assessed. If you find it difficult to articulate your aims and objectives you might find it helpful to think of your aims as the most significant questions or problems you hope to tackle. Your objectives are the steps by which you will meet these aim. Your proposal should normally have one or two aims, followed by a series of up to six objectives. The idea is that by the time you have met all your objectives, you should have achieved your aim/s. Historical context There is no single history that suits all investigations but you should identify the various strands of history that relate to your particular research. It may be a history of ideas and concepts that have influenced the development of a particular area of art and design, the history of the medium or technology in which you work, or a particular part of the history of art or design.

The research seminar programme is comprehensive and exciting, and I’ve had great support from both my supervisors and the other students. Sara Chong Kwan – PhD student, London College of Fashion

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Contemporary context As far as you are able, identify the contemporary work that relates to your field of investigation. You must do this for the following reasons: – to demonstrate that you are aware of the field in which you are working; – to demonstrate that your proposed research will have distinct features which will make it potentially original; – to form the basis of links with other research work to which you will contribute or on which you will build. Theoretical context There is a great choice of options in this area, none of them exclusive. An element of theoretical context is important for every kind of project, though the degree of theoretical content will vary, particularly for practice-based work. You should be able to demonstrate the ways in which you evaluate your own work and that of others, as well as the sources you use to inform your evaluation. A theoretical context will help you avoid simply asserting a position and support you in the reflective approach that is needed for a research degree.

Methodology Your research method and approach will need to be defined in all cases but in practice based areas of study, methodologies are less well established, so you may like to think about the following: – try to describe the basic methods and procedures you will adopt in discovering and recording research information. – if it is a practice-based proposal, how does the theory relate to the practical experimentation? – what is the theory for? – what process of experimentation will you use? – how will you record what you do and keep track of what you have done? Ethical dimensions of the research If you consider there are ethical considerations that need to be taken into account then you should address them briefly in your application. There is a comprehensive ethical approval process, which is intended to safeguard researchers, participants and others on whom the proposed research might impact, directly or indirectly, which can be found on our website www.arts.ac.uk/research-ethics/ If you are offered a place to study you will address any ethical issues formally when you apply to register your research proposal in your first year. In broad terms, the University expects all research to respect participants’ rights (commercial, intellectual and civil, dignity – including privacy and confidentiality), safety and well-being.

Research Degrees at University of the Arts London

Work plan Make a prediction of the major stages of the work (probably not more than five) and the minor subdivisions (if appropriate). Take care if aspects of the research will run concurrently. Prediction of the form of the final presentation Think about the form of the final presentation, for example: – will it be a bound book with a CD-ROM or Internet element? – will it be a book with DVDs? – will it be an exhibition, a catalogue and a written thesis? – will it be a bound book with images? – will this be a wholly written thesis? Main study list and bibliography List the main reference works that you will use for your research (no more than one page of A4). These may be films, paintings, TV programmes, curated collections or websites as well as books or journal articles. Citations must be consistent and adopt a recognised standard system, for example, Harvard (with or without footnotes) or Numeric.

Studying in London is in itself a first-class educational experience. In addition to what you might gain from your formal training, the cultural offer at museums, galleries, events, exhibitions and talks by leading intellectuals and artists is extraordinary. Ana Laura Lopez de la Torre – PhD student,

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Camberwell, Chelsea, Wimbledon CCW Graduate School

Through the combined work of the many talented and dedicated Professors, Readers and Researchers within CCW, we are able to offer an exciting and rigorous experience for our graduate students. One of the most important functions of the CCW Graduate School is to facilitate greater communication, focus and debate of key issues across the communities within the three colleges.

About the Colleges â&#x20AC;&#x201C; Camberwell, Chelsea, Wimbledon â&#x20AC;&#x201C; CCW Graduate School

Our research activities are frequently grounded in the portfolio of art and design subjects represented by our taught Masters programmes. They offer new and challenging ways of thinking about how specific disciplines can share common concerns and questions. Issues surrounding the practice, theoretical and historical contexts of fine art, design, conservation, theatre and performance are developed and interrogated through a focused research approach of contemporary relevance. At MPhil and PhD level we are particularly interested in research proposals that address individually, collectively or in tandem the four current Graduate School themes of Social Engagement, Environment, Identities, and Technologies. The identification of a number of key thematic lines of enquiry is primarily intended to identify a context over and above individual research interests where there may be some common ground and a space for cross disciplinary dialogue. The CCW Graduate School themes reflect a growing collective awareness amongst our research communities for identifying some of the more urgent social, political, economic and cultural agendas of our time and addressing them through innovative and creative responses.

The CCW Graduate School Programme, along with the activities of University of the Arts London Research Centre TrAIN (Transnational Art, Identity and Nation) and its conservation and archiving centre Ligatus, (both hosted by CCW) provide a rich calendar of events to inform and enhance the broader taught course and college based activities.

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The CCW Graduate School Programme evidences our commitment to ensuring that our individual and group research activity has a direct impact not only within the colleges but also externally. A significant and distinctive aspect of the CCW Graduate School is the range and quality of its external partnerships and networks with cultural industries, organisations and institutions in London, the UK and internationally. Many of these relationships have been built up over the years by the individual colleges and have resulted in a number of prestigious research projects and numerous staff and student exchanges.

CCW Graduate School seminars and activities

The Practice Exchange

The CCW Graduate School programme, along with the activities of research centres and networks, provide a rich calendar of events to inform and enhance the broader course. Key activities include:

A seminar series facilitated by research degree students. It explores art and design research and provides a platform where practice-based researchers can present their practice to their peers and receive feedback.

About the Colleges – Camberwell, Chelsea, Wimbledon – CCW Graduate School

Studying for a PhD at UAL has opened doors to develop relationships with leading practitioners, curators and theorists in my field of practice. Scott Schwager – PhD student, CCW

1st Year PhD Exhibition Research degree students at CCW have the opportunity to lead and take part in an annual exhibition and conference. PhD Masterclass CCW offers a termly PhD student masterclass led by an external researcher with experience in a particular field of research that is of relevance to the PhD student cohort.

CCW Graduate School Public Research Platforms

Designed to explore and develop relationships between contemporary art and design practice and notions of identity, environment, social engagement and technology and bring together the whole Graduate School community.

PhD Seminar Series CCW offers a seminar series for newly enrolled, pre-confirmation and finishing students. Each seminar series is led by a research staff member, and all are focused on the open discussion of research in progress.

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Central Saint Martins College of Arts and Design

Central Saint Martins is renowned for the creative energy of its students, staff and graduates. Experimentation, innovation, risk-taking, provocation, questioning and discovery are fundamental to our research, practice, education and innovation in art, design and performance. Generations of internationally recognised artists, designers and performers â&#x20AC;&#x201C; individuals whose work has defined or transformed our times â&#x20AC;&#x201C; have made Central Saint Martins part of their creative journeys.

About the Colleges – Central Saint Martins College of Arts and Design

At UAL art and design can research new approaches to opening fields of knowledge, particularly through critical decisions arising from creative exploration. Robert Luzar – PhD student, Central Saint Martins

Our shows, exhibitions, events, publications and research outputs make us a major force in one of the world’s cultural capitals. In research, much of our work crosses disciplinary boundaries and is carried out in collaboration with industry, commerce, museums and galleries, governmental organisations and other internationally recognised academic institutions.

Our work is funded by the European Union, the UK government, UK research councils and departments linked to business, industry and knowledge transfer, charitable trusts and foundations, and by many other sources including the British Academy and the British Council.

The results of our research take many forms including artefacts, designs, patents, catalogues, exhibitions, digital resources of various kinds, as well as published work such as books, journal articles and commissioned reports.

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Central Saint Martins has recently entered an exciting phase of its history in relocating to a new building in Kings Cross, consolidating the college on a single site. Research degree student accommodation is located on the first floor of the Granary Building. The space dedicated to research students is intended to provide a base to work from when in College and provide rooms for supervision meetings and other activities. College Based Student Seminars and Activities

CSM Research Studentsâ&#x20AC;&#x2122; Progression Forum These seminars are open to research degree students at all stages of progression within CSM. The seminars, which are held two or three times a term, are designed to address the differing stages of the PhD process.

About the Colleges â&#x20AC;&#x201C; Central Saint Martins College of Arts and Design

Moving Image Research Forum The sessions include: preparing the form for registration, preparing for confirmation, getting the most out of supervision meetings, and viva voce guidance as well as a twice termly student/staff forum.

The MIRF invites all MA, MRes, MPhil, PhD students, their supervisors and other members of staff engaged in research around the theory and practice of the moving image, to participate in this University-wide forum.

MIRF meetings are an opportunity for staff and students to talk informally about the research interests and screen short extracts from their own work, or works they are studying. The Forum meets once a term.

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London College of Communication

London College of Communication is a world leader in communication design and media offering a unique experience for research students across increasingly integrated networks and communities of practice. Underpinned by exploration and experimentation across converging subject areas, our research crosses disciplinary boundaries and is both informed by and informs innovation in the creative industries.

About the Colleges â&#x20AC;&#x201C; London College of Communication

The research community at London College of Communication includes renowned practitioners and theorists specialising in film, current practices and histories of photography, communication studies, sound arts, graphic or information design, and spatial design. Our research is supported by collaborations with industry, commerce and the cultural sector, funding from UK research councils, and through international partnerships.

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Research output at LCC is characterized by artefacts and objects, exhibitions and events, journals, books and publications, digital archives and information systems, often produced in partnership with academic institutions and public, cultural and commercial organisations, both nationally and internationally.

College-based seminars and activities LCC offers a supportive and exciting research environment for graduate researchers with seminars, lectures and events. In recent years graduate researchers have curated exhibitions and publications of their work .

The college hosts two leading research centres: The UAL Photography and the Archive Research Centre and the Centre for Research in Sound Arts Practice as well as several research fora open to established and emerging researchers: Photography and the Contemporary Imaginary; Documentary; and Gender and Sexuality.

About the Colleges â&#x20AC;&#x201C; London College of Communication

I have a brilliant supervisory team and get regular tutorials and feedback. The universitywide research network enables us to meet other research students and share news and information. Rohit Dasgupta â&#x20AC;&#x201C; PhD student, LCC

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London College of Fashion

Research at the London College of Fashion thrives within its unique specialist environment, supported by dedicated research facilities including a world class library and archive. It is undertaken in all of the subject areas in the College, including: — fashion design technology — fashion and textiles design — cultural and historical studies in fashion — cosmetic and beauty science — fashion business and marketing — fashion communication and journalism — fashion curation — digital and virtual fashion environments

About the Colleges â&#x20AC;&#x201C; London College of Fashion

The College hosts a University research centre in sustainable fashion and has recently expanded its research teams in the Fashion Digital Studio. Research hubs provide a focus for shared interests and to develop new research agendas in Artefact and Curation, Pedagogic Research, Historical and Cultural Studies, Fashion Media and Imagery, Fashion Marketing, and Retail and Performance. It also supports a significant group of researchers in the Forum for Drawing.

Studying at UAL is a wonderful experience as it is a research community that spans its colleges, encouraging interdisciplinary approaches to original research. Felice McDowell â&#x20AC;&#x201C; PhD student, London College of Fashion

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The Collegeâ&#x20AC;&#x2122;s research community comprises ten Professors and four Readers, research fellows, practitioners and designers in residence, research assistants, and many of our full and part-time staff. The college has over 40 research students. Researchers are engaged in a number of practicebased and theoretical projects which engage with many dimensions of fashion, from sustainability and textile science to fashion media and fashion marketing. The breadth and depth of fashion research has a global reach, with partners and collaborations across the world, which attracts a number of visiting researchers.

About the Colleges â&#x20AC;&#x201C; London College of Fashion

Current projects involve collaborations with major academic, governmental, cultural and industry partners and are funded by a wide range of bodies including the UK Research Council; Technology Strategy Board; the fashion industry also supports a number of initiatives.

The College has close relations with creative and cultural institutions, including the productive and exciting collaboration with the Victoria and Albert Museum, enhanced by the joint LCF/V&A Residency in Fashion Design and Practice.

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University of the Arts London Research Centres

Research Centres at the University of the Arts London offer a supportive and cohesive environment allowing doctoral students to develop their own research with a focused community of specialists. Centres provide invaluable access to senior academics and practitioners in specific fields of arts research, network collaborations in tandem with a progressive grant applications strategy that focuses on identified research strengths at UAL.

Research Centres – Centre for Sustainable Fashion

Centre for Sustainable Fashion – CSF Director Dilys Williams Administrator Zoe Norton z.norton@fashion.arts.ac.uk Website sustainable-fashion.com Twitter @sustfash Facebook facebook.com/centreforsustainablefashion Centre for Sustainable Fashion (CSF) explores the field of Design for Sustainability and its application to fashion as both artistic and business practice. We seek to make a distinctive contribution towards human fulfilment and ecological resilience through the evolution of transformational ways to enhance human interactions and our relationship to our natural world via fashion’s role in identifying and connecting us to our time and place. Cross-discipline collaborations, people- and ecology-centred activities, design practice and artistic communication underpin CSF’s thinking and are inherent in our innovative working methods. Current PhD students cross a number of boundaries, including working in relation to design for lower impact in clothes maintenance, design for longevity, clothing with embedded technology related to wellbeing, and pattern cutting for different bodies. Our proactive approach finds alternatives to the more prevalent reductionist approach to sustainability, creating new fashion interactions relevant in our changing world. 28 | 29

Many of our PhD students come from a background as design practitioners in fashion, textiles or product development, design-based knowledge which is used to inform and direct the research journey. This may involve, for example, the production and evaluation of prototypes, the development of new concepts and processes, or recommendations for designers. All our researchers synthesise a number of different bodies of knowledge in the development of their ideas, creating unique profiles, methods and cross-disciplinary expertise. In this way, we nurture researchers who can feel confident with both the theoretical basis of their ideas and with practical applications.

Other PhD candidates may choose to apply their design knowledge and practice to particular situations and needs, such as developing new processes or products in relation to specific communities, either in the UK or overseas. CSF research catalyses fashion thinking and design, creating synergy between design, technology, science and industry. Our supervisory teams comprise world leading researchers based at Centre for Sustainable Fashion, with deep experience and expertise in fashion, textiles and sustainability. These include

Research Centres â&#x20AC;&#x201C; Centre for Sustainable Fashion

In addition to the breadth of subjects covered by the supervisory teamâ&#x20AC;&#x2122;s initial areas of expertise, we work in an interdisciplinary manner across a broad range of projects, these engage with areas such as cosmetic science, innovation in knitwear, scientific collaborations and artistic interventions. All supervisors have extensive experience in the fashion industry and business of fashion, which grounds the research, whilst allowing free rein to innovative thinking and new creative approaches. Dilys Williams, the Director of CSF, Sandy Black, PhD co-ordinator and Professor of Fashion & Textile Design and Technology; Helen Storey, Professor of Fashion and Science; Lucy Orta, Professor of Fashion, Art and Environment; Danka Tamburic, Professor in Cosmetic Science and Dr Kate Fletcher, Reader in Sustainable Fashion.

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Creative Research into Sound Arts Practice â&#x20AC;&#x201C; CRiSAP Directors Professor Angus Carlyle and Professor Cathy Lane Administrator Joel Cahen j.cahen@arts.ac.uk Website crisap.org Twitter @CRiSAP2 Facebook facebook.com/CRiSAP2

CRiSAP is a research centre dedicated to the exploration of the rich complexities of sound as an artistic practice. Our aim is to promote dialogue, debate and creative activity in sound arts practice through the production of new creative work, exhibition and curation, publication and public debate, and the formation of new collaborative relationships.

Research Centres – Creative Research into Sound Arts Practice

Our main, but by no means exclusive, areas of activity can be categorised as: — Sound and the Environment — Sound and Language, exploring the spoken word in artistic practice — Digital Improvisation and Performance — The development of new creative tools — Creative practice and cross arts collaboration — Investigating the potential of archival materials to animate contemporary sound art debate 32 | 33

CRiSAP derived its initial impetus from the research activities of key personnel in the London College of Communication’s School of Media. It has since gone on to foster connections with many of the other colleges in the University and to develop collaborations with relevant external individuals and institutions.

To date, activities include published books: In The Field, Sinister Resonance, On Listening, Autumn Leaves with an accompanying audio compilation (winner of a Qwartz Electronic Music Award 2008); and Playing With Words: the spoken word in artistic practice; Performance: events connected with the Her Noise archive at the Tate Modern, London and in Oslo; events connected with Playing With Words at the Small Publisher’s Fair, Conway Hall, London and Gallus Theatre, Frankfurt; Co-curation of a Sound Escapes exhibition at Space; commission of two innovative software applications: Speechcutter for the manipulation of recorded vocal material and Déjà Vu, a powerful ‘sound seeker’ designed to work with large audio databases.

CRiSAP has curated a series of online exhibitions including Clickanywhere, exploring the edges between the audible and the visible, Vermilion Sounds, a showcase of the long running environmental sound radio programme, and Not For Human Consumption, an online exhibition of material related to sound phenomena that is inaudible or impossibly loud. We hold the whole archive of the London’s Musician Collective.

Research Centres â&#x20AC;&#x201C; Creative Research into Sound Arts Practice

Our members have lectured and performed around the world and have had their work produced on BBC Radio 3, Channel Four, ResonanceFM and elsewhere. We have a large network of national and international associates. CRiSAP is also involved with the delivery of undergraduate and postgraduate teaching in the Sound Arts and Design department at LCC. We have also organised a conference on Sound and Anthropology (with the University of St Andrews), three symposia â&#x20AC;&#x201C; Sound Body and The Performance of Sound (with Tate Britain) and In The Field, International Symposium for Field Recording at The British Library as part of the Sounds of Europe partnership. We have delivered numerous conference papers and presentations and have organised master classes for students with Francisco Lopez, Nic Collins and Taina Riikonen. 34 | 35

Design Against Crime Research Centre â&#x20AC;&#x201C; DAC Director Professor Lorraine Gamman Deputy Director Adam Thorpe Administrator Chloe Griffith c.griffith@csm.arts.ac.uk Website designagainstcrime.com Twitter @designagainst Facebook facebook.com/designagainstcrime

Design Against Crime (DAC) is a socially responsive, practice-based research initiative, which uses the processes and products of design to reduce all kinds of crime and promote community safety whilst improving quality-of-life. DAC poses many exciting challenges, both for the design profession and for those who use design. Designers need to be far more creative than criminals, who are known to be adaptive and innovative. Often, the wider design dilemma is how to design objects, services, and environments that address both users and abusers, without making the products look â&#x20AC;&#x2DC;criminalâ&#x20AC;&#x2122; or security-obsessed.

Research Centres â&#x20AC;&#x201C; Design Against Crime Research Centre

DAC has learned to respect a wide range of creative as well as functional requirements, such as social inclusivity and energy efficiency, and to understand the need for community engagement in all projects, delivering design with the people, for the people and sometimes by the people. This demands careful research into the nature of the crime problem: the techniques of perpetrators in stealing, robbing or committing fraud, for example. It also requires much iterative trial and improvement, testing prototypes with diverse stakeholders whilst also adopting a quantitative approach to measure the impact of our designs on crime. Professionals in local government, transport, the police, the banking industry or mobile phone service providers, for example, may need to select and deploy the products of secure design, whether off-the-shelf or bespoke. Alternatively, they may have a wider requirement to draw

on design in their thinking â&#x20AC;&#x201C; in other words, when devising crime preventive solutions of their own â&#x20AC;&#x201C; and they have to use innovation and design-like processes themselves. This is because context strongly determines whether an intervention works in reducing crime and improving quality of life, and whether it is workable.

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Many different interests, individuals and organisations are usually involved when we attempt to prevent crime, and often social innovation becomes as important as technological innovation. At the cultural level, too, DAC poses challenges to the designer and the policy maker in choosing, for example, whether to treat graffiti as a crime or a negotiable creative practice. Resistance to any design contribution delivered has to be faced and our case made, whether to leading architects who refuse to accept that it is their role to combat crime, to sceptical police officers or to commercial companies seeking to avoid yet another constraint and cost imposed for the good of society.

Research Centres – Design Against Crime Research Centre

We therefore have to prove and promote the social and commercial benefits of creativity in addressing crime and other social issues linked to behaviour change to government and to manufacturing and service industries, as well as to those concerned with the ‘social economy’. We also seek to transfer practice that has a strong evidence-base of success to other social issues to be addressed by design, such as health, ageing, climate change and finance, via our Socially Responsive Design and Innovation (SRvDI) focus.

At the Design Against Crime Research Centre we aim to build interdisciplinary and international collaborations to develop and share the richest academic and cultural base for DAC and SRvDI. For prospective PhD students – whether designers or users of design – we offer unparalleled scope for cross- or interdisciplinary study, ranging from conventionally academic to practice-based; from product to communications or service design; with various active partners from academia (especially crime science and criminology), government, commerce and industry. We have learned to effectively address social concerns using design and we will continue to work on crime, as well as embracing other problems, where design can help deliver social change and transfer trusted design methods and models to address the difficult social issues that face us.

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LIGATUS Research Centre Director Professor Nicholas Pickwoad Deputy Director Dr Athanasios Velios Administrator Ewelina Warner e.warner@arts.ac.uk Website ligatus.org.uk Twitter @Ligatus_UAL Facebook facebook.com/LigatusResearchCentre

The LIGATUS Research Centre offers a unique environment within the University of the Arts London, where the study of the history of bookbinding and book conservation is combined with research into semantic data structures and collection survey tools. PhD applications are welcome in the following areas of research:

Research Centres – LIGATUS Research Centre

Bookbinding terminology LIGATUS is leading the development of a terminology for historic bookbinding. Following a project which resulted in a detailed bookbinding glossary and a methodology to record historic bookbindings, LIGATUS is now leading a large network of European partners in the development of a widely adopted bookbinding thesaurus based on semantic web standards. PhD applicants are invited to submit proposals on historic bookbinding, bookbinding terminologies with emphasis in multi-lingual/ multi-cultural context.

Saint Catherine’s Monastery Library Mount Sinai, Egypt The monastery of St Catherine in the Sinai, Egypt, is the oldest active Christian monastery in the world. The monastery’s library holds a unique collection of Byzantine manuscripts. Ligatus undertook the task of assessing the condition of the manuscripts, has designed a new conservation workshop, a stainless steel box for the manuscripts and is advising on further conservation work. The project has been funded by the St Catherine Foundation with additional support from the Headley Trust. PhD applicants can work with outcomes from this project and are invited to submit proposals in book conservation and historic bookbinding with an emphasis in the Byzantine tradition.

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Digital archive of bookbinding

Archiving

30,000 slides of the bound manuscripts in the St Catherineâ&#x20AC;&#x2122;s Monastery Library, taken as part of the survey, have been digitized and have been joined by a 10,000 digital images of the bindings on the early printed books. Based on this material, LIGATUS is building a repository of an additional, unrivalled, collection of materials relating to the history of bookbinding donated by key scholars who have worked internationally in major public and private collections. PhD applicants can work with this material on relevant subjects.

LIGATUS is pioneering the development of methodologies for documenting heritage archives. Following the proposal of Creative Archiving where the archivistâ&#x20AC;&#x2122;s subjectivity is turned into an advantage by introducing an interpretation layer through modern software tools, LIGATUS is developing ways to enable the conceptual linking of heritage archives based on semantic technologies (Linked Open Data). PhD applicants are invited to submit research proposals in the areas of Knowledge Organisation, Semantic Ontologies and Digitisation with particular emphasis in the arts and humanities.

Research Centres – LIGATUS Research Centre

John Latham Archive LIGATUS is working with the John Latham Foundation on the John Latham Archive. The archive has been digitised and is available for study online. John Latham’s influence on the visual arts is remarkable. His philosophical ideas on Events, Event Structures and ‘Flat Time’, a unifying overview of the world, are fascinating and complex. PhD applicants are invited to submit proposals on the study of John Latham’s art and texts.

Partners and cooperators Ligatus cooperates with many institutions, notably including: – School of Advanced Study, University of London – Centre for the Study of the Book, Bodleian Library in Oxford University – Museum of Byzantine Culture in Thessaloniki, Greece – International Institute for Conservation of Historic and Artistic Works – Foundation for Research and Technology, Greece – John Latham Foundation – The Getty Institute

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Photography and the Archive Research Centre â&#x20AC;&#x201C; PARC Director Professor Val Williams Deputy Director Brigitte Lardinois Administrator Wendy Short w.short@lcc.arts.ac.uk Website photographyresearchcentre.co.uk Twitter @PARC_UAL Facebook facebook.com/PARC.UAL

The Photography and the Archive Research Centre (PARC) was designated by the University of the Arts London in 2003 and is based at the London College of Communication. It is a dynamic and growing Research Centre which responds to, and initiates, significant developments within research into photography practice, history, theory, curatorship and writing. PARC is concerned with a range of important questions related to both the archive and contemporary and historical photographic practice.

Research Centres – Photography and the Archive Research Centre

PARC acts as a catalyst for practice-based research alongside academic scholarship. This rich vein of work relates to an expanding field of both creative and scholarly activity. As the Centre has grown and developed over the last ten years, and responded to the interests of its members, students and the UAL community, it has increased its range of activity to fully encompass ideas and issues around the practice, theory and history of photography. The Centre initiates new and innovative research into photography and culture and organises seminars, study days, symposia and conferences, both within UAL and externally. Recently it has organized a new Biennale of Research and is co-convening the peer-reviewed Nostalgias conference with Canterbury Christ Church University, November 2013.

The Centre’s interests span the history and culture of photography, with particular emphasis on post-war British photography, the documentation of war and conflict, the photography of fashion and style, the visualization of the counterculture, and photography and sexuality. Past projects from PARC include AHRC-funded ROAD: Artists and the M11 Link Road Campaign, and The New British Photography of the 1970s; Daniel Meadows: Early Photographs (National Media Museum and touring, 2011- present); Growing Up in the New Age (Street Level Photoworks and Wolverhampton Art Gallery, 2012); the Considering Vietnam conference (with the Imperial War Museum, 2011); A Day in the World (Kulturhuset, Stockholm and Museum of World Cultures, Gothenburg, 2013). Individual PARC members work across a wide variety of areas, including the archives of studio photography, women and photography, photographic practice, Nordic photography, photography theory and history, photography and the contemporary imaginary, and photography and queerness. PhD supervision is available in all these areas, as well as within the Centre’s core research themes.

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PARC’s members play an important part in the Centre’s work. These include: Professor Tom Hunter; Dr Wiebke Leister; Dr Sara Davidmann; Dr Jennifer Good, Reader, Patrick Sutherland; Dr Alistair O’Neill; David Moore; Reader, Pam Skelton and Paul Lowe. Centre staff and members supervise a growing number of research students, who are active in organizing seminars and master classes on behalf of the Centre. PARC’s staff and members contribute to the international research culture around photography in many ways, as exhibiting artists, curators, writers, educators, editors and speakers at a wide range of conferences. PARC’s Director, Val Williams, and Deputy Director (Brigitte Lardinois) are noted curators, with exhibitions initiated in partnership with institutions, including Tate Britain, the National Media Museum, and the Barbican Art Gallery. Within LCC, PARC also works closely with the Faculty of Media, and PARC members, staff and research students are active participants in the college’s research hubs. The Centre also worked with LCC to curate the 2012 exhibition of PhD practice. Research outcomes from PARC members can be found at UAL Research Online: ualresearchonline.arts.ac.uk.

Research Centres â&#x20AC;&#x201C; Photography and the Archive Research Centre

The Journal of Photography & Culture is co-hosted by the Centre, and PARC Director Professor Val Williams is a co-editor. Continuous work with the Journal from 2008 onwards means that Photography & Culture has developed a unique international network of academics with photography as their core interest. PARC publishes Fieldstudy twice a year, covering its key areas of research, and commissioning issues on new photographic practice. The Centre also leads the online Directory of Photographic Collections in the UK. PARC also manages the Camerawork Archive and the Archive of Photography Exhibition Posters. PARC has initiated a biennial festival of research, Moose on the Loose â&#x20AC;&#x201C; mooseontheloose.net.

PARC works frequently with external partners, who have included: University of Sunderland; Street Level Photoworks, Glasgow; Wolverhampton Art Gallery; ffotogallery, Cardiff; Birmingham Library and Archive Services; the Imperial War Museum, London; Photoworks, Brighton; University of Western Ontario, Canada; Canterbury Christ Church University; Bloomsbury Publishing; Expressions of Humankind, Stockholm; Sune Jonsson Archive, Umea; Stockholm; University of Wales, Newport.

Current PhD students are working on both practicebased PhDs and text-based projects. Their work includes studies of the single Saudi woman, the political and social relevance of photography in the landscape, and community photography in the 1970s and beyond. Full details of research students at LCC can be found at www.lcc.arts. ac.uk/research/research-degrees/student-projects. The Centre has also welcomed visiting research students and visiting research fellows. 46 | 47

Textile Futures Research Centre â&#x20AC;&#x201C; TFRC Director Professor Rebecca Earley Deputy Director Carole Collet Administrator Ania Stawarska a.stawarska@arts.ac.uk Website tfrc.org.uk Twitter @TFRCtextiles Facebook facebook.com/TextileFutures

Textile Futures Research Centre

The Textile Futures Research Centre (TFRC) is a crosscollege practice-based and design-led centre that is comprised of researchers from Chelsea College of Art and Design and Central Saint Martins College of Arts and Design. The centre provides a wide support network for PhD students and is at the forefront of collaborative research concerned with textiles and material design. It brings together UAL research staff, PhD students, national and international academic researchers, cultural institutions, industry and commerce.

Research Centres – Textile Futures Research Centre

TFRC and PhD researchers explore the areas of: fashion, product, architecture, environment, medicine, well-being, social innovation through the Centre’s three platforms of Science and Technology, Sustainable Strategy and Well-Being. In Science and Technology researchers investigate the potential of new technologies and emerging science fields in the context of future sustainable design. The Sustainable Strategy platform examines sustainability as a broad, holistic approach to drive industry innovation – from experimenting with new fibres and technologies to extending the life of textiles. The Well-Being platform explores how designers can work towards social change and improve health and well-being. The centre and its research degree supervisors support both PhD practice and theoretical research within and across these platforms. Our PhD supervisors are world leading researchers and experts in their field.

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TFRC is a strong, vibrant and active research community with diverse research activities and outputs. These range from the creation of new materials, products, services, textile processes and techniques, through to critical academic papers, publications and participation in national and international conferences and exhibitions. Current PhD students contribute to these activities, and are firmly integrated within TFRC’s research community. The Centre’s many multi-disciplinary collaborations provide our PhD students with the opportunity to combine theory with action – working with scientists, technologists, engineers, designers or makers – translating research and innovative methods into the commercial world. Our research approaches and outputs are continually evolving with current and future undergraduate and postgraduate textile programmes; we are shaping the future of the textile industry.

Research Centres â&#x20AC;&#x201C; Textile Futures Research Centre

Textile design and production have played a pivotal role in economic, social, educational and cultural development worldwide. The diverse range of research projects, within TFRC, including PhD research projects, seek to explore this role to benefit future social systems by situating designers in the vanguard of new social, cultural, scientific and technological development by contributing empirical and innovative research to support sustainable and resilient design to realise the potential of textilesâ&#x20AC;&#x2122; aesthetics, production, function, application and cultural influence to advance the textile industry. 50 | 51

Transnational Art, Identity and Nation â&#x20AC;&#x201C; TrAIN Director Professor Toshio Watanabe Deputy Directors Professor Deborah Cherry and Dr Michael Asbury Administrator Nick Tatchell n.tatchell@arts.ac.uk Website transnational.org.uk Twitter @TrAINCentre Facebook facebook.com/TrAINCentre

The Research Centre for Transnational Art, Identity and Nation (TrAIN) is a forum for historical, theoretical and practice-based research in architecture, art, communication, craft and design.

Research Centres â&#x20AC;&#x201C; Transnational Art, Identity and Nation

In an increasingly complex period of globalisation established certainties about the nature of culture, tradition and authenticity are being constantly questioned. The movement of peoples and artefacts is breaking down and producing new identities outside and beyond those of the nation state. It is no longer easy to define the nature of the local and the international, and many cultural interactions now operate on the level of the transnational. Focusing on how the movement of both people and artefacts breaks down borders and produces new identities beyond those of the nation state, the Centre aims to contribute to both creativity and cultural understanding.

TrAIN is a dynamic research forum for internationally recognised scholars and practitioners, inside and outside the University of the Arts London. TrAIN offers research excellence and leadership through its coherent programme of events and projects, and brings together research in transnational issues in art and design, both globally and locally. Central to the Centreâ&#x20AC;&#x2122;s activities is a consideration of the impact of identity and nation on the production and consumption of artworks and artefacts in this new global context. Transnational relationships are explored through crossings that traverse different media including fine art, design, craft, curation, performance and popular art forms.

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The Centre involves internationally recognised scholars and practitioners from across the University of the Arts London. It also includes a community of postgraduate students pursuing historical, theoretical and practice-based research degrees at both MPhil and PhD level.

Members contribute to TrAINâ&#x20AC;&#x2122;s activities by completing group and individual research projects and through the supervision of relevant postgraduate study. Issues and debates arising from research activities are disseminated by TrAIN conferences, exhibitions and publications. Throughout the academic year, TrAIN organises public events such as the TrAIN Open Lectures at Chelsea College of Art and Design at which artists, theorists and curators present their work and ideas. More information about the Centreâ&#x20AC;&#x2122;s activities, core members and visiting scholars, is available at transnational.org.uk.

Research Centres â&#x20AC;&#x201C; Transnational Art, Identity and Nation

Current TrAIN research projects include Birth of Cool: Style Narratives of the African Diaspora (British Council Funded), Translating and Writing Modern Design Histories in East Asia for the Global World (AHRC). Key partnerships include the TrAIN/ Gasworks Artistsâ&#x20AC;&#x2122; Residency, an international residency which raises specific questions for individual artists, and wider issues regarding how both local and international contexts are negotiated in practice; TrAIN hosts a series of Fulbright Visiting Distinguished Chairs in collaboration with the CCW Graduate School.

Previous TrAIN projects include:

Forgotten Japonisme, the Taste for Japanese Art in Britain and the USA, 1920s-1950s (AHRC funded); Dress and the African Diaspora (AHRC funded); British Empire and Design; Ruskin in Japan, 1890-1940, Nature for Art, Art for Life (winner of Japan Festival Award and Gold Medal, Gesner Award, Tokyo); Other Modernities; Refracted Colonial Modernities: Identities in Taiwanese Art and Design (Chiang Ching-kuo Foundation funded); Modernity and National Identity in Art: India, Japan and Mexico, 1860s-1940s (in collaboration with the University of Sussex, AHRB funded). Meeting Margins, Transnational Art in Latin America and Europe, 1950-1978 (in collaboration with the University of Essex, AHRC funded).

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University of the Arts London Archives and Special Collections

University of the Arts London has an extraordinary range of archives and special collections that reflect the rich traditions and specialisms of the six constituent colleges. The scope of these collections is immense. They provide a profound insight into past and contemporary practices within arts, design and communication with items dating from the 1400s until the present day. They represent a significant cornerstone of the Universityâ&#x20AC;&#x2122;s research infrastructure and a crucial teaching resource. They are also of great value to external visitors, ranging from international scholars to local schools and arts practitioners. This guide contains highlights of various collections held across the University of the Arts London. For information on other collections not included here please check the University of the Arts London Archives and Special Collections online guide.

University of the Arts London Archives and Special Collections

University of the Arts London Archives and Special Collections Centre Website www.arts.ac.uk/library/collections/ascc

The catalogue of information about all collections held by the Archives and Special Collections Centre and the six constituent colleges that form the University of the Arts London, is available online. The University has a state-of-the-art Archives and Special Collections Centre, based at London College of Communication. Currently housed in the Centre are the following collections: C&A Archive

Edward Bawden Collection

The collection contains materials relating to C&A marketing activities from 1940s-1990 such as slides, photographs of store fronts and fashion displays, and volumes about the history of the company in the UK. The London College of Fashion Special Collections holds a collection of clothing and fashion adverts designed by Margrit Seck, dating from the 1950s.

Bawden (1903-1989) was a British painter, illustrator and graphic artist. He was also famous for his prints, book covers, posters and garden metalwork furniture. The collection contains examples of his design work for commercial companies, many commissioned through The Curwen Press, for example, Transport for London. The largest section contains works for the Fortnum and Mason department store, London.

Comic Book Collection The collection includes a wide range of titles from the second half of the 20th century covering UK and US mainstream and underground comics, and other specialist and international publications. There are also graphic novels, a number of strips and related comic ephemera such as posters and free gifts. The collection is an invaluable resource for researchers interested not only in comic graphics but also graphic design and illustration, alternative communication and social trends.

Her Noise Archive Her Noise was an exhibition that took place at South London Gallery in London in 2005 with additional events spread across other London venues such as Tate Modern and the Goethe Institut. The ambition of the project was to investigate music histories in relation to gender and to bring together a wide network of women artists who use sound as a medium. Throughout the development of Her Noise, the curators conducted dozens of interviews with artists, while also compiling sound recordings and printed materials which would eventually form the Her Noise Archive. Material gathered includes books, catalogues, magazines, zines, records, CDs, tapes and video pertaining to women in experimental and avant garde music and sound culture. The archive is a collection of over 60 videos, 300 audio recordings, 40 books and catalogues and 250 fanzines compiled throughout the development of the project.

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John Schlesinger Archive and Library

Phillip Knightley Archive

The collection comprises much of Schlesinger’s library with approximately 500 titles on subjects such as film, opera, music, art and photography. It also includes some rare advertising posters; 150 videotapes (Umatic, VHS and non VHS formats) many of which contain variations of his films, such as the Director’s cuts and airline versions; soundtrack records; contact sheets; storyboards for Yanks and The Innocent; awards; and equipment such as lights and his personalized equipment cases.

Phillip Knightley is a journalist, non-fiction author and media commentator on the intelligence services and propaganda. The archive contains research, source materials, interviews, notes, chapters, and draft versions of Knightley’s journalism and books, such as First Casualty. Also included are correspondence and publishing contracts.

John Westwood Collection Westwood was head of design of Her Majesty’s Stationery Office. The collection contains material exampling typography, design and printing such as programmes, invites and menus. It also includes posters for European travel, Transport for London, Post Office and the Ministry of Information, and tourists’ maps and material from the City of Zurich.

Robert Fenton Archive The archive contains papers and information relating to composition and printing. Fenton (1891-1989) worked at the London College of Communication from 1920-1961 and the materials relate to his time there. Prior to this, he was a successful commercial printer including working for the National Institute for the Blind as deputy head of letterpress, 1918-1920. Included are examples of his work, typesetting sheets, composing tools and working notebooks. Thorold Dickinson Archive and Library

London College of Communication Archive The collection contains material relating to the activities of the College and its predecessor bodies, including St Bride Foundation Printing School, Bolt Court Technical School, College for Distributive Trades and the Printing Department of the North Western Polytechnic. It contains prospectuses, student work, yearbooks, photographs and some administrative records. A section of the collection features ephemera representing printing techniques and design trends, for example, illustration plates, 19th century Christmas cards and posters. There are also materials relating to printing education and apprenticeships generated by the College, its predecessor bodies and external organisations.

Thorold Dickinson was a film director and educator. The collection contains Dickinson’s books and periodicals (many of them rare) as well as archives relating to his later career for the United Nations, British government and the establishment of the Slade School of Art’s film department. It includes scripts and treatments, research material, press cuttings, reports, correspondence, course outlines and screening notes.

University of the Arts London Archives and Special Collections

The Stanley Kubrick Archive

Tom Eckersley Collection

Kubrick (1928–1999) was a photographer and filmmaker. The archive spans Kubrick’s entire career from his time as a photographer for Look magazine to his final film Eyes Wide Shut. The main concentration is of records created during the making of his films. The archive also includes records created posthumously by the Kubrick Estate relating to projects such as the creation of boxed sets of Kubrick’s films, and material relating to the development and pre-production of the unfinished projects Aryan Papers, Napoleon and AI Artificial Intelligence, among other prospective projects. The film production material includes records created during the development, pre-production, production, post-production, distribution and marketing of all Kubrick’s feature films, such as draft and completed scripts, research materials including books, magazines and location photographs; set plans, production documents such as call sheets, shooting schedules, continuity reports and continuity polaroids; correspondence, props, costumes, poster designs, posters, film and video material, sound tapes and records, publicity such as press cuttings and magazines; awards and nominations, drawings and artwork and many photographs documenting the making and marketing of the films. The collection is of interest to a range of research disciplines including: costume and set design, photography, model making, screen writing, cinematography, filmmakers and advertising. www.arts.ac.uk/about/departments/kubrick-archive.

Tom Eckersley was an eminent poster designer from the mid-1930s until late 1990s. The collection consists of published posters and original artworks from Eckersley’s own private collection for various companies such as General Post Office, Gillette, Ministry of Information, The United Nations Children’s Fund, Transport for London, Imperial War Museum, Royal Society for the Prevention of Accidents (RoSPA) and World Wide Fund for Nature. There are also magazine covers, for example for The Queen, Graphics 31 and The Director and other printed works such as 1930s illustrations for newspaper stories. In addition to printed works there are original artworks by Eckersley, which demonstrate his production techniques.

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College Archives and Special Collections

Camberwell, Chelsea, Wimbledon – CCW Graduate School Camberwell College of Arts Website www.arts.ac.uk/library/archives-collections/camberwell

Artists’ Books

Camberwell College of Arts Archive

The collection contains works by students from the 1990s onwards, and supports the MA Book Arts course as well as being of use to other researchers.

The archive documents the history of Camberwell College of Arts from 1898 to the present. It includes prospectuses, minutes of meetings of Boards of Governors, exhibition and degree show catalogues, photograph albums, private view cards and other College ephemera.

Walter Crane Collection Crane (1845-1915) was a graphic illustrator, educationalist and social reformer. The collection comprises about 150 books and ephemera relating to Walter Crane, and some of his illustrated children’s books.

College Archives and Special Collections

Chelsea College of Art and Design Website www.arts.ac.uk/library/archives-collections/chelsea African-Caribbean, Asian and African Art in Britain Archive

Contemporary Art Slide Scheme

The collection contains documentation of the work of contemporary artists of African-Caribbean, Asian and African descent practicing in Britain through a collection of exhibition catalogues and ephemera.

The collection contains sets of contemporary fine art slides from exhibitions in London for educational and research use. The scheme was run on a subscription basis until 2007 and includes images from private galleries and artists’ archives.

Artists’ Books

Ephemera Collection

The collection contains examples of fine artists’ involvement with the book from the 1960s onwards. It is strong on contemporary conceptual works and artists such as Lawrence Weiner, Sol LeWitt, Ed Ruscha and Ian Hamilton Finlay. It also contains booksellers‘ catalogues, flyers, and exhibition related materials and letters.

The collection contains materials relating to artists and galleries: clippings, press releases, reviews, private view cards, artists’ statements, CVs, invitations, letters and posters. It is being added to and is a source of information on new and lesser known artists and the changing gallery scene in the UK. 1960s London-based artists and galleries are particularly well represented.

Artists’ Multiples The collection contains approximately 500 limited edition artworks by artists such as Marcel Duchamp and Damien Hirst. An award from CLIP CETL enabled the creation of a digital visual archive of the collection, and a printed version is available for users to browse in the library. All the works are searchable via the library catalogue and both UAL and external researchers can view items in the library. Chelsea College of Art and Design Archive The archive contains records documenting the establishment of the new school and details of college activities to the present. Included are prospectuses, degree show and other catalogues and student publications. It includes some details of past alumni. Items date back to the 1920s, but the bulk of the collection dates from 1964 to the present. Records relating to the earlier history of the art school are held at Kings College London.

Facsimile Sketchbooks The collection contains facsimile sketchbooks of 28 19th and 20th century artists, and includes the works of Cezanne, Delacroix, Gauguin, Mondrian, Picasso, Toulouse-Lautrec and Jackson Pollock. Ian Hamilton Finlay Archive The archive contains printed works by Finlay, including artists’ books, cards, proposals, plays and poetry; correspondence and postcards; and exhibition catalogues, monographs and articles about the artist.

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Inventory Archive

Stephen Willats Archive

The collection contains documentation on the development of Inventory magazine and related art projects. Inventory was first published in 1995 by Paul Claydon, Adam Scrivener and Damian Abbott. A complete run of the magazine is kept in the Library. Examples of their multiple artworks are also collected.

Willats (1943-) is a British artist. The archive contains material relating to exhibitions, and social and community projects such as the West London Social Resource Project.

Wimbledon College of Arts Website www.arts.ac.uk/library/archives-collections/wimbledon Jocelyn Herbert Archive Herbert (1917-2003) was a theatre and set designer, who had a role within many theatre companies on whom there is information within the collection. The collection contains original costume and set designs, letters, masks, puppets, set mock-ups, photographs and notebooks.

Central Saint Martins College of Arts and Design Website csm.arts.ac.uk/museum/ British Artists’ Film and Video Study Collection This research collection is dedicated to artists’ moving-image. It contains over 4,000 video copies of artists’ works, approximately 5,000 still images, files on over 900 artists, a library of over 1,000 books and magazines, a collection of historical posters and publicity materials, and documentation relating to key artist-led organisations and public funding bodies. The Study Collection has also undertaken a number of exhibition, conference and publishing projects and hosts PhD research. Recent projects have included the book Expanded Cinema: Art Performance Film (Tate Publishing 2011) and Figuring Landscapes. studycollection.org.uk

Central Saint Martins Museum and Study Collection The Museum and Study Collection at Central Saint Martins acts as the College archive and tells the story of CSM’s rich history. We’ve been collecting work by staff and students for more than a century, and for the last 20 years have been buying work from degree shows. The result is a collection of more than 3,000 objects showing the breadth and scope of the work being created by students today, from painting and printmaking, fashion and textile design, ceramic and product design to graphic design, sculpture, photography, jewellery and theatre design.

College Archives and Special Collections

The museum also runs a teaching collection that has been more than a century in the making. This encompasses artworks and archives from the 13th century to the present day and includes early printed books, prints, illuminated manuscripts, embroideries, work by members of the Arts and Crafts Movement, 1920s German film posters, Japanese prints, textile samples and garments. There is also a fine collection of teaching books dating from 17th century. College Archive A variety of material relating to the College including promotional posters, exhibition catalogues, prospectuses, photographs, staff records, minute books, letters, reports and general press cuttings. The Museum also archives press cuttings relating to staff, students and alumni of the College. Contemporary Collection The Contemporary Collection comprises art and design work bought from degree shows each year including paintings, prints, artist’s books, sculptures, jewellery, ceramics, theatrical model boxes, textiles and fashion. The early work of rising stars such as as Raqib Shaw and Hussein Chalayan play a key role in this collection. WR Lethaby (1857-1931)

A comprehensive archive of material relating to WR Lethaby – designer, architect, educationalist and founding principal of the Central School of Arts and Crafts – including letters, drawings, watercolours and a collection of his published writings. Textiles This collection includes work by leading textile designers Colleen Farr, Mary Harper, Diana Armfield, Mary Oliver, Eileen Ellis, Marianne Straub and Joyce Clissold – owner of the Footprints design company. The Clissold Collection includes block-printed textiles, garments, swatches, blocks, dye ledgers and designs on paper.

School of Book Production This collection includes a substantial number of books typeset, illustrated, printed and bound by staff and students of the Central School in the early 20th century. The School of Book Production at the Central School was dominated by figures such as Douglas Cockerell and JH Mason who were hugely influential in the revival of the art of printing, both in the UK and abroad. Fine Arts, Prints and Drawings This rich area of the collection encompasses over 500 years of artistic practice, from woodcuts by Dürer and early printed books to work by leading 20th century artists Eduardo Paolozzi, Norman Ackroyd and Bernard Meninsky. Cartoonists Posy Simmonds and Gerald Scarfe are also represented in the collection. Wood Engraving Noel Rooke taught at the Central School between 1906-1940 and was instrumental in the revival of the art of wood engraving. He had tremendous influence on his students and on book illustration throughout the first half of the 20th century. Rooke is well represented in this collection, as are former students John Farleigh and Robert Gibbings, and later wood engravers Monica Poole, Blair Hughes-Stanton and Simon Brett. Theatre Costume Design Costume design was one of the most important aspects of the original Theatre Design Course at the Central School. This collection includes examples of work by costume designers for theatre, film and television, including Jeannetta Cochrane, Pegaret Anthony, Sheila Jackson, Alix Stone, Norah Waugh and Margaret Woodward.

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College Archives and Special Collections

German Film Posters The posters in this collection advertise silent films produced in Berlin during the early 20th century. Reflecting an exciting and critical period of development in design and cinema, they played an important role as part of the Central Schoolâ&#x20AC;&#x2122;s teaching collection. The Japanese Print Collection When Frank Morley Fletcher introduced Japanese wood-block printing methods into his printmaking classes, the Central School bought a large number of Japanese prints for its teaching collection. Dating

from the mid 18th to the late 19th centuries, these include individual prints and albums depicting childrenâ&#x20AC;&#x2122;s games, flora and fauna and famous actors from the traditional Kabuki theatre. Teaching Books Our collection of Teaching Books reflects the diverse range of subject areas taught at the Central School. The collection is particularly rich in natural history, architecture, textiles, early printed books and portfolios of design examples.

London College of Communication Website www.arts.ac.uk/library/archives-collections/lcc The Catherine Arthur Collection

Film Script Collection

Arthur was a freelance publisher. The collection contains late 20th century books accumulated by Arthur that reflect her long association with the printing industry.

The collection contains scripts, mainly American, with some British films, from the 1970s onwards, as well as American sit-coms and British soap operas. Historic Journals Collection

Camerawork Archive The collection contains material relating to Four Corners Films, 1970s-1990s, and includes: letters, invites and press items. Decorated Books from the Netherlands Collection The collection contains Dutch books with decorated trade bindings, 1893-1939, and includes bindings in the Nieuwe Kunst and Art Nouveau styles by Dutch artists such as PAH Hofman, Josef Cantre and Jan Toorop.

The collection contains journals from the 19th and 20th centuries (especially 1920s-1930s) that represent typographic and graphic design. Titles include British and Colonial Printer, Picture Post, Illustrated War News, Fleuron, Alphabet and Image, Colophon and London Mercury. Photographic Exhibition Poster Collection The collection contains posters dating from 1970s onwards and charting a range of exhibits held and including shows by: Photographers Gallery, Camerawork and Impressions Gallery.

The Edward Clark Collection The collection contains research focusing on 20th century typography and is a resource to support the study of the history and current development of typography and related topics. 64 | 65

Printing Historical Collection

Talwin Morris Collection

The collection contains items charting the history and art of the Western book, reflecting its physical, technical and aesthetic development from the 15th to 21st centuries.

Morris (1882-1911) was a book cover designer and publisher. The collection contains books from the publishing house Blackie & Son, with covers designed by Morris in the Art Nouveau and Glasgow styles including the Red Letter Library series. There are also a number of books from Blackie’s subsidiary firm, Gresham Publishing Company.

London College of Fashion Website www.arts.ac.uk/library/archives-collections/lcf C&A Archive

EMAP Archive

The archive includes a small collection of garments and a portfolio of adverts designed by Margrit Seck. The University of the Arts Archives and Special Collections Centre contains materials relating to C&A marketing activities from 1940s-1990.

EMAP is a key trade publisher for the fashion industry. The archive contains trade journals from the 1880s onwards as the Drapers Record. It covers promotion, the development of the fashion trade and the history of modern footwear.

Clothing and Footwear Institute Archive

Gala Collection

The collection contains around 350 tailoring and clothing industry books and periodicals spanning 19th and early 20th centuries.

The collection contains scrapbooks of clippings from newspapers and magazines, publicity and promotional photographs for Crystal Products, Miner’s Cosmetics and Gala Cosmetics. In addition to the scrapbook photographs, there are 169 photographs of products, promotional shots, point of sale shots, factory shots and promotional event shots.

Cooling Lawrence and Wells Collection The collection contains the London Time Log, 18911937. The time log was a method of evaluating and paying for the work of tailors and tailoresses. There is also a Livery Book, 1904-1970, with material samples and details of customers’ orders, some correspondence with customers and details of uniform specifications, both military and civil. Cordwainers College Archive The collection contains materials relating to one of the London College of Fashion predecessor bodies, 1915-2000, including: photographs, teaching books, cuttings, prospectuses, programmes, minutes, administrative documents and student work. There are also 650 pairs of shoes, 1780-1990s.

Hat Collection The collection contains hats from high street and high end retailers and designers, including: Madame Valerie Brill (1960s), Clarida (1962-3), Marcel Ltd, Philip Treacy, Herbert Johnson (1973), Bermona Trend (1984), C&A (1955), Webflex (1930s), Panda (1960s), Frederick Fox (1990s), Velonap (1950s), Kangol (1950s), Jacoll (1960s) and Marida (1970s).

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Hayes Textile Limited Archive The archive contains textile swatches by the British company Hayes that designed and manufactured head clothes for Nigerian women. The swatches show a varied sample of patterns and colours that were typical of the designs used throughout the company’s lifespan. London College of Fashion Archive The archive contains items relating to the history of the college, from its original trade schools at Barrett Street, Shoreditch and Clapham to the present day. It contains material documenting training and activities in a variety of subjects such as hairdressing and make-up. Women’s Home Industries Archive The collection contains knitting patterns created for and by Women’s Home Industries (also known as Beatrice Bellini Hand Knits) from 1947-2005. The Woolmark Archive The archive contains approximately 3,000 black and white fashion photographs covering the period from the 1940s-1980s. The photographs capture the fashion of the time and the style of photography. In some cases the original press release issued at the same time gives additional information about the garments. Designers covered by the collection include Hardy Amies, Balenciaga, Pierre Cardin, Courreges, Dior, Givenchy, Lanvin and Nina Ricci.

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Credits

Picture credits | Cover Archives and Special Collections Centre at LCC (Luke Potter) Inside cover Image of Steffi Kettel’s studio as part of the TrAIN Balmoral residency (Photo by the artist) Images listed by page left to right, top to bottom | Page 2 (John Sturrock) Page 5 (John Sturrock) Page 7 (John Sturrock) Page 12 (Gabor Scott) | When Shall We 3? (Scenes from the life of Njinga Mbandi), Kimathi Donkor Page 13 Red Ice 3, Disko Bay, Greenland, Chris Wainwright | Man and Nature-Jacket, Paul Coldwell (Photo by the artist) | Upcycled Jabot Shirt, Rebecca Earley and Dr Frances Geesin (Photo by Science Museum, London) Page 14 Textile Toolbox: Mistra Future Fashion, Professor Rebecca Earley (Miriam Ribul) | Network members seminar | The Back Story, Boucher, Stephen Farthing Page 15 Greeting the Sun series, Azadeh Fatehrad Page 16 (John Sturrock) | (John Sturrock) | The Readers (detail), Anne Tallentire (Photo by Hilary Knox) Page 17 Rush hour, Morning and Evening, Cheapside (film still), Mark Lewis | (John Sturrock) Page 18 Corn Marigold: Chrysanthemum coronarium, stained, transverse stem section, Rob Kesseler Page 19 Edible Alchemy Aperolab event, Bartaku and Carole Collet, (Mischa Haller) | Image of En Vie – Alive, new Desing frontiers, Espace Fondation EDF, Paris, curated by Carole Collet, (Laurent Lecat) | Nowhere Else Exhibition, Anne Tallentire Page 20 (Alys Tomlinson) | Dorje Dolma and her daughter Tsering Yangzom making bread on a metal box stove, Patrick Sutherland Page 21 Ever After: Installation Elephant and Castle roundabout, London, Wiebke Leister | Gatuk Namgyal dressed as the elephant keeper from the play Drimed Kunden, Sagnam, Spiti, Himachal Pradesh, India, Patrick Sutherland Page 22 Air Pressure exhibition installation at Whitworth Art Gallery, Manchester, , Angus Carlyle, CRiSAP (Rupert Cox) | Virtual spaces (Teal Triggs) | Word Cloud (Teal Triggs) Page 23 Anchor and Hope, Cibachrome print, Tom Hunter | Aylesbury Kaleidoscope (Teal Triggs) Page 24 (Alys Tomlinson) | A Concise History of Vessels, Charlotte Hodes Page 25 Black Point 2012, Jessica Bugg, Performer: Fukiko Takase, (Marc Craig) | Modest Fashion, Reina Lewis | Authentic Dress, WESSIELING (Paul Burroughs) Page 26 Fashion Chess, WESSIELING (Nigel Tribbeck) | The Sustainable Fashion Handbook, Sandy Black | Silhouettes and Filigree, Charlotte Hodes Page 27 Cloud: Meteoros, Lucy Orta | Catalytic Clothing Field of Jeans, Helen Storey Page 28 (John Sturrock) Page 29 Shared Talent South Africa (Gavin Fernades) | Transformational Thinking Practice Day (Ana Escobar) | Local Wisdom Project Flyer Page 30 Shared Talent South Africa (Gavin Fernades) | Transformational Thinking Practice Day (Ana Escobar) | The RAJ, Digital photographic-illustration collage, Hormazd Narielwalla Page 31 Antarctic village, 2007, Lucy and Jorge Orta | Flavia Amadeu Page 32 Road Music, Peter Sinclair Page 33 Louder Whisper, New Sound Art from India, curated by Meena Vari | Students working in LCC Sound Arts Studio (Photo by Mario Alessandro Razzeto) | Spectra, installation at the Meantime Gallery, Cheltenham, Rob Mullender Page 34 Louder Whisper, New Sound Art from India, curated by Meena Vari | Laptop Orchestra-Coronet Page 35 Haptic Optic, shellac impregnated silk sheet, Rob Mullender | Windmill, documentation of performance at the Big Draw, Wimbledon (Tansy Spinks) | Radio Mind, installation at the Old Lookout Gallery (Magz Hall) | CRiSAP publications Page 36 Stop thief chair Page 37 Puma bike unfolded and folded | ATM privacy zone art installed in Camden and Westminster, London | Poster for “Up the down escalator”, DESIS lecture, Kees Dorst Page 38 Karrysafe screamer bag | Grippa clip Page 39 Design Against ATM crime exhibition | M stand on street | M stand Page 40 Marbled book block edges, National Trust, Lacock Abbey (Nicholas Pickwoad) Page 41 Saint Catherine’s Monastery, Sinai, from the South East | Bookbinder, Etching by Jan Luyken, ca 1680 | Book from the National Trust Library (Nicholas Pickwoad) | The Sewn Bookblocks without boards or covers, National Trust, Blickling Hall (Nicholas Pickwoad) | Two members of the survey group at St Catherine’s Monastery (Nicholas Pickwoad) Page 42 Conservation box | A 16th-century book board covered in tooled leather re-used on an early 19th-century edition, Private collection (Nicholas Pickwoad) Page 43 Digitised photograph of the artist John Latham © John Latham Archive | English pulp board marked up with slashes for lacing-in, ca 1570, National Trust, Lacock Abbey (Nicholas Pickwoad) Page 44 Iraq War Veteran, Stuart Griffiths, Bolton, 2006 Page 45 Peanut man | PARC Summer symposium (Wendy Short) | Zoe and David, Grace Lau Page 46 Daniel Meadows Exhibition, National Media Museum, Bradford | Daniel Meadows catalogue Page 47 Photography & Culture, PARC publications | The Big Conversation, Martin Parr and Grayson Perry | Moose of the Loose Flyer, Designer: Will Brady Page 48 Scentsory Design by Jenny Tillotson | BioLace, Carole Collet Page 49 Black Hack workshop by Becky Earley (Mischa Haller) | Wallpaper Dress, Melanie Bowles | Upcycled Digital Dress, Melanie Bowles and Kathy Round (Photo by Science Museum, London) Page 50 Blue Tree by Linda Florence | Esther and Lyn with the Cossack at the Yard, Caryn Simonson Page 51 Strawberry Noir, Carole Collet | ReSurfaced, Kate Goldsworthy | People’s Print, Melanie Bowles Page 52 Ocupações/Descobrimentos (Occupations/Discoveries), Antonio Manuel, Installation view, Museum of Contemporary Art Niterói, (Photo by Vicente de Mello) Page 53 If a matter has been considered a very long time, it may happen (even without that the consideration would be finished), Steffi Kettel | TrAIN/Balmoral exhibition installation, (Ellie Pitkin) Page 54 Gasworks, Cinthia Marcelle | Continuous, Anna Maria Maiolino, Camden Arts Centre, Curated by Michael Asbury and CAC (Michael Asbury) Page 55 Frutos do Espaco, Antonio Manuel, Installation Centro Cultural Banco do Brasil, Sao Paulo | TrAIN/Balmoral exhibition installation (Ellie Pitkin) Page 56 Archives and Special Collections Centre at LCC (Luke Potter) Page 64 Selection of images from UAL Archives and Special Collections Inside back cover Seville orange: Citrus aurantium, Pollen grain, Hand coloured micrograph, Rob Kesseler Edited Simon Willmoth Design Richard Bonner-Morgan Printing Principal Colour © 2013 University of the Arts London, Granary Building, 1 Granary Square, London N1C 4AA

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