Archive for the ‘News’ category

Texprint Selects Six Central Saint Martins Winners

BA Textiles Texprint winners with Anne Smith.

Left to right: Anne Smith (Dean), Federica Tedeschi, Jessica Hymas, Aline Nakagawa de Oliveira, Kaila Cox, Georgia Fisher and Zana Ajvazi.

Six graduates from our BA Textile Design course have been selected by Texprint, a prestigious national Textile competition that takes place annually.

Winners Federica Tedeschi, Jessica Hymas, Aline Nakagawa de Oliveira, Kaila Cox , Georgia Fisher and Zana Ajvazi specialised in a range of disciplines during their time at Central Saint Martins, including weave, knit and print.

Each of the graduates will be given a stand at Indigo, which forms part of Parisian fashion trade fair Premier Vision. In addition to this, they will receive mentoring throughout their Texprint year.

Many of the successful Central Saint Martins graduates have been shortlisted for additional prizes. The awards will be announced at a ceremony in Paris on 17 September 2014.

More information:
BA Textile Design
Texprint 2014

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Students Design Jewellery for Wool and the Gang

Wool and the Gang designsKnitwear brand Wool and the Gang commissioned BA Textile Design students to design new jewellery pieces, drawing inspiration from its popular Sansa and Khaleesi lines.

Jade Harwood and Aurelie Popper, creative directors of Wool and the Gang, whittled the thirty submissions down to nine. The chosen designs are now available on the brand’s website, giving the successful students their first online commercial experience.

Popper said: “We’ve been struck by the designers’ perfection and the inventive use of colour and materials. We wish we could showcase them all. Our own story started from this very degree course at Central Saint Martins, so it felt natural to give back to the community that keeps nurturing cutting-edge design.”

For the collection, students’ inspirations ranged from the corals of British coast to the colourful pipes of the Pompidou museum. The jewellery pieces are available ready-made, or you can buy a ‘knit kit’ and make your own.

Textile student Hannah Farley said: “We loved the freedom of experimenting with a material we’ve never used before, and we adore The Gang. It’s so good to know that my stuff is going to be seen out there. You might see someone in the tube wearing it. How exciting is that?”

More information:
BA Textile Design
Wool and the Gang collection

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POSTGRADCHAT with Jingyun Shu

To celebrate Camberwell College of Arts Postgraduate Summer Show 2014 this week and until the 23rd July, we’ve met with students and graduates to talk about their work and future plans.

MA Visual Arts Book Arts Jingyun Shu invites audiences to understand the Chinese language system and reproduce their own words

MA Visual Arts Book Arts Jingyun Shu

CCA: How has your experience at Camberwell been like?

JS: It’s being significant for my career and my future, it has opened my eyes to explore the relationship between my artworks and my interests in the area of Fine Arts, more clearly and deeply. What I want to focus on is the field of Visual Arts. The course has completely opened up a new world of arts to me, not only the knowledge I learnt during the course but also how I showcase and market my work.

CCA: What did you find was the most valuable technical skill you learnt whilst studying at the College?

JS: I have been using laser-cutting machine for most of my work this year, which is my favourite technique. I worked with it before during my BA course; however, I had never worked with the machine by myself.  It was a superb opportunity for me to test everything I am interested in and learn a new technical skill.

CCA: Please tell us about your work

JS: The series of artworks that I have made during  this year are about creating personal Chinese characters based on the Five Phases from Taoism, which centres on  3 principles: participatory, interacting and intercommunication. These ideas are about inviting audiences to understand the Chinese language system and reproduce their own words.

MA Visual Arts Book Arts Jingyun Shu

I am interested in making personal Chinese words for telling stories. In Chinese language, it is common to combine the meaning of prefixes and suffixes together to create a story, which in a way is similar as the format of English language. According to the Wu Xing theory, the property of Chinese words could be separated not only as Yin and Yang parts, but also as Five Elements. The decisive factor is the definition of prefixes rather than the meanings of the characters as a whole.

CCA: What will you be showcasing in your degree show?

JS: I am interested in analysing the Chinese language system and exploring its relationship with the English language, because it appears to be full of mysteries for Westerners. For my final show, I made two  Chinese language games, my piece is titled:  Creating, Translating and Conversing. Both games are suitable for any ages.

Game one aims to explore the shape of Chinese words, which is presented by cutting wood frames in correspondence to the changes of word forms. It includes one box of ‘translating’ cards, around 80 script frames and two game playing cases. The viewers are encouraged to choose scripts frames and put them on  the playing case to get a new word formed by their shadow under the light. The new word’s meaning needs to be mixed with the translation of each frame in the cards’ box.

MA Visual Arts Book Arts Jingyun Shu

Game Two contains one Chinese calligraphy dictionary book, one game playing case and one box of Chinese prefixes and suffixes of ‘Five Elements’. The idea of the work is to invite audiences to layout Chinese prefixes and suffixes to obtain a unique word  from the Chinese language system. All the samples scripts I made in the dictionary are to show my perspectives of communication in languages’ making.

MA Visual Arts Book Arts Jingyun Shu

MA Visual Arts Book Arts Jingyun Shu

MA Visual Arts Book Arts Jingyun Shu

CCA: What are your plans after you graduate?

JS: I want to become a window designer for my future career goal after I graduate. I will also continue this project to make a secret Chinese words dictionary in 3D, in order to tell my own thoughts about the Five Elements theory.

Fashion Illustration secrets from the BA14 Runway Show

Megan-Ruth St Clair Morgan, BA (Hons) Fashion Illustration - illustration of Faye Van Andel, BA (Hons) Womenswear, and Zoe Greening, BA (Hons) Fashion Contour. Megan-Ruth St Clair Morgan, BA (Hons) Fashion Illustration - illustration of Rachel O'Mahony, BA (Hons) Womenswear, and Harry Harvey BA (Hons) Fashion Textiles. Megan-Ruth St Clair Morgan, BA (Hons) Fashion Illustration - illustration of Sofia Ilmonen, BA (Hons) Womenswear, Jinhee Moon, BA (Hons) Womenswear, and Mengna Ye, BA (Hons) Womenwear. Megan-Ruth St Clair Morgan, BA (Hons) Fashion Illustration - illustration of Marta Cesaro, BA (Hons) Bespoke Tailoring, and Shasha Wong, BA (Hons)  Fashion Textiles. Megan-Ruth St Clair Morgan, BA (Hons) Fashion Illustration - illustration of Sunjung Park, BA (Hons) Womenswear, and Jesika July, BA (Hons) Fashion Textiles. Megan-Ruth St Clair Morgan, BA (Hons) Fashion Illustration - illustration of Marta Cesaro, BA (Hons) Bespoke Tailoring, and Shasha Wong, BA (Hons)  Fashion Textiles

Following LCF’s BA14 Summer Season we saw tons of beautiful images all over social media from students, graduates and industry alike.

However, one set of images really caught our eye – Megan-Ruth St Clair Morgan, BA (Hons) Fashion Illustration student, dropped us a line to say she had live illustrated the BA14 Runway Show. We couldn’t overlook such wonderful work so we asked Megan to tell us the secret to creating beautiful fashion drawings in super short bursts of time…

LCF News: How do you manage to create these beautiful images in such a short space of time? We reckon you must have only a few minutes from when the collection hits the runway to when it disappears off the scene!

Megan: Well that’s something I ask myself all the time and get asked all the time! I think I would say lots of practice… It’s using quick ways of getting the image onto paper that helps. I use a water brush, watercolours and fine liners to create drawings. I also add in the use of a few big markers to create big marks from time to time. Let’s just say I like shows where the models walk slow!

LCF News: What do you love to draw? Which collection did you enjoy drawing the most?

Megan: I love doing catwalk illustration and drawing from life – movement and body are so interesting! My favourite had to be Rachel O’Mahony, BA (Hons) Fashion Design Technology Womenswear, and Harry Harvey, BA (Hons) Fashion Textiles. The textures and shape were fantastic to illustrate. It’s all about silhouette and creating movement, and it moved so well.

LCF News: What makes a great fashion illustration?

Megan: Personally I think a focus on the clothes rather than the person, in live illustration you are capturing the collection not the model. But it really depends what sort of fashion illustration you do, the thing that has stuck with me is to draw everything as if its an object and have no preconceived ideas as to what it should look like. Realism, honesty from the artist and creative freedom. A fashion illustration should be a personal reaction to what you’re viewing. A showcase of the how the collection made you feel and how it expresses itself to you.

LCF NewsWhat advice would you give to anyone thinking of studying BA (Hons) Fashion Illustration?

Megan: Take every opportunity you get given! That’s the biggest thing to learn, Sue Dray (BA (Hons) Fashion Illustrator Course Leader) has so many contacts and connections in the industry and passes on her wisdom (and show tickets to LFW etc.) like no tomorrow. Just take on board positive and negative feedback as you would have to in the industry and remember you are building yourself as an artist all the time. Also one big thing… attend every class! It sounds stupid but if you miss classes you miss chances to build your skills and portfolio and also meet people from industry. Sue brings in industry visitors sometimes without warning if you are there you will never miss out! Lastly think of the course as a platform to create your illustration branding and industry name, you have 3 years of tutoring to prepare you for a tough industry. I’d use that time to get known and build your contact base.

LCF News: What else are you up to? What opportunities has LCF given you to achieve your ambitions?

Megan: Well the list is endless, LCF has enabled me to do things I never thought were possible. I’m now officially in position as the new LCF Vice President for SUARTS so you’ll be seeing a lot of me from now on!
I’m currently building my international base as an illustrator just back from Berlin Fashion Week and currently collaborating with various well known brands – Paul Smith, Coggles.com, The Ragged Priest, MICHALSKY and many more. The work is coming through thick and fast so it looks like a busy summer ‘break’.

To be able to come to London at 16 to study at LCF was a dream in one so everything that has happened since is magic. Studying a BA at 17 with industry involvement within 4 weeks of the course starting, shows just how amazing this place is, LCF gave us tickets for my first LFW as an illustrator and its since then that my career has started fully. So I can only thank LCF and Sue Dray for that! LCF are so willing to help and push you towards the right people, all the tutors have amazing industry knowledge and contacts so that in its self is another opportunity for you to achieve.

The post Fashion Illustration secrets from the BA14 Runway Show appeared first on LCF News.

LCF’s Dr. Shaun Cole awarded PhD for his thesis, ‘Sexuality, identity and the clothed male body.’

Dr Shaun Cole,

Dr Shaun Cole, Director of the Graduate School’s Culture and Curation Programme

Director of the Graduate School’s Culture & Curation programme, Shaun Cole has completed his PhD titled ‘Sexuality, Identity and the Clothed Male Body’, and is now Dr. Shaun Cole.

Shaun’s thesis draws together his key works: Don We Now Our Gay Apparel: Gay Men’s Dress in the Twentieth Century (Berg, 2000); and The Story of Men’s Underwear (Parkstone International Press, 2010) – and two chapters in edited books – ‘Butch Queens in Macho Drag: Gay Men, Dress and Subcultural Identity’ (2008) and ‘Hair and Male (Homo)Sexuality: Up-Top and Down Below’ (2008).

By examining the major themes of sexuality, identity, subcultural formation, men’s dress, masculinities, clothes and the body, his thesis presents a comprehensive investigation of these relatively neglected areas of fashion study and dress history.

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‘EYE CONTACT’ Camberwell graduate Peter Hudson’s great vision for the Wellcome Trust

An amazing video installation created by recent Camberwell graduate Peter Hudson will be staring back at you from the windows of the Wellcome Trust’s central London headquarters this summer. ‘Eye Contact’ will occupy the windows of the Gibbs Building on Euston Road for the next year.

The artwork consists of over 650 coloured pixels, lit by over 16,000 LEDs. It uses real footage of the eyes of 68 volunteers staff from the Wellcome Trust and changes over time, displaying the idiosyncrasies of each individual’s gaze. The eyes will be ‘awake’ and active through the day and will close at sunset to ‘sleep’ through the night. Unless, that is, they are woken by a passing pedestrian.

 Peter Hudson

Peter Hudson, says:

Through this installation, I’m exploring how the digital screen mediates the way we consume images and how the emotional content is affected. Eyes are both a symbol of perception and an instantly recognisable human feature, so by presenting them through a heavily pixellated video display, I’m challenging the usually fluid process of recognition. The pixellation leaves enough detail that regular viewers of the installation, such as commuters, should be able to identify the same participants’ eyes recurring throughout the year.

Peter Hudson

The piece was inspired by themes drawn from Wellcome Trust research in neuroscience and perception, and challenges the viewer to consider how our reliance on digital screens has changed the way we interact with images and each other. Close up, the pixels are an abstract mosaic of flickering colours and light, but viewed as a whole the image resolves and a pair of eyes gazing out from the window.

‘Eye Contact’ is the second winning entry from a competition run by the Wellcome Trust in 2014 for students at the University of the Arts London. The first winning piece, ‘View’, by artist and fellow Camberwell graduate Phoebe Argent, was displayed in the window last year.

View by Phoebe Argent

View by Phoebe Argent

Clare Matterson, Director of Culture & Society at the Wellcome Trust, says:

The collaboration between the Wellcome Trust and University of the Arts London has provided a unique platform for talented young artists to draw inspiration from the research areas of image perception, memory and neuroscience supported by the Trust. Peter Hudson’s installation is an arresting piece of art, which challenges us to re-assess our own powers of perception.

 Peter Hudson

The Wellcome Trust Windows Commission is curated by Sigune Hamann, artist and Reader at University of the Arts London and was launched in autumn 2012 as a new platform of collaboration and practise at the meeting point of art, design and science.  The project, entitled ‘The changing perception of images’ was initiated and as an opportunity for students from all levels and disciplines at Camberwell, Chelsea and Wimbledon Colleges of Arts to provoke fresh thinking on aspects of image perception, to engage passers-by and to act as a high-profile showcase for the students’ creativity and new approaches to image research.

More about Peter Hudson on his website

Find out more about studying at Camberwell College of Arts on our course pages.

Images thanks to Wellcome Library, London.

Call for contributions: Fashion Colloquia Shanghai

Fashion Colloquia.jpg shanghai

Fashion Colloquia Shanghai

21st and 22nd April 2015

Call for contributions

Background to the Colloquia Series

The Fashion Colloquia originated through a core network of 4 institutions, connected by their residence and involvement in the four big ‘Fashion weeks’ across the globe. These Institutions were the London College of Fashion – University of the Arts, London, Domus Academy – Milan, Institute Francais de la Mode – Paris and Parsons the New School for Design, School of Fashion, New York. As result, members of this core network used the occurrence of the fashion weeks to organise a series of colloquia taking place from 2011-2013.

Their aim was to use the fashion weeks as a catalyst to challenge understandings regarding fashion across the globe. A rich variety of contributions (from academia, media and practice) have been enjoyed at these colloquia events and many have now been uploaded to the international repository for fashion housed at the London College of Fashion, University of the Arts London.

Our Call for contributions:

The success of this first series led us to develop a second series with a new group of partners. Our second series of fashion colloquium focuses on ‘emergence’ and how each location intends to contribute to the growing importance of fashion across the globe. Our first two colloquia meetings took place in Amsterdam (with AMFI) and Accra, Ghana (with University of Ghana) in 2014. Now we would now like to introduce our next colloquia event that will be held in Shanghai at Donghua University.

Shanghai is the emerging into becoming one of the most important, diverse and strategic cities in the world and likely to become a major player for the future of fashion. Yet are the challenges facing Shanghai and China similar or distinctive from other locations across the globe? To fully engage with these areas we will host the colloquium at the newly formed Shanghai International College of Fashion and Innovation of Donghua University.

This event is being held just before Greater Donghua Fashion Week (see website). We will help/advise colleagues regarding attendance.

Fashion Colloquia Shanghai – Themes:

At each colloquium there will be a mixture of specific themes that are of particular relevance to the specific locations around the globe with a series of themes, which will allow different sets of contributions to be added and explored. Some events at each of the colloquia will be streamed ‘live’ to pre-registered users of the repository. We also aim to upload selected content from the colloquium to the repository.

We would welcome a wide variety of contributions (from workshops, academic papers, presentations, exhibitions etc.) able to respond to the following three overall themes:

Fashion Education:

• The future of fashion education across the world;

• Cultural difference for fashion education;

• The future of the fashion curriculum in light of new media;

• Fashion education for the global citizen.

Fashion Information:

• Challenges to fashion communication in the digital age;

• The influence of media and celebrities for fashion;

• The importance of seasonal fashion shows coverage;

• The value of using trend forecasting for fashion studies.

Fashion Cultures:

• Networks of global fashion knowledge;

• The relevance of emerging fashion capitals in a multi-disciplinary and global context;

• The perception of high/luxury fashion in a cross-cultural and trans-historical perspective;

• The diversity of fashion aesthetics within different age groups.

We are looking to invite contributions from across the world to:

1. Provide a workshop platform for local and international delegates.

2. Respond to the theme – either via exhibitions, workshops, academic papers or surprise us!

3. Explore Shanghai and attend Shanghai International Fashion Cultural Festival.

Admission to the events will be free to invited persons – however, you must register

If you are interested please contact: fashion2015@126.com

SUBMISSION GUIDELINES FOR ABSTRACT/PROPOSALS

Abstract/Proposals/contributions deadline is 30th November 2014.

Please complete author(s) details as requested:

Use MS-Word,

Font: Arial font size 11

Paragraph alignment: Justified

The maximum is 500 words including title and keywords

Further details can be found at: http://scf.dhu.edu.cn/FC2015/

For further information please contact: fashion2015@126.com

POSTGRADCHAT with Ala’a Beseiso

To celebrate Camberwell College of Arts Postgraduate Summer Show 2014  this week and until 23rd July, we’ve met with students and graduates to talk about their work and future plans.

MA Fine Art Digital Ala’a Beseiso manipulates natural effects through digital technology

MA Fine Art Digital Ala'a Beseiso

The Patience 3

CCA: Tell us about your experience at Camberwell

AB: Studying at Camberwell has been an extremely enjoyable and insightful experience. I learned a lot, and I got the chance to meet new students along with our course directors. I also found a great pleasure in seeing the other students’ amazing artworks.

CCA: What did you find was the most valuable technical skill you learnt whilst studying at the College?

AB: I didn’t know anything about printing, and I never knew I could print on stone tiles! Exploring printing is a core skill that I am planning to consider in the future in my work.

CCA: Please tell us about your work

AB: Throughout my MA course, I have been trying to explore the aesthetics of the natural environment and of natural effects on artificial objects – alongside Arabic calligraphy and Islamic art. I work mainly with acrylics and oils on canvas,  and sometimes natural desert sand  in order to achieve certain effects and rough textures. After completing artwork by hand, I use digital technology to manipulate each piece, adding a variety of effects. Finally I print the digital pieces on stone tiles, then I paint over them, so the final outcome is an over-painted digitally modified tile print.

MA Fine Art Digital Ala'a Beseiso

The Patience 4

CCA: What can we expect in your degree show?

AB: I will showcase 17 pieces of over-painted stone tile prints along with three oil and acrylic paintings.

CCA: What was your inspiration?

AB: The random effects of the process of nature on natural and man-made objects has always been an inspiration for me, and Islamic art with the symmetry, balance, proportion and harmony principles also interest me. All these concepts exist in nature, and certainly contain some kind of visual appeal. The contrast between soft geometrical shapes and symmetry of Islamic art and Arabic calligraphy against the randomness of rough textures of natural effects created by the unconstrained process of nature creates some sort of balance in my art.

CCA: What are your plans after you graduate?

AB: I’m planning to focus on my new approach and develop it further, then showcase my work. I’m also planning to continue studying, by either taking up a new MA course or a postgraduate diploma in my specialty subject area.

CCA: Any advice for fellow or future students?

AB: I advice future MA students to dig into their inner selves and pin point what they are truly interested in. Try to expand their knowledge by learning more about their passions and constantly experimenting will eventually result in a fruitful experience.

Artist-decorated “Dazzle Ship” launches in London, co-commissioned by Chelsea College of Arts

CW_DAZZLE_003_web

The HMS President (1918), transformed by artist Tobias Rehberger who has covered it in contemporary ‘dazzle camouflage’ designs.

As part of 14-18 NOW, WW1 Centenary Art Commissions, the leading German artist Tobias Rehberger has transformed HMS President (1918) by covering it in contemporary ‘dazzle camouflage’ designs, inspired by the Dazzle Ships of the First World War.

Co-commissioned by Chelsea College of Arts with  14-18 NOW, WW1 Centenary Art Commissions and Liverpool Biennialthe project is managed by Pro Vice-Chancellor and Head of Camberwell, Chelsea and Wimbledon Colleges of Arts Chris Wainwright and Business Relationship Manager Elizabeth Cameron who have worked to help translate Rehberger’s artistic work and vision for the ship into a reality on the Thames.

CW_DAZZLE_001_web

The HMS President (1918), transformed by artist Tobias Rehberger who has covered it in contemporary ‘dazzle camouflage’ designs.

Launched yesterday,  Monday 14 July 2014, the ship will remain in ‘dazzle’ until January 2015. HMS President (1918) is permanently moored in the City of London, between Waterloo Bridge and Blackfriars Bridge. Directly opposite the OXO tower, the ship can be seen from different viewpoints across the city including the bridges and the South Bank.

A sculptor, painter, designer, filmmaker, at times even an architect, Tobias Rehberger takes objects and situations from life and alters them – making commonplace scenes unexpected. Whether he’s designing seating, lighting and wallpaper, or creating a replica of his local neighbourhood bar, Rehberger – who is interested in society’s relationship to mass culture – makes spaces in which people can live and interact. He works with geometry, using lines and shapes, colour and form to create a physical experience for the visitor to explore – turning the observer into a participant.

The ‘dazzle’ technique has been a recurring theme in Tobias Rehberger’s work. In 2009 he was awarded the Golden Lion Award at the 53rd International Venice Biennale for a café he created that was based entirely on the principles of dazzle pattern.

Rehberger was born in 1966 in Esslingen, Germany, and now lives and works in Frankfurt. From 1987 to 1993 he studied under Thomas Bayrle and Martin Kippenberger at Frankfurt’s renowned Städelschule, where he has been Professor of Sculpture since 2001 and, until recently, was also Deputy Rector of the Fine Arts Academy. His work has been exhibited internationally at institutions including Palais de Tokyo, the Walker Art Center, Tate Liverpool, the Venice Biennale and the Manifesta Biennale, and is included in many important international collections.

‘Dazzle camouflage’, also known as ‘dazzle painting’, was used extensively during the First World War as a means of camouflaging a ship, making it difficult for the enemy to target it accurately. One of the last three surviving warships of the Royal Navy built during the First World War, the HMS President (1918) was the first type of “Q” warship built specifically for anti-submarine warfare – she was ‘dazzled’ during the war.  

HMS_Saxifrage_WWI_IWM_SP_1650a_web

The HMS Saxifrage, one of the original ‘dazzle ships’ used in the First World War.

Dazzle Ship London supported by the National Lottery through Arts Council England and the Heritage Lottery FundBloomberg Philanthropies and the Goethe-Institut London.

Share your images online with #dazzleship

Magnum Photos // New LCC Short Course

CHINA. Beijing. Tiananmen Square. 1989.

Stuart Franklin, Tiananmen Square, 1989.

London College of Communication has teamed up with the prestigious photography cooperative, Magnum Photos, to create a short course in documentary photography.

The one-off course will be led by LCC expert educators alongside Magnum’s acclaimed photographers Chris Steele-Perkins and Stuart Franklin.

GB. ENGLAND. Red Deer, Croydon. 1976.

Chris Steele-Perkins, Red Deer, Croydon, 1976.

Stuart Franklin, who won a World Press Award for his iconic 1989 photographs of Tiananmen Square, explains “It’s truly a delight to be tutoring on this course. Documentary photography is enjoying something of a rebirth, a new energy, so it’s a great time to be a part of this partnership with LCC.”

JAPAN. Tokyo. Stock exchange. 1987

Stuart Franklin, Tokyo, Stock exchange, 1987.

Photography at LCC has recently attracted industry attention following senior lecturer, Esther Teichmann, winning the 2014 Levallois Prize, which will see her work exhibited in Paris in October 2014.

Another growing name is Jessica Bishopp, an LCC student who taught the basics of photography to 18 students from The Gambia Senior Secondary School in Banjul – her main focus was to explore photography in relation to the students and their environment, and tell a story through an image. Jessica has been selected as a finalist for the Creative Conscience Awards 2014 for this project.

GB. WALES. Druidstone.  Dogs playing seen through broken window. 2001

Chris Steele-Perkins, Druidstone, dogs playing seen through broken window, 2001

Karin Askham, LCC Dean, Faculty of Media commented, “LCC is committed to stretching educational norms and pushing industry boundaries. This collaboration with Magnum sees two world leading institutions joining together, to deliver a course that resonates in a world inspired by images.”

ETHIOPIA. feeding centre for people displaced by famine. 1983.

Chris Steele-Perkins, Ethiopia, feeding centre for people displaced by famine, 1983.

An agency synonymous with international names and ‘concerned’ photography, the Magnum photography documentary course runs for three weeks and will include access to the Magnum Print Room, book production and a graduation party.

Find out more about the Magnum Short Course and sign up.

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