Archive for the ‘News’ category

Metaphonica: fine art and music collaborate

Image Credit: John Sturrock

Image Credit: John Sturrock

Last week The Street was host to ‘Metaphonica’, a night of experimentation between art and music, inspired by the historic relationship between art school and noted musicians.

With acts including Tim Exile, The Bloody Bishops, Resonance Radio Orchestra and The Perverts, the evening considered the relationship between contemporary art and musical excess.

View the gallery below to see more from the event.

More info:
BA Fine Art course page
MA Fine Art course page

Metaphonica event at Central Saint Martins, King's Cross Metaphonica event at Central Saint Martins, King's Cross Metaphonica event at Central Saint Martins, King's Cross Metaphonica event at Central Saint Martins, King's Cross Metaphonica event at Central Saint Martins, King's Cross 150313_183 Metaphonica event at Central Saint Martins, King's Cross Metaphonica event at Central Saint Martins, King's Cross Metaphonica event at Central Saint Martins, King's Cross

Image credit: John Sturrock

Alexander McQueen: Savage Beauty

 Spray painted dress  Artist: Alexander McQueen  Date: No 13, S/S 1999  Credit line: Model: Shalom Harlow represented by dna model management New York, Image: Catwalking  Special terms: None  Title: Tahitian pearl and silver neckpiece  Artist: Shaun Leane for Alexander McQueen  Date: Voss, S/S 2001
Following a record-breaking run at The Metropolitan Museum of Art in New York, ‘Alexander McQueen: Savage Beauty’ has arrived in London in even more fantastical form than the original. Curated by UAL academic Claire Wilcox, the exhibition at the V&A expands on the dazzling retrospective of one of history’s most visionary fashion designers.

Tahitian pearl and silver neckpiece Artist: Shaun Leane for Alexander McQueen  Date: Voss, S/S 2001 Credit line: Model: Karen Elson, © Anthea Simms
The story of Lee Alexander McQueen’s entrance to Central Saint Martins has passed into legend. For the London exhibition, V&A senior fashion curator and London College of Fashion professor of fashion curation Claire Wilcox has added a new section focusing on his time as a fledgling designer in London, just after graduating from the MA Fashion course. Claire is uniquely positioned to curate the show, having worked with the radical designer on a number of events during his lifetime.

Title: Jellyfish ensemble and Armadillo shoes Artist: Alexander McQueen Date: Plato’s Atlantis, S/S 2010 Credit line: Model: Polina Kasina, © Lauren Greenfield/INSTITUTE
Speaking to SHOWstudio, Claire said: “On so many levels it feels so right that the show should be happening in London this time. What’s been so incredible it working with all the people that knew him and care hugely about getting it right.”

Artist: Alexander McQueen Date: It's Only a Game, S/S 2005 Credit line: Image: firstVIEW

When the show was first announced, Claire told The Guardian: ““I am – well, everyone in fashion believes they are McQueen’s biggest fan, don’t they? I think we all feel a huge sense of responsibility to do the right thing by him.” While his former colleague and fellow Central Saint Martins alumna Sarah Burton reflected that: “Lee’s [McQueen’s] work transcended the catwalk. He had this ability to touch people from all walks of life, which was a huge part of what made him special.”

Title: Butterfly headdress of hand-painted turkey feathers Artist: Philip Treacy for Alexander McQueen Date: La Dame Bleue,S/S 2008 Credit line: Model: Alana Zimmer, © Anthea Simms
The six month run has already seen unprecedented demand for an exhibition the Evening Standard describes as celebrating Alexander McQueen’s “position as the capital’s greatest fashion visionary.”

Title: Installation view of 'Romantic Nationalism' gallery Artist: Alexander McQueen Savage Beauty at the V&A Date: 2015 Credit line: Victoria and Albert Museum, London

Hear Claire Wilcox speaking about the epic exhibition on the V&A’s Savage Beauty An Inside View video.

Title: Curators Andrew Bolton (Met) and Claire Wilcox (V&A) Credit line: Alexander McQueen: Savage Beauty Fashion Gala at the V&A, presented by American Express and Kering, Dave Benett Getty Images for Victoria and Albert Museum

Guido, guest, Sarah Burton and Kate Moss Credit line: Alexander McQueen: Savage Beauty Fashion Gala at the V&A, presented by American Express and Kering, Dave Benett Getty Images for Victoria and Albert Museum


Read about the V&A’s Savage Beauty illustration competition winning drawings by Wimbledon, LCF and CSM students, which are on sale at the V&A shop. Carmen Whitely design for the V&A's Savage Beauty exhibition print
Read about the Savage Beauty campaign graphics designed by LCC alumna Jo Glover.

Savage Beauty, Jo Glover, V&A, 2015

From 30 April, the Fashion Space Gallery will host ‘Warpaint: Alexander McQueen and Make-up’, a satellite exhibition to ‘Savage Beauty’, focusing on Alexander McQueen’s catwalk make-up. Find more about the Warpaint exhibition.

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Discover more about Savage Beauty on the V&A website.

Search fashion courses at UAL.

Portrait of Alexander McQueen  Artist: Photographed by Marc Hom  Date: 1997  Credit line: © Marc Hom / Trunk Archive

Protest on free education at UAL’s Kings Cross campus

A group of students have staged a protest in the reception area of our Kings Cross campus, joining a long tradition of art school demonstrations against government plans for education.

University of the Arts London shares the passion they profess for Foundation in Art and Design. That is why we announced our plan to bring our Foundation courses together under one roof from 2020.

It is true that we are reducing places in Foundation, mainly at London College of Communication, although not by 800 as the protesters claim. That’s because we don’t think it fair to make students study – and pay all the associated living costs – for longer than necessary

Foundation does what it says on the tin: it educates people in art and design. But most courses at LCC are in communications, so Foundation isn’t needed there. As it is, only a third of LCC undergraduates hold a foundation qualification.

By recruiting students straight from school-level education, we are able to reduce the number of years they need to study and the associated living costs. This will make a big difference to the very diverse community at London College of Communication, where over 43% of our undergraduate students declare a lower socio-economic status.

In the face of wider budget pressures, we are maintaining our investment in our successful Widening Participation scheme, which helps people from disadvantaged backgrounds enter the university and supports them while they study.

We will continue to work with individuals, schools and other organisations from under-represented communities to encourage them into art and design education. For those students who are interested in studying a foundation course, this will continue to be offered at other UAL sites.

 

Mead Scholarships & Fellowships: 2014 winner Jason File plots subversive solo exhibition

Jason File 

A year on from his successful application to the Mead Scholarships & Fellowships programme, Chelsea College graduate Jason File in currently putting the final touches on his upcoming solo exhibition – An Ornament and a Safeguard.

The Mead Scholarships & Fellowships programme is one of the most prestigious  student and graduate support initiatives at UAL, and is made possible through the generous support of Scott Mead.

Mead Fellowships provide up to £10,000 for recent UAL graduates to allow them the time and flexibility to develop their creative practice after graduation. File has used the funding he received last year to conceive an exhibition that aims to show “as transparently as possible, the ‘total potential value’ of a monetary art prize to an early-career artist”.

Expending £4,999 of his £5,000 Mead Fellowship grant on legitimate exhibition costs, File will display the ephemera generated by this process in the form of a physical ‘balance sheet’, ranging from documentation of the cost to evidence of the value produced - including a published catalogue and the potential acquisition of the installation itself.

“Perhaps only in the art world can a £1 coin be legitimately offered for sale for £10,000” Jason File, 2014 Mead Fellow.

An Ornament and a Safeguard will take place 29 April – 6 June 2015 at The Ryder Project (19a Herald Street, London E2 6JT)

Finally, applications for this year’s Mead Scholarships & Fellowships are currently open and close on 1 May 2015, 5pm.

Find out more about Mead Scholarships & Fellowships, including how to apply.  

 

 

 

Waste-Off and LCC’s Museum of Reinvention

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The Museum of Reinvention, Waste-Off, LCC, 2015.

This week marks the conclusion of the cross-University Waste-Off Challenge, a  project to give waste new value and help promote material reuse and sharing. As part of this the Museum of Reinvention is being exhibited at LCC.

Waste-Off was launched at the end of last year by the UAL research hub Conscientious Communicators with support from Stephen Reid, Deputy Vice Chancellor of UAL, who saw the project as an opportunity to “harness the passion to drive forward change”.

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The Museum of Reinvention, Waste-Off, LCC, 2015.

Teams comprised of students, academic and technical staff came together to collect material waste and via studio working and workshops facilitated by design-maker and UAL alumnus Jan Hendzel, created collaborative inventions.

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The Museum of Reinvention, Waste-Off, LCC, 2015.

The result was the generation of diverse and inventive projects from across London College of Communication, Central St Martins, Camberwell and London College of Fashion.

LCC students, staff and alumni created  two cabinets of reclaimed, up-cycled and reinvented objects – to act as a permanent showcase of inspirational examples, teaching tools and unexpected ‘creative curiosities.’ The aim was to demonstrate that salvaged items can have greater value, character and potential than virgin materials.

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The Museum of Reinvention, Waste-Off, LCC, 2015.

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The Museum of Reinvention, Waste-Off, LCC, 2015.

Sarah Temple and Tara Hanrahan, who conceived and managed the project, explain: “We wanted people to explore the creative potential of the discarded! To show by example what is possible and through this activity help establish practical processes for staff and students to share resources and avoid contributing to landfill.”

Find out more about Conscientious Communicators here.

 

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Tim Meara Featured in Dries Van Noten Exhibition

Still from Small Gesture In Bare Rooms Tim Meara

Still from Small Gesture In Bare Rooms Tim Meara

Tim Meara, Senior Lecturer on the Graphic Design and Fashion Communication foundation pathways and acting Stage 2 Leader for BA Graphic Design, has had work selected for Dries Van Noten’s Inspiration exhibition in Antwerp.

Inspiration explores Dries Van Noten’s creative process through his numerous influences. Tim Meara’s 2010 film ‘Small Gesture In Bare Rooms’, commissioned by the Centre Pompidou and featuring Lucian Freud, is included in the exhibition.

Still from Small Gesture In Bare Rooms © Tim Meara

Still from Small Gesture In Bare Rooms Tim Meara

Talking about the work, Tim Meara says: “My approach was to gather reminiscences from some of the key people in Freud’s life – family and sitters – to capture the essence of the artist’s life and work through a series of filmed ‘silent portraits’.

“I was able to work closely with Lucian Freud and his collaborators for the production, from Leigh Bowery’s assistant, Lee Benjamin and BodyMap designer Stevie Stewart, who reconstructed the PVC clubbing outfit worn by Bowery for Annie Leibovitz’s iconic 1994 photograph and brought it to life again for the film; to Nicola Bateman herself, who appears, embroidering the bedspread that she made for herself and Bowery just before they were married.

“Freud painted her as she sewed in ‘Evening in the Studio 1993’. The scenes are inter-cut with footage of Freud walking the banks of the canal in London’s Little Venice, a kestrel perched on his arm. The artist used to keep kestrels in his Delamere Terrace studio in the ’40s.”

The show also features works by a.o Yves Klein, Thierry De Cordier, Victor Vasarely, Damien Hirst, Cecily Brown, Pol Bury, Christopher Wool, Hubert Duprat, Pablo Picasso, Mark Rothko and James Tissot.

The exhibition runs at MoMu – Fashion Museum Province of Antwerp in Belgium until 17 July 2015.

More information:
– MoMu
Foundation Diploma in Art and Design
BA Graphic Design

Four Alumni Named LVMH Prize Finalists

The eight finalists (clockwise from top left): Arthur Arbesser, Coperni, Craig Green, Faustine Steinmetz, Vetements, Off-White c/o Virgil Abloh, Marques'Almeida and Jacquemus.

The eight finalists (clockwise from top left): Arthur Arbesser, Coperni, Craig Green, Faustine Steinmetz, Vetements, Off-White c/o Virgil Abloh, Marques’Almeida and Jacquemus.

The finalists for this year’s LVMH Young Fashion Designer Prize have been announced. Four of the eight labels in the running are made up of graduates from our BA and MA Fashion courses.

The shortlist includes alumni labels Arthur Arbesser, Craig Green, Faustine Steinmetz and Marques’Almeida.

Up for grabs is a grant of 300,000 euros and 12 months of personalised technical and financial support.

The last year’s inaugural prize was won by MA Fashion graduate Thomas Tait.

More information:
BA Fashion
 - MA Fashion
LVMH prize

BA (Hons) Advertising student premieres romantic drama Handle with Care at Cineworld

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Handle with Care (2015) in production.

Third-year LCC student Tope Phillips has just completed his second feature Handle with Care, a British romantic drama exploring the highs and lows of love and friendship within a circle of five twenty-somethings living in London’s evolving suburbia.

The film touches on issues faced in contemporary relationships including interracial dating, serial daters, the challenges of commitment and many others, premiering recently at Cineworld Canary Wharf.

Watch the trailer //

We caught up with Tope to find out more about his work.

How did you first get into filmmaking?

I have always had an interest in films and writing, however I first got into filmmaking in my first year of university. I discovered I had a flair for filmmaking after I worked on a couple of projects.

One of my old friends Josh Bridge then contacted me, after seeing some of my work, about teaming up and creating films together at the end of 2012. We got together with the same vision and we have created two films together [the first was Squeeze, which premiered at Cineworld Chelsea].

What do you most enjoy about the process as a whole?

I enjoy every part of filmmaking, from the writing and developing of the storyline and scripts, to the audition, meeting and getting to know the actors during the rehearsals, and selecting locations for filming.

I also really enjoy the production and all the technical aspects of filming such as lighting, selecting the lenses and using different equipment on set such as the rigs and mini-cranes, and the post-production aspects such as editing, selecting the film soundtrack, designing the posters and then promoting the film.

Seeing the whole plan come together was very rewarding, however I would say my favourite part of the process was the production. This was the most rigorous, however also the most rewarding.

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What has so far been the biggest challenge?

The biggest challenge was during the production of the film, we had really long days with some days starting shooting at 9am till 3-4am and resuming filming the next day at 9am.

We also had really big scenes like a scene at a comedy club where we had over 50 extras, so we had to be really organised in order for things to run smoothly.

Handle with Care is about dating in London – obviously there are a lot of films exploring this area, so what did you particularly want to address in your own film?

We made sure this film wasn’t like the typical romantic comedy/drama with the typical fairytale ending.

We made sure the characters were real and relatable and touched on many issues in young people’s relationships today such as interracial dating when parents and other parties may not approve, relationships where one party is eager to get married whilst the other isn’t, serial dating and the impacts it has, and lots more.

We also focused it on a group of friends so we could tell multiple stories at the same time.

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Behind-the-scenes moments during shooting.

You’re currently studying BA (Hons) Advertising – how do you think this has helped your filmmaking?

Studying advertising gave me a can-do attitude, it definitely helped me in seeing things from different point of views.

Advertising involves a lot of planning and developing ideas which is essential in filmmaking. My lecturers helped to keep me motivated and encouraged me to pursue filmmaking.

What’s next for you?

Hopefully I can carry on making films on a bigger, better scale in the future. I also really like advertising so I might work in the advertising industry for some time.

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Third-year BA (Hons) Advertising student and filmmaker Tope Phillips

Visit the Handle with Care website

Read more about BA (Hons) Advertising

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Three Students Among Savage Beauty Winners

©V&A/ Joo Yeon Kim

©V&A/ Joo Yeon Kim

The V&A has announced the five winners of its Savage Beauty competition, which asked UAL students to create an illustration inspired by the work of Alexander McQueen.

Of the students selected to have their work turned into open edition giclée prints, three are from Central Saint Martins. The prints will be available in the V&A shop.

Two of our winners – Amanda Yam and Joo Yeon Kim – are studying BA Fashion. Both drew their inspiration from McQueen’s Horn of Plenty Autumn/Winter 2009 collection.

©V&A/ Amanda Yam

©V&A/ Amanda Yam

Radical and mischievous
Amanda used acrylic paint and photoshop to create her piece. She says: “I liked the contrast of the couture influence in the silhouette and the graphical element of the Escher-inspired magpie print.”

Joo was keen to convey the volume and structure of the garment she portrayed. She explains: “I wanted to point out the silhouette and the prints on the fabric by drawing it simply, as if it were a sculpture without legs or face.”

BA Graphic Design’s Jonny Drewek created a playful take on McQueen’s ‘bumster’ jeans. Jonny says: “[McQueen] was a radical, mischievous guy, and I think he would’ve cringed at a poe-faced tribute.”

©V&A/ Jonny Drewek

©V&A/ Jonny Drewek

More information:
BA Fashion
BA Graphic Design
V&A news story

Artefact // Behind the Scenes

artefact team in newsroom

The Artefact team at work in the newsroom. Image © SUARTS

Third-year BA (Hons) Journalism student Paula Wik reflects on her experience as Managing Editor on Artefact magazine.

Behind the scenes, blood, sweat and tears are shed as we try to pull it all together. We are in the newsroom Monday to Wednesday 10am-5pm and the process is similar to that of a ‘real’ publication.

That’s because we are a real publication. Over the two terms we have worked on Artefact, over 600 articles have been published, many over 1,000 words.

We have secured interviews with big shots such as news anchor Jon Snow, Green Party leader Natalie Bennett and celebrated photographer and UAL alumnus Rankin, as well as many less famous individuals who we find inspiring and/or interesting.

We’ve done original research and created some pretty darn exciting pieces – our piece on whaling in the Faroe Islands has drawn over 3,600 unique viewers alone!

faroe islands piece

Artefact recently investigated whaling in the Faroe Islands.

Each article is painstakingly processed through the workflow from its beginnings as a ‘pitch’ (a suggestion of a story to be written – either from writers or editors), to ‘in progress’ (when writers write the story), to ‘draft submitted’ (when editors edit the piece), to ‘pending subbing’ (when sub-editors correct flow, spelling and grammar), to ‘editor’s check’ (when senior editors give the piece a once over).

Finally, the article reaches the tutors who approve the piece before publishing.

Along the way it can be sent back and forth between the writer and the editors many times for polishing and improvements – maybe another quote is needed for balance, maybe there’s a legal issue, maybe the whole piece doesn’t make sense.

Our turnaround for our print publication is very time-limited. We’re only in the newsroom three days a week and one printed edition has to be created in four weeks – from pitch to being sent off to the printer.

liberty cover

The magazine explored the idea of freedom in the Liberty issue.

Everything has to be considered – content (of course), layout, design. Will this appeal to our readers? Will our front cover make our readers want to pick it up? The balance of the articles: harder stories mixed with softer; images versus illustrations.

Does the content mirror our issue theme – this year we’ve looked at Metamorphosis, Greed, Liberty and Therapy. Does the content relate to the theme in too much of an obvious, literal or ‘samey’ way?

We work with a designer who guides us with the layout of the printed editions. We often clash, but always try to reach a compromise.

green issue cover

The Natural Capital issue was released to coincide with LCC Green Week 2015.

As the managing editor for the last two issues I have been massively privileged. Being in the middle of it all means that I have been able, and required, to learn at least a little of what all the different roles demand.

There have been many flaws in our system; some roles are only needed for a few hours per day, while my job has turned into a full-time, seven days a week position.

A big difference between Artefact and a publication out in the real world is that we are students and have not been employed – instead, we’re paying to produce the content.

We all bring varying levels of dedication, talent and experience, which has been the biggest challenge of the module. For those students who have taken ownership of Artefact, it’s enriched our experience of BA (Hons) Journalism.

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Spread from the Liberty issue of Artefact.

I know there will be changes made for the future Artefact team, by which time we will hopefully be employed after having wowed the industry folks out there with our incredibly impressive publication.

Our baby, created from nothing, has grown up to be the talk of the town. Maybe not quite, but we’ve had amazing feedback.

I am grateful for this module and being able to leave three years of university with four brilliant editions of Artefact in my hand – knowing that the hard work we have poured into it has, to at least an extent, made up for the masses of money we have poured into our education. And did I learn…

Visit the Artefact website

Read more about BA (Hons) Journalism

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