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Research Degrees Prospectus

ual: universityof the arts london

W www.arts.ac.uk/research/research-degrees/E [email protected] @ResearchUAL F www.facebook.com/UALResearch

3 Foreword

Research Degrees at University of the Arts London 4 Length of study 6 Research Training RNUAL – Research Network University of the Arts London 6 Student support 7 International students 7 Entry requirements 8 How to apply 9 Funding opportunities 9 Writing an outline of your proposed research About the Colleges 12 Camberwell, Chelsea, Wimbledon 16 Central Saint Martins 20 London College of Communication 24 London College of Fashion

28 University of the Arts London Research Centres 29 Afterall 31 Centre for Fashion Curation – CfFC 34 Centre for Sustainable Fashion – CSF 38 Creative Research into Sound Arts Practice – CRiSAP 42 Design Against Crime Research Centre – DAC 46 Ligatus Research Centre 50 Photography and the Archive Research Centre – PARC 54 Textile Futures Research Centre – TFRC 58 Transnational Art, Identity and Nation – TrAIN

62 University of the Arts London Archives and Special Collections 63 University of the Arts London Archives and Special Collections Centre

College Archives and Special Collections 66 Camberwell, Chelsea, Wimbledon 68 Central Saint Martins 71 London College of Communication 72 London College of Fashion

73 Contact us

Contents

Foreword

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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 College of ArtsCentral Saint MartinsChelsea College of ArtsLondon College of CommunicationLondon College of FashionWimbledon College of Arts

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.

Research is at theheart of our creativity

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Research Degrees at University of the Arts London

University of the Arts London was the ideal place to develop my research degree. I had brilliant and well recognised supervisors, and holding a PhD from the University opens many doors. Dr Flavia Amadeu – PhD (Fashion Design), 2016

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, 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 1 year 3 months 1 year 9 months 3 yearsMPhil – Part-time 2 years 3 years 6 yearsPhD – Full-time 2 years 2 years 9 months 4 yearsPhD – Part-time 3 years 5 years 8 years


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

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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.

More information is available from Student Services or at www.arts.ac.uk/study-at-ual/.

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 Co-ordinator, who leads international affairs at the College, and is the first point of contact for international students.

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/study-at-ual/ has the latest information on practical issues that affect international students and hosts a mailing list aimed at the University’s international community.

I was close to some of the world’s leading libraries (including the University’s own) and specialist research networks. Being in London made a huge impact on my development as a researcher and subject specialist.Dr Lipi Begum – PhD (Art and Design: History and Theory), 2015

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 activities in which you are likely or expected to become involved; for example: attending, organising or participating in conferences, scholarly seminars; organising or participating in exhibitions; involvement in other professional activities for arts organisations, networks, or other external research groups.

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 the University. 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.

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/study-at-ual/international/.

Entry requirements

The normal minimum entry requirement for a place on the Research Degrees Programme is an upper second class honours (2:1) degree of a British university or recognised institution of higher education, or an equivalent qualification from an institution outside of the UK.

However, a Master’s degree in an appropriate subject is considered to be a particularly valuable preparation for the academic and intellectual demands of an MPhil or PhD. In some instances, applicants without the minimum academic requirement as outlined above may be considered for a place on the Research Degrees Programme if they can demonstrate appropriate alternative qualifications, relevant professional experience, or previous research.

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Funding opportunities

Funding opportunities for PhD students are available from the University’s website www.arts.ac.uk/research/research-degrees/funding-opportunities/.

Full information about funding schemes is normally released in December for funding to start in the next academic year i.e. from September.

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’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 aims. 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 aims.

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 (Art and Design: History and Theory)

If English is not your first language, you will normally need to demonstrate that you are suitably proficient in English before we can enrol you in the Research Degrees Programme. You can do this by providing evidence of one of the following:

– A recent University of the Arts London-approved English Language Test (ELT) score which meets the University’s requirements for the Research Degrees Programme: either an IELTS minimum overall test result score of 7.0 with a 7.0 in writing and with no other component score lower than 6.0, or an equivalent test score;

– Recent completion of an MA level course of study (Distinction only) in a majority English- speaking country.

By ‘recent’ we mean that your English Language Test score or MA level qualification needs to have been awarded no more than two years prior to the date that you would first enrol in the Research Degrees Programme at the University. We cannot normally accept evidence that is older than this.

You may submit an application for a place on the Research Degrees Programme before you have obtained your IELTS or equivalent test score, or before you have received your MA certificate, but if you are offered a place then you would need to provide evidence of having satisfied this condition before we can enrol you.

Each applicant is assessed on an individual basis and if you are offered a place on the Research Degrees Programme, then depending on your level of English language proficiency as demonstrated through your application form and interview, we will inform you whether we would require a new IELTS result before you can begin your PhD studies.

Please note that we can no longer accept TOEFL test results for this purpose.

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/research-degrees/apply-for-a-research-degree/.

Your application should be submitted electronically to [email protected].

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:

Camberwell, Chelsea, Wimbledonwww.arts.ac.uk/chelsea/research/

Central Saint Martins www.arts.ac.uk/csm/csm-research/

London College of Communication www.arts.ac.uk/lcc/lcc-research/

London College of Fashion www.arts.ac.uk/fashion/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.

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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 (Fine Art)

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 this be a wholly written thesis?

– will it be a written thesis with DVDs?

– will it be an exhibition and a written thesis?

– will it be a written thesis with images?

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.

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.

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/researching-at-ual/researcher-support/.

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.

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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, curating and collections, theatre and performance are developed and interrogated through a focused research approach of contemporary relevance. We are particularly interested in research degree proposals that will engage with and respond to our core disciplines and draw on the research expertise of our staff.

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

About the Colleges – Camberwell, Chelsea, Wimbledon

Through the combined work of the many talented and dedicated researchers across the three colleges, we are able to offer an exciting and rigorous experience for our graduate students. One of the most important functions of the Camberwell, Chelsea, Wimbledon Graduate School is to facilitate greater communication, focus and debate of key research issues across the three colleges. Our research communities engage with urgent cultural, social, political and economic agendas of our time and address them through innovative and creative responses.

Camberwell, Chelsea, Wimbledon

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British School at Athens Arts Bursary and Residency for Camberwell, Chelsea, Wimbledon PhD Students

The British School at Athens and Camberwell, Chelsea, Wimbledon Graduate School have embarked on a new joint initiative. An arts residency in Greece, supported by a bursary, with studio and accommodation provided, is offered annually to a practice-based PhD student from one of the three colleges.

Graduate School Public Programme

Through our programme of events, Camberwell, Chelsea, Wimbledon Graduate School aims to celebrate the research activity taking place within our three colleges, integrate this within our taught courses and position ourselves within key debates relevant to art and design.

PhD Seminar Series

We offer 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.

My University of the Arts London supervision team were all brilliant scholar-practitioners who encouraged me to push beyond the boundaries of conventional thinking.Dr Kimathi Donkor – PhD (Fine Art), 2016

About the Colleges – Camberwell, Chelsea, Wimbledon

A significant and distinctive aspect of the 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 as well as numerous staff and student exchanges.

Camberwell, Chelsea, Wimbledon Graduate School Seminars and Activities

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

1st Year PhD Exhibition

Research degree students have the opportunity to develop and curate an annual exhibition.

Our Public 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.

You become part of a network of researchers across University of the Arts London with whom you can share your work. This network and the access to the University’s collections have been invaluable in my career as a researcher.Dr Claire Holdsworth – PhD (Art and Design: History and Theory), 2016

Our research work shapes the future of theory and practice, and is led by academics renowned in their fields. It pushes disciplinary boundaries and is carried out in collaboration with industry, museums and galleries, governmental organisations and academic institutions, and funded by the European Union, British Academy, Wellcome Trust, Leverhulme Trust, UK Research Councils, and charitable trusts and foundations. The results of our research take many forms, including artefacts, designs, patents, catalogues, exhibitions and digital resources of various kinds, as well as published books, journal articles and commissioned reports.

About the Colleges – Central Saint Martins

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Central Saint Martins is original, experimental, unconventional, visionary, intellectually and technically rigorous. Guided by the principle of research as the generation of new knowledge with real-world significance – and therefore as an inherently creative and risky process – we provide an environment which continues to nurture successive generations of artists, theorists, designers, performers and makers who challenge, define and re-define our times.

Central Saint Martins

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About the Colleges – Central Saint Martins

We have eight research programme areas at Central Saint Martins: Product, Ceramic and Industrial Design, Jewellery and Textiles, Culture and Enterprise, Fashion, Graphic Communication Design, Fine Art, Spatial Practices and Drama and Performance, and a thriving research community working within and across these specialisms, with more than 70 students from around the world studying towards MPhil and PhD degrees here.

We give our candidates time and space, together with expert supervision and support, a focused series of skills seminars and workshops, opportunities to contribute to research groups and forums, to present and test research, to organise and curate exhibitions, conferences and events, and to write and edit publications.

University of the Arts London provided shelter for my inter-disciplinary research practice, and nurtured my creativity with a fine balance between independence, supervisory guidance and inspirational college life.Dr Marin Sawa – PhD (Architecture and Spatial Design), 2016

The crucible for all this creativity is the award-winning Granary Building in King’s Cross, our home, with a range of studios, workshops, lectures theatres, performance and exhibition spaces, and dedicated space for research students to work in, come together, and be inspired.

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

About the Colleges – 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 vibrant networks and communities of practice. Underpinned by exploration and experimentation across converging subject areas, our research crosses disciplinary boundaries and both informs, and is informed by, innovation in the creative industries.

London College of Communication

I have a brilliant supervisory team and get regular tutorials and feedback. The university- wide research network enables us to meet other research students and share news and information. Dr Rohit Dasgupta – PhD (Art and Design: History and Theory), 2016

About the Colleges – London College of Communication

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Research output at London College of Communication 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

London College of Communication 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 world leading research centres: the Photography and the Archive Research Centre (PARC) and the Centre for Research in Sound Arts Practice (CRiSAP) as well as several research fora open to established and emerging researchers: Photography and the Contemporary Imaginary; Design Activism; Conscientious Communicators; Documentary; and Gender and Sexuality.

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London College of Fashion hosts two world leading University of the Arts Research Centres: for Fashion Curation and Sustainable Fashion; the Digital Anthropology Lab and seven Research Hubs. Our research spans practice and theory in design, performance, curation, artefact, psychology, cosmetic science, social science, sustainable and material practices, creative business and management, digital production and communication; film, media and cultural studies

About the Colleges – London College of Fashion

Research at London College of Fashion thrives within the College’s unique specialist and transdisciplinary environment and is supported and resourced by dedicated research facilities such as the cosmetic science and digital laboratories, Fashion Space Gallery (FSG), world-class library and archive.

London College of Fashion

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About the Colleges – London College of Fashion

London College of Fashion’s partnerships consist of wide ranging cultural and creative institutions with ever expanding collaborations including the Victoria and Albert Museum, with whom the college has a twenty five year working history. London College of Fashion also form part of a five year collaboration with Kering.

The College’s research community comprises of thirteen Professors and five Readers, five Post-Doctoral Researchers, twelve Research Fellows, three Creative Fellows and eight Early Career Researchers (ECRs).

The college has over 60 research students. Researchers are engaged in a number of practice-based and theoretical projects which engage with many dimensions of fashion, from sustainability, digital anthropology, textile science and engineering to performance dress, transnational media, and creative business and marketing.

The breadth and depth of research has a global reach, with partners and collaborations across the world, which attracts a number of visiting researchers.

Studying at University of the Arts London is a wonderful experience as it is a research community that spans its colleges, encouraging interdisciplinary approaches to original research. Felice McDowell – PhD student, London College of Fashion

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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 the University.

University of the Arts London Research Centres

Research Centres – Afterall

Afterall is a Research Centre of University of the Arts London, located at Central Saint Martins. We undertake contemporary art research within this framework and in partnership with other international educational and cultural institutions.

Afterall focuses on late modern and contemporary art (1955 onwards). The Centre has an academic emphasis on developing the field of exhibition histories and is closely linked to the MRes Art: Exhibition Studies pathway. With the support of Arts Council England we disseminate our research through Afterall Journal, Afterall Books, www.afterall.org/online, screenings, talks and symposia.

Afterall

Co-Directors Professor Mark Lewis and Professor Charles EscheWebsite www.afterall.orgTwitter @AfterallJournalFacebook www.facebook.com/Afterall.org/

A Journal of Art, Context and Enquiry

ArahmaianiTania BrugueraInji EfflatounArt and Biopolitics

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Research Centres – Centre for Fashion Curation

The Centre for Fashion Curation is the centre for knowledge and experiential-based research in fashion curation at University of the Arts London. The main objectives that shape the direction of CfFC are designed to encourage experimentation and rigorous research and outcomes. The Centre is already recognised by key research and academic institutions, museums and galleries for its generation of authoritative new knowledge through innovative methodologies, a breadth of research and interdisciplinary practices. It is building on an already well-recognised research profile for its members’ work in fashion curation.

Centre for Fashion Curation – CfFC

Co-Directors Professor Amy de la Haye and Professor Judith ClarkWebsite www.arts.ac.uk/research/ual-research-centres/centre-for-fashion-curation/Twitter @CfFC_UAL Blog www.fashion-curation.com/

Afterall Journal

Afterall is published by Central Saint Martins in partnership with M HKA in Antwerp, and is currently engaged in a two-year research programme with Art Gallery of Ontario in Toronto and the John H Daniels Faculty of Architecture, Landscape and Design, University of Toronto.

Afterall Books

Offering critical analysis of exhibitions of contemporary art that have changed the way art is seen and made, the Exhibition Histories series is published in partnership with the Center for Curatorial Studies, Bard College. Dedicated to producing studies of single works of art, considered in detail by single authors, and the wider context for art the One Work and Critical Readers series were founded in partnership with The MIT Press.

Our PhD students might come from an academic or practice-led art background; they may be artists or writers, art historians or curators. Our centre members offer a broad range of expertise. These include the directors, Professor Charles Esche and Professor Mark Lewis, Dr Lucy Steeds, Yaiza Hernández, David Morris, Helena Vilalta, Joyce Cronin and Caroline Woodley. Students will have unique access to the resources and knowledge already amassed by Afterall, as well as to its network of contributors and collaborating institutions.

Agnes Martin

Night SeaSuzanne Hudson

Afterall Books: One Work

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Research Centres – Centre for Fashion Curation

The CfFC PhD supervisory team includes leading practitioners and theorists in the field of fashion curation crossing many different disciplines and fields. These include fashion history and exhibition-making; the history of womenswear and menswear; studies in gender and sexuality; object- and ideas-led exhibition-making; oral histories and archival practices; and the biography of objects and material culture. The Centre is fortunate to have three professors specialising in the field who all currently supervise PhD students: Amy de la Haye, Judith Clark and Claire Wilcox. Further supervisors include Dr Shaun Cole (Associate Dean, Postgraduate Communities at London College of Fashion), Dr Jeffrey Horsley (Post-doctoral Research Fellow in fashion curation) and Ligaya Salazar (curator, Fashion Space Gallery, London College of Fashion).

Our PhD students come from broad backgrounds and disciplines – from fashion studies to literature, history to sociology, fashion-makers to exhibition-makers. They are united by rigorous interrogation of what the practice of dress display and narratives in exhibitions could be. The interdisciplinary nature of fashion studies is perfectly exemplified in the breadth of research currently being undertaken by CfFC’s academic researchers, and PhD students. Fashion and museological theory forms a fundamental building block upon which students frame their research. They can complete practice-based research degrees or conventional theses.

A core aim is to become an international leader in educating future practitioners in the field, equipping them with curatorial expertise appropriate to fashion. Research students explore notions of fashion and curation across a broad range of subject areas, from sociological and anthropological perspectives, to material culture, life-writing and museological methodologies, on subjects such as personal wardrobes, the fashion industry, exhibition and diverse curatorial interventions.

Alumni from the MA and PhD programmes are working in leading institutions and as freelancers in many countries including, amongst others, China, France, Italy, Sweden, America, Mexico, South Korea, Japan, Russia and Malaysia.

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The work of the Centre for Sustainable Fashion (CSF) is situated in the field of research of design for sustainability, explored specifically in its application to fashion, where it draws upon multiple philosophies, approaches and methods.

Centre for Sustainable Fashion – CSF

Director Professor Dilys WilliamsWebsite www.sustainable-fashion.comTwitter @sustfashFacebook www.facebook.com/centreforsustainablefashion

Research Centres – Centre for Sustainable Fashion

CSF seeks to make a distinctive contribution to sustainability futures by leveraging fashion’s role in identifying and connecting us to our time and place, its role at the centre of contemporary society, as a global industry and as an attractor of people in order to foster new understandings of change and also to create it. Drawing on theory and practice of the field of design for sustainability, research activity tends towards trans-disciplinary work and to projects rooted in people and nature that critique and push beyond a reductionist approach to sustainability change and the industry status quo.

Current and recent PhD students cross a number of boundaries, including working in relation to design for lower impact in clothes maintenance, design for different lengths of life, clothing with embedded technology related to wellbeing, mending, designing to foster a closer relationship with nature, the practices of social innovation.

Research Centres – Centre for Sustainable Fashion

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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 theoretical and practice-based knowledge 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 and in both creative and more traditional practices of research. These include Dilys Williams, CSF Director and Professor of Fashion Design for Sustainability; Sandy Black, Professor of Fashion and Textile Design and Technology; Helen Storey, Professor of Fashion and Science; Lucy Orta, Professor of Fashion, Art and Environment; and Dr Kate Fletcher, Professor of Sustainability, Design, Fashion, who also leads the CSF PhD community.

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

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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.

Creative Research into Sound Arts Practice – CRiSAP

Co-Directors Professor Angus Carlyle and Professor Cathy LaneWebsite www.crisap.orgTwitter @CRiSAP2

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We have also organised a conference on Sound and Anthropology (with the University of St Andrews), three symposia – 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 Jez Riley French, Felicity Ford, Daniela Cascella, Francisco Lopez, Nic Collins and Taina Riikonen. In the last three

Research Centres – Creative Research into Sound Arts Practice

years, amongst many individual successes, our PhD students have collectively contributed artistic work to the Sound Portal installation at Chelsea College of Arts, performed at the White Cube Bermondsey as part of the Christian Marclay exhibition, delivered lectures at the Soundscapes exhibition at the National Gallery and participated in the Sound Passages symposium at the Università Iuav, Venice.

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 London College of Communication.

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.

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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

Research Centres – Design Against Crime Research Centre

on design in their thinking – in other words, when devising crime preventive solutions of their own – 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 wlife, and whether it is workable.

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 ‘criminal’ or security-obsessed.

Design Against Crime Research Centre – DAC

Director Professor Lorraine Gamman Website www.designagainstcrime.comTwitter @designagainstFacebook www.facebook.com/designagainstcrime

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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 DAC 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.

Research Centres – Design Against Crime Research Centre

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.

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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. Over the past two years, Ligatus has led a large network of European partners in the development of a widely adopted bookbinding thesaurus based on semantic web standards. This has resulted in a detailed online glossary of bookbinding terms (www.ligatus.org.uk/lob) and a recommended methodology for recording historic bookbindings, to be described in the forthcoming book: Coming to Terms: guidelines for the description of historical bookbindings, PhD applicants are invited to submit proposals on historical bookbinding and bookbinding terminologies, especially with an emphasis on a multi-lingual/multi-cultural context.

Saint Catherine’s Monastery LibraryMount 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 and other manuscripts and printed books. Ligatus undertook the task of assessing the condition of the manuscripts in a detailed survey of the 3,300 bound manuscripts and the 100 earliest printed books in the collection. It has also designed a new conservation workshop, a stainless steel box for the protection of the manuscripts and is advising on further conservation work. The project has been funded by the St Catherine Foundation. PhD applicants can work with the outcomes from this project and are invited to submit proposals in book conservation and historic bookbinding with an emphasis in the Byzantine tradition.

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:

Ligatus Research Centre

Co-directors Professor Nicholas Pickwoad and Dr Athanasios Velios Website www.ligatus.org.uk Twitter @Ligatus_UAL

Research Centres – Ligatus Research Centre

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Digital archive of bookbinding

The 30,000 slides of the bound manuscripts in the library of St Catherine’s Monastery, taken as part of the survey, have been digitized and have been joined by 10,000 digital images of the bindings on the early printed books. Based on this material, Ligatus is in the process of building a repository of an unrivalled, collection of materials relating to the history of book-binding with images donated by key scholars who have worked internationally in major public and private collections. PhD applicants can work with this material on relevant subjects, including image recognition and automatic identification of binding types.

Knowledge Organisation and Semantic Archiving

Ligatus is pioneering the development of methodologies for documenting heritage archives. Following the proposal of Creative Archiving where the archivist’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 on the arts and humanities.

Partners and cooperators

Ligatus cooperates with many institutions, notably including:– Saint Catherine Foundation– 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 Herzog August Bibliothek, Wolfenbüttel– The National Library of Mexico– The University of Uppsala– The Consortium of European Research Libraries (CERL)

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.

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 University 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 the University and externally. It has instigated the Moose on the Loose Biennale of Research and was co-convenor of the Fast Forward: Women in Photography conference held at Tate Modern.

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, 2011-2015); Considering Vietnam conference (with the Imperial War Museum, 2011); A Day in the World (Kulturhuset, Stockholm and Museum of World Cultures, Gothenburg, 2013); ‘Ken. To be destroyed’ publication and exhibition at the Schwules Museum, Berlin (2016); Garden State: exhibition and publication by Corinne Silva in Partnership with Ffotogallery Cardiff and the Mosaic Rooms, London. 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.

Research Centres – Photography and the Archive Research Centre

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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.

Photography and the Archive Research Centre – PARC

Director Professor Val Williams Website www.photographyresearchcentre.co.uk Twitter @PARC_UAL Facebook www.facebook.com/PARC.UAL

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 – http://mooseontheloose.net/.

Current PhD students are working on both practice-based 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. The Centre has also welcomed visiting research students and visiting research fellows.

Research Centres – Photography and the Archive Research Centre

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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, Professor Patrick Sutherland; Brigitte Lardinois; Dr Alistair O’Neill; David Moore; Pam Skelton and Dr 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. They include noted curators, with exhibitions initiated in partnership with institutions, including Tate Britain, the National Media Museum, and the Barbican Art Gallery. Within London College of Communication, 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 London College of Communication to curate the 2012 exhibition of PhD practice. Research outcomes from PARC members can be found at the University’s repository, UAL Research Online: http://ualresearchonline.arts.ac.uk/.

TFRC and PhD researchers explore the areas of textile and material innovations for fashion, product, architecture, environment and social contexts. Two platforms within TFRC – Textiles Environment Design (TED) and Urban Fabrics – explore questions concerned with the future of textiles and materials, the circular economy and the potential for textile design interventions to bring value into communities.

TED research explores sustainable textile strategy, technology and emerging science fields to drive industry innovation – from collaborating with scientists on new regenerated fibres and short-life materials; to working with consumer behaviour experts on extending the life of textile products through service design. Urban Fabrics reseachers investigate the connection between materials and society in order to develop sustainable socio-responsive textile solutions that empathise with city experiences and promote local ownership.

Research Centres – Textile Futures Research Centre

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The Textile Futures Research Centre (TFRC) is comprised of design researchers and practitioners from Chelsea College of Arts and Central Saint Martins. 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 University of the Arts London research staff, PhD students, national and international academic researchers, cultural institutions, industry and commerce.

TextileFutures

ResearchCentre

Textile Futures Research Centre – TFRC

Director Professor Rebecca Earley (Textiles Environment Design)CSM Co-ordinator Anne Marr (Urban Fabrics)Website www.tfrc.org.ukTwitter @TFRCtextiles Facebook www.facebook.com/groups/TFRClectures/

Research Centres – Textile Futures Research Centre

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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. Current PhD students contribute to a broad range of TFRC 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.

Current Research Projects

– Mistra Future Fashion – www.mistrafuturefashion.com– Trash-2-Cash – www.trash2cashproject.eu– The Textile Toolbox – www.textiletoolbox.com– Cultures of Resilience – www.culturesofresilience.org

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.

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.

TrAIN is a dynamic research forum for internationally recognised scholars and practitioners inside and outside the University. TrAIN offers research excellence and leadership through its coherent

programme of public events and research projects, and it brings together research in transnational issues in art and design, both globally and locally. Central to the Centre’s activities is a consideration of the impact of identity and nation on the production and consumption of artworks and artefacts. This problematic is considered within challenging new global contexts such as the politics of migration and diasporas, techno-cultural shifts and the emergence of new artistic forms, ecologies and networks. 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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Research Centres – Transnational Art, Identity and Nation

Transnational Art, Identity and Nation – TrAIN

Director Professor Paul GoodwinWebsite www.transnational.org.uk Twitter @TrAINCentre Facebook www.facebook.com/TrAINCentre

The Centre for Transnational Art, Identity and Nation (TrAIN) at the University of the Arts London is a cross disciplinary forum for historical, theoretical and practice-based research in art and design, and associated disciplines such as communication, craft and architecture.

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TrAIN has ongoing partnerships with a number of national and internationally significant cultural institutions such as the V&A, Tate, Iniva, and Autograph ABP. Key partnerships have included the TrAIN/Gasworks Artists’ Residency, an international residency which raised specific questions for individual artists and wider issues regarding how both local and international contexts are negotiated in practice.

Research Centres – Transnational Art, Identity and Nation

A recent development is the formation of new Thematic Strands that consolidate and enhance research efforts in the centre. These currently include: Transnational Indigeneity (Dr Pratap Rughani and Professor Oriana Baddeley), East Asian Visual Cultures (Dr Yuko Kikuchi and Professor Toshio Watanabe) and Contemporary Art and Latin America (Dr Michael Asbury). More Thematic Strands are being developed to reflect emerging research themes.

Members contribute to TrAIN’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, lectures, exhibitions and publications. Throughout the academic year TrAIN organises public events, such as the TrAIN Open Series, where artists, theorists and curators present their work and ideas. These are held at Chelsea College of Arts, Central Saint Martins and London College of Communication. More information about the Centre’s activities, core members and visiting scholars, is available at www.transnational.org.uk.

Current TrAIN research projects include

– Black Artists and Modernism (BAM): a three-year research project led by University of the Arts London in partnership with Middlesex University (AHRC) – Translating and Writing Modern Design Histories in East Asia for the Global World (AHRC) – Performing Romani Identities: Strategy and Critique (AHRC).

Previous TrAIN projects include:

– Forgotten Japonisme, the Taste for Japanese Art in Britain and the USA, 1920s-1950s (AHRC)– Dress and the African Diaspora (AHRC) – Other Modernities; Refracted Colonial Modernities: Identities in Taiwanese Art and Design (Chiang Ching-kuo Foundation)– Meeting Margins, Transnational Art in Latin America and Europe, 1950-1978 (in collaboration with the University of Essex, AHRC)– Afterlives of Monuments (British Academy/Nehru Centre High Commission of India)– Birth of Cool: Style Narratives of the African Diaspora (British Council)

University of the Arts London Archives and Special Collections Centre

Website www.arts.ac.uk/study-at-ual/library-services/collections-and-archives/

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

The collection contains materials relating to C&A marketing activities from 1940s to 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.

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.

David Usborne Collection

David Usborne’s collection of 2,000 objects and tools has been amassed over a period of 30 years. It offers a unique perspective on human ingenuity while also illustrating the ‘natural’ aesthetics of utilitarian objects. Many of the objects relate to obsolete crafts and can provide an ongoing source of inspiration to students of fine art and design.

Edward Bawden Collection

Edward Bawden (1903-89) 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, London Transport. The largest section contains works for the Fortnum and Mason department store, London.

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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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 University’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.


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The Stanley Kubrick Archive

Stanley 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/study-at-ual/library-services/collections-and-archives/archives-and-special-collections-centre/stanley-kubrick-archive/.

Tom Eckersley Collection

Tom Eckersley (1914-1997) 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.


John Schlesinger Archive and Library

The collection comprises much of the library of John Schlesinger (1926-2003) 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.

John Westwood Collection

John Westwood was head of design of Her Majesty’s Stationery Office. The collection contains material exemplifying 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.

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.

Phillip Knightley Archive

Phillip Knightley (b.1929) 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.

Robert Fenton Archive

The archive contains papers and information relating to composition and printing. Robert 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

Thorold Dickinson (1903-84) 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.

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College Archives and Special Collections

Chelsea College of Arts

Website www.arts.ac.uk/study-at-ual/library-services/collections-and-archives/chelsea/

African-Caribbean, Asian and African Art in Britain Archive

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.

Artists’ Books

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.

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 University of the Arts London and external researchers can view items in the library.

Chelsea College of Arts 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 King’s College London.

Contemporary Art Slide Scheme

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.

Ephemera Collection

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.

Facsimile Sketchbooks

The collection contains facsimile sketchbooks of twenty eight 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 Ian Hamilton Finlay (1925-2006), including artists’ books, cards, proposals, plays and poetry; correspondence and postcards; and exhibition catalogues, monographs and articles about the artist.

Camberwell, Chelsea, Wimbledon

Camberwell College of Arts

Website www.arts.ac.uk/study-at-ual/library-services/collections-and-archives/camberwell/


Artists’ Books

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. Walter Crane Collection

Walter 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.

Camberwell College of Arts Archive

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.

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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 relatingto 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

A comprehensive archive of material relating to WR Lethaby (1857-1931) – 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 (1881-1953) taught at the Central School between 1906 and 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.

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 School’s teaching collection.

Wimbledon College of Arts

Website www.arts.ac.uk/study-at-ual/library-services/collections-and-archives/wimbledon/

Inventory 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.

Stephen Willats Archive

Stephen Willats (b.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.

Central Saint Martins

Website www.arts.ac.uk/csm/about-csm/museum-and-study-collection/

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. www.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 the College’s rich history. It consists of work by staff and students for more than a century, and from degree shows from the last 20 years. 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.

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.


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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 children’s games, flora and fauna and famous actors from the traditional Kabuki theatre.

Teaching Books

The 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/study-at-ual/library-services/collections-and-archives/london-college-of-communication/

The Catherine Arthur Collection

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

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 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.

Film Script Collection

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

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.

College Archives and Special Collections | Contact Us

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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.

W www.arts.ac.uk/research/research-degrees/E [email protected] 020 7514 9389

Printing Historical 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.

Talwin Morris Collection

Talwin Morris (1882-1911) was a book cover designer and publisher. The collection contains books from the publishing house Blackie and 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/study-at-ual/library-services/collections-and-archives/london-college-of-fashion/

C&A 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.

Clothing and Footwear Institute Archive

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

Cooling Lawrence and Wells Collection

The collection contains the London Time Log, 1891-1937. 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.

EMAP Archive

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.

Gala Collection

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.

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).

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 11 (John Sturrock) Page 12 TransActing: a Market of Values at Chelsea College of Arts | Ligatus Summer School 2014 Page 13 TED Textile Toolbox exhibit Redressing Activism 2014 (Phillip Koll) | Cover of the Journal of Arts Writing by Students (JAWS) | Inter-Action Games Trust Action Space Inflatable (2015) Rootstein Hopkins Parde Ground, Chelsea College of Arts Page 14 Private View of The Research Hub, the annual exhibition by Camberwell, Chelsea, Wimbledon’s first year research students (Claire Mokrauer-Madden) | View down the spine of the binding on the forged Sidereus Nuncius (Nicholas Pickwoad) | Cover of the Journal of Visual Arts Practice (JVAP) Page 15 When the oil runs out people will need horses. Performing Romani Identity Strategy and Critique (Seminar, 2015) (Pratap Rughani) | Cover of the Moving Image Review and Art Journal (MIRAJ).(Sarah Turner Perestroika) | British School at Athens Page 16 (John Sturrock) | (John Sturrock) | The Readers (detail), Anne Tallentire (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 Nowhere Else Exhibition, Anne Tallentire | Image of En Vie – Alive, new Desing frontiers, Espace Fondation EDF, Paris, curated by Carole Collet, (Laurent Lecat) | Edible Alchemy Aperolab event, Bartaku and Carole Collet, (Mischa Haller) Page 20 LCC students (Ana Escobar) | Patrick Sutherland (2012) Economy: the Elephant and Castle. The Elephant Vanishes Page 21 Russell Beastley (2015) PUNK ROCK!! SO WHAT? (Show/Exhibition) (Russell Beastley) | Cathy Lane (2015) Beam (Multi-channel sound installation), Artry Gallery, Fort Kochi, India (Cathy Lane) | Page 22 Sara Davidmann and Catherine Faulds (2015) Extreme (Show/Exhibition) (Sara Davidmann) | Brad Butler and Karen Mirza (2014) Everything for Everyone and Nothing for Us (Show/Exhibition) Page 23 David Toop and Camille Norment (2015) Rapture (Performance) (David Toop) | LCC Frontage. (Julie Coombs) | Sara Davidman (2014), Ken. To be Destroyed (Show/Exhibition) Page 24 LCF Library | Melica Stevic. 3D printed substrates for cosmetics delivery Page 25 Black Point 2012, Jessica Bugg, Performer: Fukiko Takase, (Marc Craig) | Modest Fashion, Reina Lewis | Helen Storey (2016). Dress for Our Time Page 26 The Sustainable Fashion Handbook, Sandy Black | Lynne Murray (2016) NoHandsLCF project | Liz Ciokajlo. Hemp based 3D printing Page 27 Cloud: Meteoros, Lucy Orta | Catalytic Clothing Field of Jeans, Helen Storey Page 28 (John Sturrock) Page 29 Afterall Journal, Issue 42, published in partnership with M HKA, Antwerp, The Art Gallery of Ontario and the John H Daniels Faculty of Architecture, Landscape and Design, University of Toronto (2016) | TExhibition Histories, Cultural Anthropophagy: The 24th Bienal de São Paulo 1998, published by Afterall Books in partnership with the Center for Curatorial Studies, Bard College (2015) Page 30 One Work, Agnes Martin: Night Sea by Suzanne Hudson, published by Afterall Books (2016) | Luminous Books bookshop in the Lethaby Gallery, CSM, during Afterall exhibition, Martha Rosler: The Bowery, 2015 | Archival display from the Afterall exhibition, Martha Rosler: The Bowery, Lethaby Gallery, CSM, 2015 Page 31 RED Comme des Garçons: innovation, provocation (Exhibition) 2015 (Jeff Horsley) Page 32 Celia Reyer | Coco Chanel: a new portrait by Marion Pike (Exhibition) 2013 (Daniel Caulfield Sriklad) | (Amy de la Haye) Page 33 Judith Clark (2012) Handbags: the making of a museum. (Laura Thornley) | Amy de la Haye and Judith Clark. Exhibiting Fashion: before and after 1971 (Laura Thornley) Page 34 Shared Talent South Africa (Gavin Fernades) | The RAJ, Digital photographic-illustration collage, Hormazd Narielwalla | Transformational Thinking Practice Day (Ana Escobar) Page 35 Shared Talent South Africa (Gavin Fernades) | Local Wisdom Project Flyer Page 36 Antarctic village, 2007, Lucy and Jorge Orta | Flavia Amadeu, Rainforest F | Transformational Thinking Practice Day (Ana Escobar) Page 37 Flavia Aamadeu. Organic Jewellery | Lara Torres (2015) Still from Towards a Practice of Unmaking (Film) Page 38 Road Music, Peter Sinclair 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 40 Louder Whisper, New Sound Art from India, curated by Meena Vari | Laptop Orchestra-Coronet Page 41 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 42 Stop thief chair Page 43 Puma bike unfolded and folded | ATM privacy zone art installed in Camden and Westminster, London | Poster for ‘Up the down escalator’, DESISlecture, Kees Dorst Page 44 Karrysafe screamer bag | Grippa clip Page 45 Design Against ATM crime exhibition | M stand on street | M stand Page 46 Marbled book block edges, National Trust, Lacock Abbey (Nicholas Pickwoad) Page 47 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 48 Conservation box | A 16th-century book board covered in tooled leather re-used on an early 19th-century edition, Private collection (Nicholas Pickwoad) Page 49 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 50 Iraq War Veteran, Stuart Griffiths, Bolton, 2006 Page 51 Peanut man | PARC Summer symposium (Wendy Short) | Zoe and David, Grace Lau Page 52 Daniel Meadows Exhibition, National Media Museum, Bradford | Daniel Meadows catalogue Page 53 Photography & Culture, PARC publications | The Big Conversation, Martin Parr and Grayson Perry | Moose of the Loose Flyer, Designer: Will Brady Page 54 Scentsory Design by Jenny Tillotson | BioLace, Carole Collet Page 55 Philippa (Cristina Schek) | Kate Goldsworthy, Seamsdress | Upcycled Digital Dress, Melanie Bowles and Kathy Round (Photo by Science Museum, London) Page 56 Blue Tree by Linda Florence | Ceramic Pieces (Cristina Schek) | Ceramic Pieces (Cristina Schek) Page 57 Jumper to mend | ReSurfaced, Kate Goldsworthy | Becky Earley. Blouse (Cristina Schek) Page 58 Ocupações/Descobrimentos (Occupations/Discoveries), Antonio Manuel, Installation view, Museum of Contemporary Art Niterói, (Photo by Vicente de Mello) Page 59 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 60 Gasworks, Cinthia Marcelle | Continuous, Anna Maria Maiolino, Camden Arts Centre, Curated by Michael Asbury and CAC (Michael Asbury) Page 61 Frutos do Espaco, Antonio Manuel, Installation Centro Cultural Banco do Brasil, Sao Paulo | TrAIN/Balmoral exhibition installation (Ellie Pitkin) Page 62 Archives and Special Collections Centre at LCC (Luke Potter) Page 70 Selection of images from UAL Archives and Special Collections Inside back cover Seville orange: Citrus aurantium, Pollen grain, Hand coloured micrograph, Rob Kesseler

Design Richard Bonner-Morgan© 2016 University of the Arts London, Granary Building, 1 Granary Square, London N1C 4AA

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