Goldsmiths College, London, GB [http://www.goldsmith.ac.uk]

'Goldsmiths plays a specialist role within the University, concentrating on the study of creative, cultural and social subjects, and leads the development of several degrees offered world-wide.' (1) Goldsmiths College is linked to the University of London and offers degree courses as well as postgraduate courses in curating, design, drama, gender studies, group psychology, history, social policy and politics, and statistics.

The 'Master of Fine Arts' is a special course of study offered by Goldsmith's Visual which is used by 50 students along with Cultural Studies, Curating and Design. One can choose between a two-year 'part-time' study or a one-year 'full-time' study. In the second case, students have their own studio in the college. The ratio between British students, European students, and students from overseas lies by 50%:40%:10%. The USA, Japan and Hong Kong count as preferred overseas countries, but it is exactly the students of these countries that can afford the tuition fee of £ 9.225 (£ 2.750 for EU and home). Students from the EU are supported in their application for a scholarship from the 'Professional and Vocational Award' of the 'Arts and Humanities Board'.

There are no departments in Fine Arts. 15 'students' are assigned to one 'tutor'. These groups meet once a week. They are offered well-equipped facilities.

Goldsmith describes its teaching method as follows: 'There are also tutorials in your studio from artists and critics, selected in accordance with your needs…You write a report on each tutorial; these build throughout the programme to form a 'diary' of your own artistic development, and are expected to form a comprehensive record of the development of long-term concern in your studio practice.' (2) 'One of the central aims of the programme is the development of the student group as an instrument of criticism and practical self-help. Studio seminar groups meet weekly, when members present their work as a focus for discussion; each member presents their work once in each term.' (3) One student describes this as follows: 'The school is known for theory accompanying the subjects. Personally, I would say that half of the study time is dedicated to theory. At Goldsmith College there is the so-called Critical Studies department. Head of this department is Suhail Malik. There's a lecture once a week. 'Cultural Industry' or 'The end of art criticism' are the topics. (… ) At the end of each semester, each student must submit an essay (6000 words) on a freely chosen subject. Prior to this, critical, contemporary questions related to this essay are examined in tutorials. The student must always submit a written report on the practice-oriented tutorials with artists, gallery-owners or critics, which is supposed to reflect the discussion.' (4)

In his contribution to the 'Sensation' catalogue, Richard Stone gives considerable attention to the influence of Goldsmith College on the success of Britpop. The restructuring measures in the 1980s are highlighted as the precondition of that success. This established Goldsmith's reputation as a so-called 'efficient' postgraduate institute within the debates on art academies: 'Freeze' has been praised for its professionalism, Thatcherite enterprise and slick marketing; it has been seen as the result of a programmatic pushiness on the part of some of the Goldsmith staff; as something entirely unexpected of British art schools; ... (5)

• (1)Goldsmith College University of London Postgraduate Prospectus Entry 2001; p.18
• (2)Goldsmith College University of London Postgraduate Prospectus Entry 2001; p. 133
• (3)Goldsmith College University of London Postgraduate Prospectus Entry 2001; p. 133
• (4) Interview with Johannes Maier, current Goldsmith student, May, 2000. In the following: 'I recall a statement made by the Head of Department Gerard Hemsworth prior to being accepted at the school. He more or less said... 'We work professionally, here. The semester is strenuous and after a year of full-time programmes, many students are mentally exhausted. But the result is that after this year, the student will understand how to deal with his art professionally....' This is not to be understood as a word-for-word quote, but I gathered from his words that Goldsmith wants to have a clear conscience when releasing its students to the reality of the art market.'
• (5) Richard Stone: 'From Freeze to House: 1988-1994' in: "Sensation: Young British Artists from the Saatchi Collection", Royal Academy of Arts, London, 1997, p.17. In the following: 'Under Jon Thompson's stimulating principalship, Safran's fastidious European outlook, Wentworth's inspirational mixture of the quixotic and the mundane and Craig-Martin's influential practical impact and knack of unearthing true potential, the students had access to a terrific range of options.' ibid. p.19

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13 June 2006

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12:14 by -xxx-
I wish to book for the saturday openday my details are. Ibrahim Koroma, 35, Beaminster house, dotset, stockwell, london, sw8 1el

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22 September 2005

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15:12 by -xxx-
Printmaking

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13 July 2005

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12:17 by -xxx-
Dear Reader,

How would I access more information on your cerative curating programme? please email me at : maiadamianovic@yahoo.com Many thanks. Kind regards, Maia Damianovic

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