https://aninvisibleguest.org An Invisible Guest Wed, 21 Apr 2021 10:24:50 +0000 https://aninvisibleguest.org en https://aninvisibleguest.org/Landing-Page Wed, 07 Apr 2021 10:27:16 +0000 An Invisible Guest https://aninvisibleguest.org/Landing-Page <img width="13350" height="7443" width_o="13350" height_o="7443" data-src="https://freight.cargo.site/t/original/i/b0f6c32920d429916a2c05eb2313eff8e4363ed36a899d09be2c07d5669421d6/white_logo_group.png" data-mid="105761892" border="0" data-scale="93" src="https://freight.cargo.site/w/1000/i/b0f6c32920d429916a2c05eb2313eff8e4363ed36a899d09be2c07d5669421d6/white_logo_group.png" /> ENTER THE EXHIBITION ︎︎︎ https://aninvisibleguest.org/Home Thu, 08 Apr 2021 10:56:31 +0000 An Invisible Guest https://aninvisibleguest.org/Home Your browser does not support the video tag. https://aninvisibleguest.org/Information Wed, 07 Apr 2021 12:30:55 +0000 An Invisible Guest https://aninvisibleguest.org/Information ABOUT THE PROJECT <img width="800" height="642" width_o="800" height_o="642" data-src="https://freight.cargo.site/t/original/i/22e50024436dc3f0f0aff5331a08e1c4689d9cc2dbb078c0ebe3028314acf0a9/bafv.jpeg" data-mid="105539451" border="0" data-scale="44" src="https://freight.cargo.site/w/800/i/22e50024436dc3f0f0aff5331a08e1c4689d9cc2dbb078c0ebe3028314acf0a9/bafv.jpeg" /> The raw material of oral history . . . is pre-eminently an expression and representation of culture, and therefore includes not only literal narrations but also the dimensions of memory, ideology and subconscious desires. (Passerini, 1979, p. 84, cited in Green, 2008, p. 90) An Invisible Guest: Mapping Voices, Relations and Agencies is an online project based on the interviews conducted at Central Saint Martins. Encompassing a plurality of narratives around relationships and professional and artistic careers cultivated over the years in the school, this project aspires to capture the stories falling in-between the lines. It centers agency in the core of everything, reminding us to view subjectivities and memories as situated, partial and incomplete. Moreover, it binds the author(s)/producer(s)/curator(s) of this project to reflect on their own agencies throughout the process; acknowledging positions on which the interaction and engagement with the material as well as the audience happen from. Following in the footsteps of an Italian feminist art critic Carla Lonzi’s Autoritratto (Self-Portrait) (1969), this project embodies ‘creative subjectivity’, which steps away from patriarchal ideas linked to individuality, and instead aspires to seize experiences and processes through active engagement with the existing material that challenges notions of visibility. Intertwining the narratives of history with the contemporary ones, alternative spaces are born, decentering the project from a singular point of reference. An Invisible Guest, aims to critically unpack the scenes behind the archival collection: Whose voices are being heard? Who is absent? Who are the gatekeepers? Building on methodologies of care, this project aims to build bridges and conversations between past generations and contemporary creatives within the art institution, bringing up the challenges of now and then and creating interstices where different voices and subjectivities can be heard. Édouard Glissant’s statement on the ‘right to opacity’ is applied as a way of praxis and understanding between the agents of this project to reclaim multiplicities of voices, while aiming to form a transparent way of interacting both with the new interviewees as well as the audience. By deconstructing and demystifying the structures, histories and myths surrounding the institution, the project reveals whose narratives constitute the art school. This online Archival/Curatorial project is the work of Franki McDade, Catherine Yuhui Li, Alexander Aplerku, Nimco Hussein, Maria Demine, Clémentine Dubost, and Wenqing Liang – seven curators with varied expertise, compiling both UK and international backgrounds. Many thanks to Janine Francois, Jamie Sutherland, Siyan Zhang, our wonderful podcast guests as well as Annabel Crowley, Tom Lynch, Rahul Patel, Alyshia Jack,&nbsp;Lara Bazzoui (WIM), Pinky Latt, Dee Juneja, Catherine Caldwell, Sarah Campbell, Alejandro Ball, Alison Green, and Lee Weinberg who have supported this project through its journey. Passerini, L. (1979). Work ideology and consensus under Italian fascism. In History Workshop Journal (Vol. 8, No. 1, pp. 82-108). Oxford University Press. <img width="1828" height="2477" width_o="1828" height_o="2477" data-src="https://freight.cargo.site/t/original/i/2e3e137a4378d1a96c34b73fc633f099f7ec30239b73976316753d714960b305/lonzi.jpeg" data-mid="104620224" border="0" src="https://freight.cargo.site/w/1000/i/2e3e137a4378d1a96c34b73fc633f099f7ec30239b73976316753d714960b305/lonzi.jpeg" /> THE ARCHIVAL COLLECTION 1. Ralph Koltai2. Audrey Levy&nbsp;3. Susan Einzig4. Alison Britton 5. John Lawrence &amp; Myra Lawrence6. Simon Pugh&nbsp;7. Hanna Weil8. Bobby Hillson&nbsp;9. Neville Morgan10. Peter Avery11. Jane Short12. David Crisp13. Margaret Till14. Chris Wiggs15. Amal Ghosh16. Judith Kerr17. Paul Eachus18. Sally Jacobs19. Ken Clark &amp; Ann Clark20. Mike Thorpe 21. Nick Morris &amp; William Raeburn&nbsp; 22. Peter Johns&nbsp;23. Jane Garnett &amp; Richard Garnett&nbsp;24. Richard Doust 25. Fritz Wegner&nbsp;26. Kathryn Hearn27. Rob Kesseler28. Phil Baines29. Posy Simmonds &amp; Richard Hollis30. John Drummond &amp; Ruth Harris31. Steve Furlonger&nbsp;32. Colleen Farr33. Malcolm Cocks34. John Laing35. Ken Garland 36. David Curtis37. Anthony Powell 38. Sara Midda39. Jane Rapley40. Martin Grierson 41. Robert Addington42. Howard Tangye43. David Parsons 44. Carly Ralph45. Natalie Gibson46. Louise Wilson47. Scilla Speet&nbsp;48. Pamela Howard49. Anna Buruma50. Giles Last&nbsp;51. Howard Asher52. Malcolm Le Grice53. Richard Slee 54. Derek Birdsall 55. Mike Peel PROJECT MANIFESTO This manifesto includes the project principles which have led the process as well as dictated the research and the creation of this project. The manifesto holds the values of this project that ensure it is inclusive with modern cultural norms, and that it has a solid ethical foundation. Diversity Due to the periodic context of the project, with the interviewers being born as early as 1920's, this project takes a critical stand about the lack of diversity within the interviewee sample. This project commits to critically analyse and highlight the gaps of representation and work towards addressing them within the body of the project. For instance, one of the project aims is to actively include BAME artists, students and lectures from Central St. Martins, which were not originally included within the archive collection. Respect This project acknowledges the change in cultural norms which have drastically changed throughout the last couple of decades. For instance, some language used within the interviews might not be appropriate for modern times, meaning that this project takes action to minimise the negative effect these words can have by editing them out as well as providing additional context for the audience, and or adding potential trigger warnings. AccessibilityThe issues surrounding audio only project are acknowledged within this project - such as it being inaccessible for those who are deaf and hard-hearing, non-English speakers or individuals who have forms of neuro-divergence. This project works towards including a visual layer, and considering actions such as transcribing the audio to make sure the project reaches a wider audience. Sustainability As accordance to the UAL sustainability goals, this project is also committed to ensure that the project is as sustainable as possible. Making active choices which emphasise the need to minimise waste, and any negative impact that project would have on communities, this website has a sustainable domain host, as well as had made sure that all the carbon emissions produced by this website are offset. https://aninvisibleguest.org/Podcast-Series Tue, 20 Apr 2021 13:11:45 +0000 An Invisible Guest https://aninvisibleguest.org/Podcast-Series AN INVISIBLE GUEST PODCAST SERIES An Invisible Guest: Mapping Relations, Voices and Agencies has a curated podcast series which navigates through the themes of the Oral History Archive at Museum &amp; Study Collection, at Central Saint Martins. Approaching the project as an ‘incomplete’ and ‘ongoing’ exploration of the archive, the curatorial process extends to continue the tradition of conducting oral histories. This is done in the format of a podcast, created with and for the audience that it addresses. The new narratives and dialogues will be constructed on themes such as Friendship, Education, Artistic Practice, Mentorship, and Social Justice. The podcast series can be found on Ximalaja,&nbsp;Spotify and Soundcloud. Archive clips courtesy of the Museum &amp; Study Collection at Central Saint Martins. Theme tune by Hannah Kane. PODCAST GUESTS Janine FrancoisJanine Francois is a Black British Feminist, writer, and academic. This episode is hosted by&nbsp;Alexander Aplerku. Find the transcript here. <img width="660" height="664" width_o="660" height_o="664" data-src="https://freight.cargo.site/t/original/i/e2555c94bf032bd8bc4fd4c6653d3582516e225d63f31950ed4b5a157d7b950d/Screen-Shot-2021-04-23-at-11.36.20.png" data-mid="106193533" border="0" src="https://freight.cargo.site/w/660/i/e2555c94bf032bd8bc4fd4c6653d3582516e225d63f31950ed4b5a157d7b950d/Screen-Shot-2021-04-23-at-11.36.20.png" /> Jamie SutherlandJamie Sutherland is an artist and recent graduate from Central Saint Martins BA Fashion Womenswear 2020, who is currently living and creating a new body of work from home in Norwich. This episode is hosted by&nbsp;&nbsp;Echo Wenqing Liang. Find the transcript here. <img width="659" height="664" width_o="659" height_o="664" data-src="https://freight.cargo.site/t/original/i/1f3dad7d8481b8f588b09fd5da60550c523e4fe6242a84e252f92a46840fa8b5/Screen-Shot-2021-04-23-at-11.36.33.png" data-mid="106193523" border="0" src="https://freight.cargo.site/w/659/i/1f3dad7d8481b8f588b09fd5da60550c523e4fe6242a84e252f92a46840fa8b5/Screen-Shot-2021-04-23-at-11.36.33.png" /> Siyan ZhangSiyan Zhang is an independent curator based in London, who is currently working at both the Freud Museum and the Museum &amp; Study Collection of Central Saint Martins. She is also a co-founder of OF ART. This episode is hosted by Catherine Yuhui Li. Find the Mandarin transcript here.Find the English transcript here. <img width="658" height="664" width_o="658" height_o="664" data-src="https://freight.cargo.site/t/original/i/b24bf778b8c05056f32df8741922a278c33f893d6652f0a4bd89843dbd78c454/Screen-Shot-2021-04-23-at-11.36.44.png" data-mid="106193522" border="0" src="https://freight.cargo.site/w/658/i/b24bf778b8c05056f32df8741922a278c33f893d6652f0a4bd89843dbd78c454/Screen-Shot-2021-04-23-at-11.36.44.png" /> ORAL HISTORIES TOOLKIT The toolkit is a part of interacting with the audience and bringing the oral histories archive to the audiences. As a ‘toolkit’ it involves the viewer/listener to step into the project and take an active role within it or outside of it. This is to allow a feeling of open-endedness to the project, to allow others explore and come up with their own ideas and thoughts. As a time capsule project, the toolkit will hopefully inspire like-minded people to engage with archives themselves and to value and learn from the project.The Toolkit can be found here. https://aninvisibleguest.org/Relations-and-Creations Thu, 08 Apr 2021 10:56:28 +0000 An Invisible Guest https://aninvisibleguest.org/Relations-and-Creations RELATIONS &amp; CREATIONS Relations &amp; Creations covers a wide range of conversations relating to pedagogy and practice, mentorship and access to creative industries. This page features a archive montage of interview clips from the Oral History Archive at the Central Saint Martins’ Museum &amp; Study Collection. <img width="1000" height="799" width_o="1000" height_o="799" data-src="https://freight.cargo.site/t/original/i/0f1a785920bde19fbae1cf2c427b74ebfa0e778f6fcc21f65a19896775765527/tess-1979-006-natassja-kinski-lying-with-parasol.jpeg" data-mid="104979851" border="0" src="https://freight.cargo.site/w/1000/i/0f1a785920bde19fbae1cf2c427b74ebfa0e778f6fcc21f65a19896775765527/tess-1979-006-natassja-kinski-lying-with-parasol.jpeg" /> <img width="1762" height="2479" width_o="1762" height_o="2479" data-src="https://freight.cargo.site/t/original/i/e4228b695e311d5ba66425a8609bcee408b79492c38bdc79ab5e0062d6fe7d01/sarahcolegrave-1194666.jpeg" data-mid="104979850" border="0" src="https://freight.cargo.site/w/1000/i/e4228b695e311d5ba66425a8609bcee408b79492c38bdc79ab5e0062d6fe7d01/sarahcolegrave-1194666.jpeg" /> Anthony Powell, Costume Designs, 1980. Pencil, 130.81x 93.98 cm. &nbsp; © Anthony Powell Nastassja Kinski in Tess (1979). Costume designed by Anthony Powell. All rights reserved. © Anthony Powell <img width="496" height="584" width_o="496" height_o="584" data-src="https://freight.cargo.site/t/original/i/fc697ad29bba34946262e98d79829535144eef0c47b456e5789840de29175eea/13.American-beech-stomata_.jpg" data-mid="104979845" border="0" src="https://freight.cargo.site/w/496/i/fc697ad29bba34946262e98d79829535144eef0c47b456e5789840de29175eea/13.American-beech-stomata_.jpg" /> <img width="496" height="584" width_o="496" height_o="584" data-src="https://freight.cargo.site/t/original/i/badde833f3dfb2966550ae8d3c0fa40089a4bd79131898facef3654982b3cacd/10.That-yellow-dust-detail_.jpg" data-mid="104979844" border="0" src="https://freight.cargo.site/w/496/i/badde833f3dfb2966550ae8d3c0fa40089a4bd79131898facef3654982b3cacd/10.That-yellow-dust-detail_.jpg" /> <img width="748" height="584" width_o="748" height_o="584" data-src="https://freight.cargo.site/t/original/i/2afb8a7eacc1a49af8029b0b73b678bb86b56f0c83127d4c68c78f764f9adb2f/Scabiosa_cretica.jpeg" data-mid="104979848" border="0" src="https://freight.cargo.site/w/748/i/2afb8a7eacc1a49af8029b0b73b678bb86b56f0c83127d4c68c78f764f9adb2f/Scabiosa_cretica.jpeg" /> Rob Kessler, Canopy, 2008. © Rob Kessler &nbsp;Rob Kessler, from the series Phy-topic. Illustration for the article “A New Phytopia” published in Infocus Magazine, issue 10 June 2008. © Rob Kessler <img width="510" height="889" width_o="510" height_o="889" data-src="https://freight.cargo.site/t/original/i/2a22d1f7bcd45f942767880101c5e4ff84229651169bec0947db54aa3863033c/2.Levy_Maze_lr.jpg" data-mid="104979831" border="0" src="https://freight.cargo.site/w/510/i/2a22d1f7bcd45f942767880101c5e4ff84229651169bec0947db54aa3863033c/2.Levy_Maze_lr.jpg" /> <img width="510" height="792" width_o="510" height_o="792" data-src="https://freight.cargo.site/t/original/i/89ff3ca21659fab77516afb746ef9505ffb0a794f7a2e754b22eb7b1bd937e87/4.Levy_Universe-lr.jpg" data-mid="104979834" border="0" data-scale="67" src="https://freight.cargo.site/w/510/i/89ff3ca21659fab77516afb746ef9505ffb0a794f7a2e754b22eb7b1bd937e87/4.Levy_Universe-lr.jpg" /> Audrey Levy, Maze, produced for Palladio 4, 1956. © Audrey Levy Audrey Levy, Universe, produced for Palladio 5, 1961. © Audrey Levy <img width="1200" height="865" width_o="1200" height_o="865" data-src="https://freight.cargo.site/t/original/i/1051f2b6ba5fbca423de760e346a967a39f6551e8b7a9f45c8cffa112b19a4e0/SuddenlyLastSummer.jpeg" data-mid="104979841" border="0" src="https://freight.cargo.site/w/1000/i/1051f2b6ba5fbca423de760e346a967a39f6551e8b7a9f45c8cffa112b19a4e0/SuddenlyLastSummer.jpeg" /> <img width="1200" height="819" width_o="1200" height_o="819" data-src="https://freight.cargo.site/t/original/i/027eb150e7612e544fc4b3c0bbd26c1e739824624bbae742355f8991963eac78/ThePlanets_1.jpeg" data-mid="104979842" border="0" src="https://freight.cargo.site/w/1000/i/027eb150e7612e544fc4b3c0bbd26c1e739824624bbae742355f8991963eac78/ThePlanets_1.jpeg" /> <img width="1200" height="862" width_o="1200" height_o="862" data-src="https://freight.cargo.site/t/original/i/a749d60123496ab2e997b6cdc817f49f42726721139fd08b06797d5c22a5d7d0/MadamButterfly.jpeg" data-mid="104979839" border="0" src="https://freight.cargo.site/w/1000/i/a749d60123496ab2e997b6cdc817f49f42726721139fd08b06797d5c22a5d7d0/MadamButterfly.jpeg" /> Suddenly Last Summer, theatre production by Ralph Koltai. © Ralph Koltai Madam Butterfly, theatre production by Ralph Koltai. © Ralph Koltai The Planets, theatre production by Ralph Koltai. © Ralph Koltai ARCHIVEMONTAGE This Relations &amp; Creations montage is a soundscape of interview fragments shared by artist and textile designer Audrey Levy, theatre designers Jane and Richard Garnett, and costume designer Anthony Powell. The soundscapes are based on the Oral History Archive in Central Saint Martins’ Museum &amp; Study Collection.&nbsp; Archive clips courtesy of the Museum &amp; Study Collection, Central Saint Martins. Theme tune by Hannah Kane. Relations &amp; Creations Transcript Anthony Powell [00:00:16] ...Seeing interesting looking people. Sometimes one got to know them. I remember [], who had the Interiors magazine with the students and me. She was one of those people that you can just tell by looking at her that she was going to do something. Interviewer [00:00:33] ...Yes, Jeanetta Cochrane. Can you paint a little picture of her? Jane Garnett [00:00:41] I have such fond memories of her. A large woman, full of vitality and fun. I liked her enormously and she gave me really, really good advice, too. I used to worry terribly about not being good enough, and she used to say, one thing you must never do is show people that you're worried in the theatre. So it was a piece of very good advice... Anthony Powell [00:01:13] About all the students was a woman called Mary Castle. Interviewer [00:01:17] Oh, yes. Anthony Powell [00:01:18] Who taught jewellery and was a very distinguished painter. Was one of the official war artists, wasn't she? Interviewer [00:01:27] Yes. And she did a number of posters for the London Underground. Yes. Anthony Powell [00:01:32] Yes. I think the Imperial War Museum had a big collection... Interviewer [00:01:37] Well it was 1948, wasn't it? Or 1947? Ralph Koltai [00:01:42] 1948, yeah. Well when you came out of the army. You could get a government grant if you could establish that your education was interrupted by the war. Well, my education was not really interrupted by the war because I was an evening student. I was absent, which is hardly an interruption of one's education, right? But as I mentioned earlier, the secretary of the principal was my girlfriend. So the principal, David Birch, actually remembered me quite well because he knew that I was the boyfriend of the secretary. So I made contact with David Birch. They said he wouldn't like to give me a letter that would say my education was interrupted at Epsom, and I got the letter. Anthony Powell [00:02:41] ...The last Chelsea Arts Ball held in New Year's Eve that I went to and I remember- Interviewer [00:02:46] Sorry. Perhaps you could just elaborate a bit on that, because people, perhaps who are listening to the tape, know what they were? Anthony Powell [00:02:52] Well, the Chelsea Arts Ball was a fancy dress ball that I was at every New Year's Eve and it was stopped and it was huge. The [Albert's Hall] was just packed with with merrymakers, you know. Interviewer [00:03:07] But they cleared all the seats out? Anthony Powell [00:03:10] Yes. But it started getting rather rowdy and difficult. So they just said they just stopped this. This is the last ball. Jane Garnett [00:03:20] Ralph Koltai and Eileen Disc. Interviewer [00:03:21] Oh, yes. Jane Garnett [00:03:22] And they both stood out. Interviewer [00:03:24] Yes. Tell me something about them both individually. Jane Garnett [00:03:31] Thing I remember most about Ralph Koltai was that when I saw [] for the first time, I thought, oh, there's Ralph Koltai. You know, he had that sort of swagger, yes. It was quite unusual... Ralph Koltai [00:03:51] Well I can't be a dancer, I can't be an actor, I do have a little bit of talent as an artist, why don't I try? And, of course, the dance theatre connection that I did try and study theatre design and I then applied to Central. Interviewer [00:04:14] Yes. Ralph Koltai [00:04:15] And why the Central? I can't answer. Probably, I didn't know any of the others. Interviewer [00:04:22] Well because they had a course on theatre design... Anthony Powell [00:04:27] And I remember, at midnight, they had a procession of floats going round the arena with an each float was like a stretcher with a person carrying the back in the front and a girl with, more or less, some with lots of clothes on... Jane Garnett [00:04:47] Who came in with most brilliant work, he was the fine one who stood out. Interviewer [00:04:56] Because subsequently, he was not a costume designer, but rather a set designer wasn't he? Jane Garnett [00:05:03] Yes, but I wasn't thinking of being a costume designer. I was thinking of being a set designer. It was the whole package that I was interested in, which worked out very well in. Ralph Koltai [00:05:15] I had an interview with [Morris Kesselman] because Jeanetta Cochrane wasn't there that day, right? And it was [Morris Kesselmann] who saw me. Anthony Powell [00:05:31] ...Peter Blake, who was just completely smashed? Interviewer [00:05:36] Yes, [Laughs]. Anthony Powell [00:05:37] Dropping his [Laughs]. The poor girl who was called Enid Forest, who was a theatre student. Who I seem to remember was not wearing many clothes. Was just, you know, thrown to the floor. Ralph Koltai [00:05:53] The closest to me and who has been the greatest help and mentor to me was the lady teaching design, not costume set, which was [Ruth Keating]. Now, [Ruth Keating], she was really the key to my subsequent development... Anthony Powell [00:06:17] I remember that we all met before we went to a great, I suppose, the how many where there was quite a lot. We went as a group. We all went together. And we met a girl, called [Jennifer Agni] whose father was Jeffrey [Agni], and we all met at her flat. And I think we probably changed into our costumes because we're all coming from, you know, the deepest suburbia. I think we changed at Jennifer's flat. So went and then drove to the Albert Hall in costume. Several people have cars, but there's all of us put our ordinary day clothes, as we arrived in in the booth of Jennifer's car and when the time came to leave. She said, and, to this day, I don't believe those words of truth, that she had lost her key and everyone had to go home in their costume [Laughs]... Ralph Koltai [00:07:24] The penny dropped, of why she said it. She thought I was an artist. Interviewer [00:07:31] Oh, I see. Ralph Koltai [00:07:31] And had I not moved on away from theatre into fine art? Interviewer [00:07:37] I see. Yes. Ralph Koltai [00:07:41] But it took me half a century for that suddenly to come into my head. That was to me... Anthony Powell [00:07:53] was covered in sequins. Was he wearing a red wig? But I know that his hair was full of red sequins and jewels. And he got red sequins all over his face. And poor Peter! [Laughs] He had to go home on the milk train, covered in red sequins! And I remember telling the others that he arrives when he arrives. On the opposite platform where all the commuters who know [laughs]... Interviewer [00:08:34] ...Can we go back to Eileen Disc? Jane Garnett [00:08:36] Yes, well, she. With such a meticulous draftswoman... Anthony Powell [00:08:41] Carter gold price, yeah, and having a suit made by this tailor and I remember wearing things like yellow waistcoats and yellow string gloves. I mean, not like arts students at all, you know, terribly dandified. We all went to... Jane Garnett [00:09:03] as a flashy person myself [Laughs]. She fitted into television so beautifully. I don't know if she's done any theatre, but she was certainly in television and I ended up on television... Anthony Powell [00:09:21] ...thousands. And you couldn't buy them, nobody manufactured them. The person who made them was a tailor long gone in New Oxford Street. I can't remember what it was called. We all went to have our trousers made. I remember that sometimes that the ankle, it was so tight and there was no way you could put your trousers on with your shoes on. Sometimes even with their feet or just with socks, you could barely get your foot through the through the ankle. [Laughs]... Audrey Levy [00:09:56] ...things were so much on the cusp. Interviewer [00:09:58] Yes. They weren't interested in the past? It was the future? Audrey Levy [00:10:03] And without uninvited, I'm sure. Interviewer [00:10:05] So it must have been quite a small place then and he knew more or less all the students? Jane Garnett [00:10:13] And for instance, when I left the Central going back to Jeannetta Cochrane, I was offered a job at what I thought was a rundown repertory and I wrote to Jeannetta saying, do you think I really ought to take this job? And she wrote back saying any job is better than no job, take it! And I was so grateful because it wasn't a horrible rep. Interviewer [00:10:38] And where was that? Jane Garnett [00:10:40] It was at [Huddersfield]. Anthony Powell [00:10:46] ...Became you know, she got to know pretty well and he was terribly interested, he was obsessed with [mime] and he said, one day I want to have my own show. My own [mime show]. And she remembered this young actor and said, look, we've got a week at the theatre. Would you like to come over and do your your show at the theatre? And it was Marcel Marceau. Interviewer [00:11:12] Wonderful. Anthony Powell [00:11:12] And this was his very, very first. So I saw the first moment, I went to the first night. Interviewer [00:11:22] ...As part of the protest. Audrey Levy [00:11:23] As part of the process. We, the students of the Central school didn't rise up. I remember [] was absolutely brilliant about it. He said, because I think I didn't quite know what to do because they were sitting in and they were kind of around the college and there's a lot of unrest going on and he said, I think I know what we have to do. We'll get them all together and get them to talk to us about what it is that bothers them. He said, you know, talk actually can achieve more than anything else... Anthony Powell [00:12:04] I think she was distantly related to Henry James, and she did these amazing monologues. When she first started that, Henry James wrote some of them for her. And they were the least successful ones. The best ones were the ones that she wrote herself... Interviewer [00:12:22] ...What were their grievances? Audrey Levy [00:12:23] They were talking about how they didn't have enough money for equipment or they didn't think the teachers were good enough. It was that sort of thing. Interviewer [00:12:34] And was action taken, where possible? Audrey Levy [00:12:37] It must have been because it all fizzled out. And it was really Central school students who were kicking up a lot of fuss. So there were lots of left-wingers at Hornsey at that time. It was a very rich period... Anthony Powell [00:13:00] She would have the most enormous library of books and research and clothes and prints, photographs and drawings, which we never ever saw. I don't know actually who they were meant to be for... Ralph Koltai [00:13:15] ...but I was still a student when I designed my first production at the Fortune Theatre for a company called [Up by Jackie Bear called Angelique]. And I was still a student. And I got it via [Ruth Keating]... Anthony Powell [00:13:42] ...of works of reference with costume, which she did with somebody else, which was very good. But she never wrote a book and she never... Ralph Koltai [00:13:52] ... this opera and said would you? And actually naturally, what would I say. Of course. And I built the set myself in the lower ground floor basement at the Central school... Anthony Powell [00:14:11] ...which she sort of didn't really share with anybody else. The thing that she did do, again, I'll always be grateful, she was in charge of the private museum for us where we went to the V&amp;A library. And she did teach us absolutely on how to use the library and what was available there. Which I mean, that was just the most wonderful. So, I mean, she justified herself in a way. Just simply through doing that, because, again, that was a life-changing experience. Interviewer [00:14:45] Which was a resource for the future... Interviewer [00:14:47] Something called the episodes? Jane Garnett [00:14:50] No. One was called the Fantasy of Fashion. At the Wyndham Theatre with Doris Langley-Moore. Interviewer [00:14:59] I've heard of her. Jane Garnett [00:15:01] She was of another of these larger than life ladies like Jeanetta Cochrane, who had the most wonderful costume collection, and every now and again she would get out her boxes of costumes and make students get dressed up. And then we would appear, we painted the Wyndham Theatre. It was quite extraordinary because everybody was anybody in the theatre. Got into a costume. Dorothy says was a suffragette... Ralph Koltai [00:15:39] And I made the classic mistake of building a piece of scenery that was too big to go to the door. [Laughs] Anthony Powell [00:15:49] No, but again, the thing that I got from her was the passion for research. She taught me how to research. So that was a huge plus. That was a huge. Interviewer [00:16:02] And did you find the library at the Central helpful? Anthony Powell [00:16:06] Yes, it was wonderful. Interviewer [00:16:07] Because it has got quite a significant collection of books on costume design. Anthony Powell [00:16:11] It was wonderful... Ralph Koltai [00:16:16] ...At the Fortune Theatre, and that was the beginning of my career because that then was directed Geoffrey Dunn, and that also led me to my second mentor, [Ruth Keating] being the first, John [Cross]. Voice Over [00:16:43] Relations and Creation's is a soundscape composed of clips from the oral history archive in the Museum &amp; Study collection at Central St. Martins. The voices and accounts you have just heard belonged to Ralph Koltai, Audrey Levy, Anthony Powell and Jane and Richard Garnett. https://aninvisibleguest.org/An-Accentuated-Voice-1 Sat, 17 Apr 2021 09:12:14 +0000 An Invisible Guest https://aninvisibleguest.org/An-Accentuated-Voice-1 AN ACCENTUATED VOICE An Accentuated Voice explores stories related to migration to the UK, cultural differences and adaptation to new cultural environment. This page features an archive montage of interview clips from the Oral History Archive at the Central Saint Martins’ Museum &amp; Study Collection. <img width="650" height="385" width_o="650" height_o="385" data-src="https://freight.cargo.site/t/original/i/13e73600cce610a80b339510ec98012860b5bcbbe713dd01039e809df3874a40/bb64bb24-8252-4cb0-b144-3e62b12d75cb.jpeg" data-mid="105529724" border="0" src="https://freight.cargo.site/w/650/i/13e73600cce610a80b339510ec98012860b5bcbbe713dd01039e809df3874a40/bb64bb24-8252-4cb0-b144-3e62b12d75cb.jpeg" /> <img width="550" height="436" width_o="550" height_o="436" data-src="https://freight.cargo.site/t/original/i/3376b2d7440b802aba6e84a1dfa14a32e5045cbddab2439b4e547cdddc5f598e/97d89bca-8bb9-4551-ac78-164b91034da2_570.jpeg" data-mid="105529725" border="0" src="https://freight.cargo.site/w/550/i/3376b2d7440b802aba6e84a1dfa14a32e5045cbddab2439b4e547cdddc5f598e/97d89bca-8bb9-4551-ac78-164b91034da2_570.jpeg" /> <img width="550" height="541" width_o="550" height_o="541" data-src="https://freight.cargo.site/t/original/i/17aab4be3121b671c6fd63cd799476909996cfa1b33e37eaed02063e4c01e02c/06c9fc43-ef10-4ab7-bdf7-0aeb21e6611c_570.jpeg" data-mid="105529719" border="0" src="https://freight.cargo.site/w/550/i/17aab4be3121b671c6fd63cd799476909996cfa1b33e37eaed02063e4c01e02c/06c9fc43-ef10-4ab7-bdf7-0aeb21e6611c_570.jpeg" /> Hanna Weil, Spansih Village. Oil on board painting, 24 x 30 in. © Hanna Weil Hanna Weil, 2 works: Church with Lemon; Tulipomania. Gouache on board painting, 21x21 in and 21x17 in. © Hanna Weil Hanna Weil, Dinner Table with Roast Chicken, 1960. Oil on board painting, 49 x 84 cm. © Hanna Weil <img width="850" height="703" width_o="850" height_o="703" data-src="https://freight.cargo.site/t/original/i/f50b0904a42af80992bb9eded2af3c27d7336da5906a56f2f7e9878ab9bf6693/ag1-1.jpeg" data-mid="105529728" border="0" src="https://freight.cargo.site/w/850/i/f50b0904a42af80992bb9eded2af3c27d7336da5906a56f2f7e9878ab9bf6693/ag1-1.jpeg" /> <img width="850" height="712" width_o="850" height_o="712" data-src="https://freight.cargo.site/t/original/i/82070d3f46d6828949e64dddc9dcc25071305062cc71288f369f43e996a3c574/ag2-1.jpeg" data-mid="105529726" border="0" src="https://freight.cargo.site/w/850/i/82070d3f46d6828949e64dddc9dcc25071305062cc71288f369f43e996a3c574/ag2-1.jpeg" /> <img width="850" height="688" width_o="850" height_o="688" data-src="https://freight.cargo.site/t/original/i/d8e8278c8a7646de9c781a49ab62b7546cabfef7c6fbbcb3f75a06020f935048/ag20-1.jpeg" data-mid="105529727" border="0" src="https://freight.cargo.site/w/850/i/d8e8278c8a7646de9c781a49ab62b7546cabfef7c6fbbcb3f75a06020f935048/ag20-1.jpeg" /> Amal Ghosh, Allegory Series I, (1980’s). © Amal Ghosh Amal Ghosh, Allegory Series III, 1987. © Amal Ghosh Amal Ghosh, Migration, 1992. © Amal Ghosh <img width="250" height="218" width_o="250" height_o="218" data-src="https://freight.cargo.site/t/original/i/c8284e6d53242309ab866348249aabe5511366a66e514030e62e2f47dcac0ca2/GXB10559.jpeg" data-mid="105529741" border="0" src="https://freight.cargo.site/w/250/i/c8284e6d53242309ab866348249aabe5511366a66e514030e62e2f47dcac0ca2/GXB10559.jpeg" /> <img width="250" height="219" width_o="250" height_o="219" data-src="https://freight.cargo.site/t/original/i/007e9244b2d4cc7210a3bf5297798304b02242c5230cb96c7120ede166964ddf/GXB10429.jpeg" data-mid="105529740" border="0" src="https://freight.cargo.site/w/250/i/007e9244b2d4cc7210a3bf5297798304b02242c5230cb96c7120ede166964ddf/GXB10429.jpeg" /> <img width="250" height="203" width_o="250" height_o="203" data-src="https://freight.cargo.site/t/original/i/5f3ea5670ebd5a5274909481715b1a1e8e73675c025eac5df1828416b3f5deee/GXB06796.jpeg" data-mid="105529739" border="0" src="https://freight.cargo.site/w/250/i/5f3ea5670ebd5a5274909481715b1a1e8e73675c025eac5df1828416b3f5deee/GXB06796.jpeg" /> Fritz Wegner, English Folklore,1980. Water Color on Hot Press Illustration Board, 11.25 x 10 in. © Fritz Wegner Fritz Wegner, Delphinus the Constellation, 1986. Water Color on Hot Press Illustration Board, 10.25 x 9.25 in. © Fritz Wegner Fritz Wegner, Grus the Constellation,1986. Water Color on Hot Press Illustration Board, 10.25 x 9.75 in. © Fritz Wegner <img width="844" height="1200" width_o="844" height_o="1200" data-src="https://freight.cargo.site/t/original/i/29d01a7cb36bf9ec3d6c6c56b5bd9eb939c81ca6e80f73b0078c03c682a8b35e/HT0142-Emma-Double-Head-and-Hands-Full-Colour-2001-04-Mixed-Media-on-Fabriano-Paper-76-x-57-cm-844x1200.jpeg" data-mid="105529720" border="0" src="https://freight.cargo.site/w/844/i/29d01a7cb36bf9ec3d6c6c56b5bd9eb939c81ca6e80f73b0078c03c682a8b35e/HT0142-Emma-Double-Head-and-Hands-Full-Colour-2001-04-Mixed-Media-on-Fabriano-Paper-76-x-57-cm-844x1200.jpeg" /> <img width="840" height="1200" width_o="840" height_o="1200" data-src="https://freight.cargo.site/t/original/i/d15c65f884a4f87cde3c14e5300783e6d76b3c4d8c2b0f8a50b7a0eb37e2966c/RAW_2019-Sept-10_Howard_13-3662-copy-840x1200.jpeg" data-mid="105529722" border="0" src="https://freight.cargo.site/w/840/i/d15c65f884a4f87cde3c14e5300783e6d76b3c4d8c2b0f8a50b7a0eb37e2966c/RAW_2019-Sept-10_Howard_13-3662-copy-840x1200.jpeg" /> <img width="838" height="1200" width_o="838" height_o="1200" data-src="https://freight.cargo.site/t/original/i/e37540dd15d94f62e538586026ad883925f2b31dd88de2925d37b530bb8beb59/Howard.jpeg" data-mid="105530169" border="0" src="https://freight.cargo.site/w/838/i/e37540dd15d94f62e538586026ad883925f2b31dd88de2925d37b530bb8beb59/Howard.jpeg" /> Howard Tangye, Emma (Double - Head and Hands, Full Colour), 2001-04. Mixed media on Fabriano Paper, 76.5 x 57.5 cm. © Howard Tangye Howard Tangye, HT &amp; MH (with Butterfly), 1988-99. Mixed media on paper, 100 x 70 cm. © Howard Tangye Howard Tangye, Red on Blue, c. 1994. Mixed media on paper. 100 x 70 cm.&nbsp;© Howard Tangye ARCHIVEMONTAGE This An Accentuated Voice montage is a soundscape of interview fragments shared by fine artist Hanna Weil, illustrator Fritz Wegner, fine artist Amal Ghosh, and fashion illustrator and teacher Howard Tangye.The soundscapes are based on the Oral History Archive in Central Saint Martins’ Museum &amp; Study Collection. Archive clips courtesy of the Museum &amp; Study Collection, Central Saint Martins. Theme Tune by&nbsp;Hannah Kane An Accentuated Voice Transcript Theme tune [00:00:00] [Mixed Voices] Interviewer [00:00:14] I want to start off by asking you about how you originally came to be a student at St. Martins. I believe you were born in Vienna? Fritz Wegner [00:00:24] I was born in Vienna. And I came over to this country in 1938, a little refugee boy at the age of 13. I was taken in hand by a committee who helped the refugees who were coming to this country after the sort of persecution. The Germans. Because I couldn't speak the language in this case. Hanna Weil [00:01:11] And he built this villa for her. The books and everything were on the ground floor, and this was more or less opposite the Brown House, which is, Nazi headquarters. And so when my father appeared in the morning, all sorts of brown uniforms [were] hanging in the cloakroom. Anyway, [this person] was very decent and said, you know, if you only read the first chapter or something in Mein Kampf you will realise, and all this is going to come true... Howard Tangye [00:01:59] ...It was in the north east Queensland. But my family moved to the central part of Queensland, which was Mount [Isa], so it was a mining town where my father worked. We lived there till I was about 13. I loved growing up there. It was a small country town and it was all outdoors, swimming and running... Amal Ghosh [00:02:28] Not a scholarship as such. The Commonwealth fees were very, very low. I don't remember. It was 33 pound a year [laughs], which has changed quite a lot. I think I was the first one to come to Central from India, so there was quite a lot of support around me. [Morris Kasselmann] was very, very good. He supported me all the time, financially also... Interviewer [00:03:08] Did you come alone to England? Fritz Wegner [00:03:12] I came on my own. But my father, managed to get out as well. And later on, my mother, too, during the war. He joined the Pioneer Corps. So he did this bit... Amal Ghosh [00:03:44] ...He looked at my work for a couple of months, I think. He said that you have to change from [Cecil Collins] because [Cecil Collins] teaching is very much to do with what you've done already in India. Hanna Weil [00:04:06] They came over to England in 1933, Hitler came []. We came over here in June. Interviewer [00:04:21] So did you go to school here? Hanna Weil [00:04:23] Yes, I hated it [Laughs]... Amal Ghosh [00:04:30] [Morris] said that go down and your teacher is there. I came down and there was somebody playing saxophone. I didn't think that he was a teacher because coming from India, which is a very strict kind of academic. Very formal. [] where all the people were on the floor. This guy was playing saxophone, so I came up again to Morris' room, and I said the guy is playing saxophone. I didn't know it was a saxophone, I said he is playing some kind of a flute... Interviewer [00:05:16] What was your status, Fritz? Fritz Wegner [00:05:19] I was a friendly enemy alien. Interviewer [00:05:26] Did they give you a British passport? Fritz Wegner [00:05:27] Not at that time. I was still sort of classified as an Austrian. So I was told I would either sort of have to work in a factory or good work on the land... Amal Ghosh [00:05:51] ...Symbol. And coming from India, I was used to symbols and he got very involved with teaching us about the reason the symbol becomes reasonable... Fritz Wegner [00:06:05] As I say, I was told I needed to sort of do will work, and so he suggested that perhaps it would be best if I went to work on the land. So I joined... Amal Ghosh [00:06:25] ...any of training before where people explain to you why, and it's the first time I realized that there is a reason why you are doing what you were doing, and this is the first one to kind of very articulate. Every single thing he said, he said that this is because of this. This is because of that. He asked me almost like Cecil Collins, to not kind of think about Indian art or Indian background as my main kind of basis of thinking... Fritz Wegner [00:07:00] ... Did my time, so to speak. Interviewer [00:07:08] How did you find that? Fritz Wegner [00:07:10] This is Riseborough? Well, it was very good for me. It was another sort of [life]... Amal Ghosh [00:07:22] that finished in three weeks or whatever. So it was a very different kind of teaching than I have been used to in India, which was very kind of interesting... Fritz Wegner [00:07:39] ...And I really enjoyed that. Interviewer [00:07:41] Were you with other any friendly aliens? Fritz Wegner [00:07:45] Yes, any conscientious objectors we were all sort of thrown together in this hostel... Amal Ghosh [00:07:54] Said to me that your drawing is very... Where are you from? I said, I'm from India. [He said] So the drawing doesn't look like Indian at all. It does look European and and it's a pastisse work... Fritz Wegner [00:08:10] And so I worked on the land. When the war came to an end. I met Janet in 1945. Interviewer [00:08:31] How did you meet her? Fritz Wegner [00:08:33] She was doing her war work... Amal Ghosh [00:08:37] I understood something which I never understood, which is the rhythm of drawing. And that gave me a way of looking at also Indian art and the new way of looking at it. It kind of changed the whole way of me working. At one point when I came from India, I was selling quite a lot in the galleries. It is a kind of very academic, good drawing and good paintings... Fritz Wegner [00:09:17] ...sort of getting by naturalization. And that goes back to sort of the early 60s. Interviewer [00:09:28] That took a long time. Interviewer [00:09:30] It took a long time because for some reason they wouldn't let me have it when I first applied. Hmm. I think the I think the reason was because I was mixed up with a group of people who were communists at the time. Howard Tangye [00:10:01] It was a big step. I actually didn't realize that, you know, how naive I was just coming all that way on my own into a foreign country. My intention originally was to go to Rome because, you know, reading about Rome and experience on, you know, the classics, I thought that's the place for me. So I did get to I did go to Rome and I had learned Italian at school, just sort of barely. And I thought, I'm fully equipped. I'll be fine, you know. But of course, I wasn't. So I panicked and I had a ticket that took me to London. So I decided that I will come to England because at least I'll be able to manage the language... Interviewer [00:10:49] Did they? Fritz Wegner [00:10:49] Yes, they did. Well, I can say my father tried the Pioneer Corps. Interviewer [00:10:55] Yes. Fritz Wegner [00:10:56] And, He was accepted as a citizen after that. Hanna Weil [00:11:11] It's where the museum is now. It turned out to be called [Cypher]. So the first thing I to do was to go and where the Secrets Act on the Bible. Another girl who was there, who was terrible [] she was still German because her father couldn't be bothered to fill out the forms... Fritz Wegner [00:11:47] My father had during the Anschluss happened to be out of the country on business. He was a business man. He was in Belgium at the time. When he heard that Hitler had sort of invaded Austria and that, it was dangerous for him to sort of come back home. I think my mother sort of alerted him that he should, sort of, stay away. He then sort of went to England? He was the one who was able to sort of get visas for us all. Yes. Including me and my sister. Fritz Wegner [00:12:46] And I was put on the train by my mother so she didn't see me again. Interviewer [00:12:50] I am sure. That's terrible. Fritz Wegner [00:12:50] I was thirteen... Hanna Weil [00:12:57] ...Were neutralized in 1940, I don't remember it. The war had already poured north. Interviewer [00:13:05] They didn't have to go to the Isle of Man? Hanna Weil [00:13:07] No, and I, of course, automatically became [politish with my parent]... Fritz Wegner [00:13:29] in one's lifetime. Interviewer [00:13:31] Exactly. Fritz Wegner [00:13:32] Yes, you know what I'm talking about sort of hundreds of years ago. It's last century. So we sort of salvage our lifes and of made our life in this country. Voice over [00:13:58] An Accentuated Voice is a soundscape composed of clips from the oral history archive in the museum and study collection at Central St. Martin's. The voices and accounts you have just heard belonged to, Amal Ghosh, Howard Tangye, Hannah Weil, and Fritz Wegner. https://aninvisibleguest.org/Art-Education-in-Times-of-Crisis Sat, 17 Apr 2021 09:40:42 +0000 An Invisible Guest https://aninvisibleguest.org/Art-Education-in-Times-of-Crisis ART EDUCATION IN TIMES OF CRISIS Art Education in Times of Crisis delves into issues revolving around education, social justice and student experience in times of crisis. This page features an archive montage of interview clips from the Oral History Archive at the Central Saint Martins’ Museum &amp; Study Collection. <img width="932" height="700" width_o="932" height_o="700" data-src="https://freight.cargo.site/t/original/i/ccc54ef5728aba40dce93c1bd9ee6edc8385ddb173809f6b084f48283fc0c974/Screen-Shot-2021-04-17-at-10.45.40.png" data-mid="105530549" border="0" src="https://freight.cargo.site/w/932/i/ccc54ef5728aba40dce93c1bd9ee6edc8385ddb173809f6b084f48283fc0c974/Screen-Shot-2021-04-17-at-10.45.40.png" /> <img width="813" height="672" width_o="813" height_o="672" data-src="https://freight.cargo.site/t/original/i/cc39b038e508505e08d8a75e1e95b21986e70c23f1498a31d8679f82daf26b41/Screen-Shot-2021-04-17-at-10.45.55.png" data-mid="105530550" border="0" src="https://freight.cargo.site/w/813/i/cc39b038e508505e08d8a75e1e95b21986e70c23f1498a31d8679f82daf26b41/Screen-Shot-2021-04-17-at-10.45.55.png" /> <img width="481" height="643" width_o="481" height_o="643" data-src="https://freight.cargo.site/t/original/i/c7adf2a551713dca97c53ceedf299d65843ee658e04a2f2a2fb37581d36bf967/Screen-Shot-2021-04-17-at-10.44.59.png" data-mid="105530547" border="0" src="https://freight.cargo.site/w/481/i/c7adf2a551713dca97c53ceedf299d65843ee658e04a2f2a2fb37581d36bf967/Screen-Shot-2021-04-17-at-10.44.59.png" /> Kathryn Hearn, BALE &amp; CINNABAR 3 (WALL PIECE), 2020. Hand-built flax paper porcelain, white, Dolomite semi-matt glaze with strata'd porcelain inclusions 7 x 33 cm. ©Kathryn Hearn.Kathryn Hearn, BALE &amp; FENCES BOWL, 2019Hand-built flax paper porcelain, dark &amp; pale grey Dolomite semi-matt glaze22 x 12 cm. © Kathryn HearnKathryn Hearn,&nbsp;BALE &amp; CAGE VESSEL, 2020Hand-built flax paper porcelain, white, dark &amp; pale grey Dolomite semi-matt glaze24 x 19 x 19 cm.&nbsp;© Kathryn Hearn <img width="700" height="960" width_o="700" height_o="960" data-src="https://freight.cargo.site/t/original/i/6047019bded7cb95d4817c3569916964cd39bcd2d174acd637840a2b3ba2a007/image-copy.png" data-mid="105530604" border="0" data-scale="99" src="https://freight.cargo.site/w/700/i/6047019bded7cb95d4817c3569916964cd39bcd2d174acd637840a2b3ba2a007/image-copy.png" /> <img width="800" height="960" width_o="800" height_o="960" data-src="https://freight.cargo.site/t/original/i/bf87b7c5a8f67f3ddaef95dc5f53f497f5eadee12cc11043e5ed0a76edcb2f3d/chinese-chair.jpeg" data-mid="105530894" border="0" src="https://freight.cargo.site/w/800/i/bf87b7c5a8f67f3ddaef95dc5f53f497f5eadee12cc11043e5ed0a76edcb2f3d/chinese-chair.jpeg" /> <img width="720" height="638" width_o="720" height_o="638" data-src="https://freight.cargo.site/t/original/i/147360a1e8fe24f5d4e7fb0c9d8c06ce9f5c9f728d7c16b00a0f8a696de6a819/image.png" data-mid="105530605" border="0" data-scale="100" src="https://freight.cargo.site/w/720/i/147360a1e8fe24f5d4e7fb0c9d8c06ce9f5c9f728d7c16b00a0f8a696de6a819/image.png" /> Martin Grierson, Reception Desk for UPI – Strand. Martin Grierson © 2015 Martin Grierson, Public seating for The Wallace Collection. Martin Grierson © 2015 Martin Grierson,&nbsp;“Chinese chair” A desk chair in macassar ebony and walnut.&nbsp;© Martin Grierson ARCHIVEMONTAGE &nbsp; The montage is a soundscape of interview fragments shared by product designer Chris Wiggs, furniture and interior designer Martin Grierson, and ceramic artist Kathryn Hearn. The soundscapes are based on the Oral History Archive in Central Saint Martins’ Museum &amp; Study Collection. Archive clips courtesy of the Museum &amp; Study Collection, Central Saint Martins. Theme tune by Hannah Kane. Art Education in Times of Crisis Transcript Theme Tune [00:00:00] [Mixed Voices] Howard Asher [00:00:14] I arrive d at Central, which was a really amazing time to be there. Here was the tutors were very... they were all young, it was after the war. They've got new ideas. So instead of everything being prescriptive, you know, "this is the way to do it". It wasn't. They used to say, "you have to think". So it was a very exciting time. Kathryn Hearn [00:00:36] ...when I saw the job at Central advertised in The Guardian, and I thought, I won't get that from London people. Interviewer [00:00:43] What year was that? Kathryn Hearn [00:00:44] That would be 88, probably 1980. Interviewer [00:00:47] And so had you moved down to London already? Kathryn Hearn [00:00:50] No I was still living up North. ... Howard Asher [00:00:52] ...which is quite amazing. So this degree show, student work. Um, and I kept records of everything. It was just there. And it was, uh, my friend Maureen Weyman, who was at the Manchester University. I was just thinking about it and she said, "you need to donate it". And actually, I didn't see what it was. But it is a beginning to an end... Bobby Hilson [00:01:20] ...some of the technical stuff. There was one quite amusing one that we were told to remember, this very early on. I was told to do what is called a bound buttonhole, which you do by hand. And I did it and she said, "fine, now do ten". And I said, "No!" [laughs] I do remember this day, Sally, because she was there when I came back to teach. And... Interviewer [00:01:47] Do you remember her name? Bobby Hilson [00:01:48] Yes, I do. Interviewer [00:01:49] Who was it? ... Kathryn Hearn [00:01:50] It was amazing because students didin't get as involved in my subject. So that was the reason I came to Central and arising, then found out they had the intention because the London Institute formed and they were deciding that they were going to get rid of the Islamic schools central and they were going to just have the Sonics at Camberwell. Interviewer [00:02:12] Hold on a minute. Did, um, did you know about that before you made the application ... Howard Asher [00:02:17] It's a really weird feeling because I know I did it, but I look at them and think I don't know how I did it, really. You know, you just do it don't you. But it's lovely that it's here. It's fantastic. Martin Grierson [00:02:31] Then the war came. So my parents sent my brother and I to stay with my grandmother in the final common. We went to [...] School in Beaconsfield for about a year. Rob Kesseler [00:02:47] ... It puts people off. Kathryn Hearn [00:02:48] Yes. I mean, I can sit around and decided as a student, I really didn't want to plan. Interviewer [00:02:54] It would have meant you coming down to London, wouldn't it? Kathryn Hearn [00:02:57] It wasn't to do that. It didn't feel like the right place for me at the time. I remember thinking there were a lot of men ... Giles Last [00:03:02] I was fairly dyslexic and I was then my family found the friends Quaker school system, which in the early 70s was one of the few educational, um, kind of, um, ideas that believed in dyslexia as something that needs solving. And I was lucky enough to be given that scholarship ... Martin Grierson [00:03:28] neighbour who taught because at Keswick School said, "why don't you send them up there, safe up and Cumberland". So we were sent off to Keswick School, which was a boarding school. And after the war, stayed there and completed our education in 1949 Bobby Hilson [00:03:48] ... And I say, "well, I shall not be taking my coat off". It was voyages inside. I mean, that was the way one was. It was all speed, speed, speed. And I think it's probably my character anyway,. Interviewer [00:04:03] Was that the time of the new look? Bobby Hilson [00:04:05] Yes! No the new look actually happened when I was still in Plymouth. Interviewer [00:04:10] It wasn't much space. but it's ironic. Later on, of course, we have the same space and a lot more students! Rob Kesseler [00:04:17] and mainly women Kathryn Hearn [00:04:18] and mainly women, yes... Giles Last [00:04:21] ...It didn't matter about your financial background, though, even approach, but that obviously was becoming very quickly when I entered the course that was, um, uh, being withdrawn. I mean, during the Thatcher years, I think funding to education changed significantly. And again, I don't remember the details, but certainly grants were running out really quickly. Kathryn Hearn [00:04:45] When it became apparent that they were going to change the course and they were going to shut our course and extend the product design course. Interviewer [00:04:54] Because the London Institute had already come into being. Kathryn Hearn [00:04:57] So there was to ceramics courses and they weren't uncomfortable about that. And so the discussion was, was to make this sort of uber product design BA and not... So in a way, Bobby Hilson [00:05:11] ..the new look was... It made one feels different. It's very different. that was so exciting to actually be in on that,. Interviewer [00:05:18] I suppose one thought austerity time was over. Bobby Hilson [00:05:22] Yes. Yes. And the fact it was so much younger because we all dressed you know, if you were 16, you could have been thirty-five. The way people were dressed, it was... And then and the makeup, the red lips ... Martin Grierson [00:05:35] ...were of Camberwell at that time. So he knew him quite well. And when Johnston to moved to the Central, which everybody regarded as the best school in Europe, my father had a chat with Johnston and got me in at a very young age of 16, just about to turn 17. And I hadn't done the the required one or two years in another art school... Bobby Hilson [00:06:07] ...one worry without the course of tram would have unfortunately had a tiny waist. But you could wear it with petticoats and ballet slippers and you suddenly felt young and, you know, it was much, much more the things that was a marvelous liberation. Kathryn Hearn [00:06:22] They were very much the same. What actually, Camberwell was going to run its course and we are going to provide some ceramic design within product design. Rob Kesseler [00:06:30] We were never part of the discussion. [...] Kathryn Hearn [00:06:32] NO, I think it was Bob [...] who was on the academic plan. He was a technician. So we didn't have any kind of say on that. And so we we were offered the opportunity to either go down to Camberwell to teach at Camberwell or to stay at Central and be part of the new, brave new world. Interviewer [00:06:51] So, um, who was running the course at Camberwell ? Amal Ghosh [00:06:54] ...on second year and third year, have a break down. And he thought it would be very good to have somebody who has some kind of idea of therapy. Kathryn Hearn [00:07:07] ... culture is so important to else because it's about eating, yes. And how people live their lives in the domestic context. Yes. So it's a very sort of real place to talk about difference. And this is a good place to have that ... Amal Ghosh [00:07:22] ...kind of wild time. And that I think it was, there was a very strong view that they needed some support. And at that time, there wasn't anything called a counselor or counseling. No. So this will become part of that. But I also wanted to do it. And it was really because it was partly to do with Giles Last [00:07:49] of students make um. And the ratio is hugely different. Every word through it. um, you know, there are ways there are ways of keeping the qualities, some of the qualities going. I think certainly, I think, in a funny kind of way, we weren't taught as much, even though there was that many staff. because it was much more about finding out... Bobby Hilson [00:08:17] the one I made, it was only one that remained with me all my life. I mean, one friend, I mean, which was [...], who went to [...]. And he was such fun, so talented and... Martin Grierson [00:08:33] The time in the workshop, the wood workshop at the Central as a very young student. But made four or five pieces of furniture. And learned without realizing it, all the techniques of how to make furniture by hand and by machine. So that, when 20 years later, I decided to... Kathryn Hearn [00:09:02] ... But the college made the decision when [...] moved us out here, they made the decision that they wanted to be about workshops, about making. That was a very important kind of element of what we do. So it's going to be hard for it to changes. I think what we would be worried about is that we just became a service to everybody else, because that's not the subject. That's, using clay and maybe making firing stuff, but it's not necessarily the subject. No, we think it's really important to have a subject because they have depth rather than kind of like a switch with my Bobby Hilson [00:09:38] ... My life. I met my husband at the Royal College. the Royal College dances. And we all go, all the students used to make, I mean, I used to arrive so late because having stitched myself into whatever I was when... Interviewer [00:09:54] Was this at Chelsea arts ball? Bobby Hilson [00:09:56] No, it wasn't Chelsea Art School. It was the Royal College. They always had a dance. everybody else there is. Rob Kesseler [00:10:03] ...College has a very different background. Is not the kind of typical central St. Martin's head of college. He's more active in the world globally, I would say, and... Interviewer [00:10:13] What's his field? Rob Kesseler [00:10:15] Architecture. Kathryn Hearn [00:10:15] But he's very design responsible, so he thinks that we need to be much more aware of the problems and responsibilities. Which obviously we would completely agree with... Chris Wiggs [00:10:32] on things I'd worked out during my apprenticeship was I was the world's worst employee. I ran my own businesses. I was making leather jackets. I was making guitar amplifiers. I was doing all of these things while I was a kid, you know, in my late teens and things. And I was doing it all while I was employed. But as an apprentice and you could pretty much get away with murder. And but I did realize it was a very unsatisfactory way to live your life. So what I had to do was to take a big step. But obviously I was born in and I Kathryn Hearn [00:11:05] ... Husband is a glass blower. And he has people, I mean, we do here. We have students all the time saying "I just want to come and do this". And they've not even been to the library. They've not even actually informed themselves about anything. And you say, "how can I have a half an hour conversation with you, which I don't have with my own students, when you haven't even bothered to find out about the subject?" so it's a bit like shopping Giles Last [00:11:29] whatever medium their projects leads them to really, despite what course they're on, in some ways. Interviewer [00:11:35] So how many students are on the course at the moment? Giles Last [00:11:38] There is a hundred and thirty. There's fourty in the first year. Forty one in the second year. Forty eight in the third year so... Interviewer [00:11:51] You imply that would be slightly smaller at King's Cross. Giles Last [00:11:55] I think that's the idea Kathryn Hearn [00:11:57] collaborate, having interdisciplinary work, that you've got to be careful that you don't get completely rid of subjects because then there's nobody to collaborate with. And so... Chris Wiggs [00:12:08] You do your all of your formative years of Walthamstow. It's a working class environment. And there's nothing like being part of the working class environment that people want you to not leave, and that's being polite. So if you should ever show any side of kind of putting your head above the parapet, there were people to make sure you stayed with your head down at one level. They "kept you in your place". Oh, you heard that all the time. You do feel both within and outside your own place and all that kind of... And people get quite cross about it. But I just felt that there was no future in being paid a working wage and the anything that was ever going to happen to me wasn't going to work. If someone told me to do it, if someone told me to do anything... Rob Kesseler [00:12:55] ...off the agenda. so whereas people might have done portrait school, they all went. [...] And so you also have to consider the point of entry. So if you said it's a very tight design course, a lot of people are not going to apply. So you have to have to pitch in... Kathryn Hearn [00:13:15] because in a way, I said to Jane Rapley about three years ago that, you know, we've had our backs against the wall for 20 years and [...], you know, we constantly had to feel that they were protecting and, you know, a subject and the relevance of still being a subject, you know, and that's you just it's very demoralizing. Very demoralizing. So you've got to kind of keep that belief going. And in a way... Giles Last [00:13:42] I think one of the amazing things about the growing number and how the students have become from all around the world is the diversity that breeds that, you know, students from... Bobby Hilson [00:13:57] ...social life, too. Because Freddy Gore, who was the head of painting used to do wonderful pantomimes and things. It was a fun place to be. It was. And I remember it mainly for being enormous fun and not working as hard as .... Kathryn Hearn [00:14:13] no it's year to year to. So last year, you know, the workshops, the windowless workshop is a bit of a shock. And we have less space and we have we're in a program, so we share this space with other people. So this year you have to put up against product design choices, people. So last year was really, really, really hard, wasn't it Rob? But this year I think has been more manageable. It's still got some edges to it, but in a way we're getting to know how to use a place and how to be. And also of course this year would be the last year that... Rob Kesseler [00:14:49] almost half of their course have no textiles background. So they're coming in looking at sustainability a lot within that course. Sustainability and ceramics, what does that mean ? [...] so I think the concerns might be similar when you're an artist or a designer and the point to which you approach it from, and I suppose because of all the work I've been doing the last 10 years in collaboration with scientists, which is another kind of big area in itself, but also the notion of collaboration, people working together, much more innovative in designing. Kathryn Hearn [00:15:25] The workshop. So the space hasn't been the same, it is more constrained. Um, and we've had to and we haven't had this kind of extra space that we always had, which was on the eigth floor. And we know we haven't had our own office. You know, we've always shared an office. We've never been separated out. But now we're with, you know, two of the courses in that office and so does change and we more fraught, I think, because of it. But then again, people look when they come, it's great that people go, oh, what a fantastic building. that makes you feel great. you have to stop yourself saying yes. Giles Last [00:16:02] No one would do that now. It's maybe only three years ago they would have done it. Three or four years ago, the silver quadrupled in price. and they do go and have a look at the price and they come back, thinking that they wouldn't be able to eat for two weeks if they did that. Interviewer [00:16:16] So does it mean that there is a little small core who can afford to do this? Giles Last [00:16:21] I think oh, absolutely. Interviewer [00:16:23] I suppose there always will be Kathryn Hearn [00:16:26] ...but then again, our fees are nine thousand pounds and that essentially covers what we would have had before. So I suppose it depends what next year's budget is that's going to be more problematic maybe. And it also depends on our international members of state haven't grown massively. And I think that the university doesn't want to grow too many, too many numbers. So all those years of the numbers going up. They're going down. Rob Kesseler [00:17:02] I think Sculpture. It's a sculpture department. So within fine arts. Concerns are I would say predominantely more theory driven where science might be more context driven. So who is it? You can call it art, but who is going to use it? Has it access to it? How how do you use that to further your career? Interviewer [00:17:26] So did you have parties at St. Martins? Bobby Hilson [00:17:27] Yes, we had wild dances at St Martins. And all sorts of people. I mean, we used to be inundated with medical students who thought, you know, or were all told what: sexy girls would be in the fashion school, and we all thought they were absolute idiots and [...] Interviewer [00:17:46] Can we just have a few minutes where we talk a bit about the future? Rob Kesseler [00:17:52] So, yes, I think in a sense, the future yet to be decided, but I think it will change. Voice Over [00:18:02] Arts education in Times of Crisis is a soundscape composed of clips from the oral history archive in the museum and study collection at Central St. Martins. The voices and accounts you've just heard belong to Chris Wiggs, Martin Grierson, Kathryn Hearn, Bobby Hillson, Amal Ghosh, Giles Last, Rob Kesseler and Howard Asher. https://aninvisibleguest.org/Life-After-School Sat, 17 Apr 2021 10:01:03 +0000 An Invisible Guest https://aninvisibleguest.org/Life-After-School LIFE AFTER SCHOOL Life After School goes back to the memories and experiences on artistic practice and professional career development. This page features an archive montage of interview clips from the Oral History Archive at the Central Saint Martins’ Museum &amp; Study Collection. <img width="500" height="328" width_o="500" height_o="328" data-src="https://freight.cargo.site/t/original/i/3d04b36740b68a1aff41f42d2c97253c6610d41c35f686c64dcc2ff14ca4ac97/-411724108.jpeg" data-mid="105531237" border="0" src="https://freight.cargo.site/w/500/i/3d04b36740b68a1aff41f42d2c97253c6610d41c35f686c64dcc2ff14ca4ac97/-411724108.jpeg" /> <img width="500" height="327" width_o="500" height_o="327" data-src="https://freight.cargo.site/t/original/i/695b4ea33429aaaeefe63429169d043bfb36e4d506ed90714d2330c29d32096d/-579341795.jpeg" data-mid="105531238" border="0" src="https://freight.cargo.site/w/500/i/695b4ea33429aaaeefe63429169d043bfb36e4d506ed90714d2330c29d32096d/-579341795.jpeg" /> <img width="500" height="327" width_o="500" height_o="327" data-src="https://freight.cargo.site/t/original/i/fb1ca7d4350a7c1e840068867560283e5bff89ecf4a757cf0a8a74420971eddd/-1384091080.jpeg" data-mid="105531236" border="0" src="https://freight.cargo.site/w/500/i/fb1ca7d4350a7c1e840068867560283e5bff89ecf4a757cf0a8a74420971eddd/-1384091080.jpeg" /> Colleen Farr, Camelot/ Leo. Silk. © CSM Museum &amp; Study Collection Colleen Farr, Bacchus, 1961. Cotton dress fabric.&nbsp; © CSM Museum &amp; Study Collection Colleen Farr, Untitled. © CSM Museum &amp; Study Collection <img width="1280" height="1920" width_o="1280" height_o="1920" data-src="https://freight.cargo.site/t/original/i/c3d79e8e70161cc2cbc695093723bde85cf65d17e7a138f9f31ae1442ed94819/original.jpeg" data-mid="105531253" border="0" src="https://freight.cargo.site/w/1000/i/c3d79e8e70161cc2cbc695093723bde85cf65d17e7a138f9f31ae1442ed94819/original.jpeg" /> <img width="504" height="662" width_o="504" height_o="662" data-src="https://freight.cargo.site/t/original/i/181561496a73a3629b647367bffa783bd3ea55e4e2f57bca923bf84f815f82fc/Screen-Shot-2021-04-10-at-16.41.10.png" data-mid="105531232" border="0" src="https://freight.cargo.site/w/504/i/181561496a73a3629b647367bffa783bd3ea55e4e2f57bca923bf84f815f82fc/Screen-Shot-2021-04-10-at-16.41.10.png" /> <img width="457" height="672" width_o="457" height_o="672" data-src="https://freight.cargo.site/t/original/i/793276d298c62af68baa2f82f795d5d4830c75f0dadd25304b5f8df96d96f789/Screen-Shot-2021-04-10-at-16.41.19.png" data-mid="105531231" border="0" data-scale="92" src="https://freight.cargo.site/w/457/i/793276d298c62af68baa2f82f795d5d4830c75f0dadd25304b5f8df96d96f789/Screen-Shot-2021-04-10-at-16.41.19.png" /> Bobby Hillson, Fashion Drawing.&nbsp; © Bobby Hillson Bobby Hillson, Fashion Drawing.&nbsp; © Bobby Hillson Bobby Hillson, Fashion Drawing.&nbsp; © Bobby Hillson ARCHIVEMONTAGEThe Life After School montage is a soundscape of interview fragments shared by fashion illustrator Bobby Hillson, textile designer Colleen Farr, jewellery designer and teacher Giles Last and film and cinema professional as well as the founder of British Artists' Film &amp; Video Study Collection David Curtis.The soundscapes are based on the Oral History Archive in Central Saint Martins’ Museum &amp; Study Collection. Archive clips courtesy of the Museum &amp; Study Collection, Central Saint Martins. Theme tune by Hannah Kane. Life After School Transcript Theme tune [00:00:13] [Mixed Voices]. Howard Tangye [00:00:14] It can be a bit of a struggle trying to keep it all together. And also, you know, worry as a teacher, I always worry that, you know, are they getting enough attention? I think I've been told, you know, perhaps I give them too much attention, but I sort of, I think I know my students and I sort of feel. As an artist or as a designer myself. I sort of feel I know what they need. Interviewer [00:00:47] You feel it's important to get the support at that stage. Howard Tangye [00:00:50] Absolutely. Giles Last [00:00:51] You know, like a double-decker bus or an [AGA] cooker,. Giles Last [00:00:55] Or a piece of sculpture. GIles Last [00:00:57] Yeah, which Douglas Scott was involved or a piece of sculpture. Giles Last [00:01:00] But interestingly enough about Douglas Scott is the fact that he started here as a jeweler and I often tell the first years that he did, because you can see that jewelry, that element of jewelry in the, in the Routemaster and the AGA cooker, those sort of spring handles that you can sort of see in both the bus and the cooker. Interviewer [00:01:21] You graduated in 1974 with a first. Yes. So that was very good. Yes. Yes. So what did you do then? Howard Tangye [00:01:29] Well, I graduated in '74 and in that year I was asked... Bobby Hilson [00:01:39] I had applied. I decided that and apparently Vogue went mad and I said, well you know I'm no longer under contract. And if you wanted me to do things, I could have. But anyway, so it was a bit of a shuffle. They were very huffed, very put out by that. And but anyway, I made my career and I was doing freelance. Howard Tangye [00:02:02] I'd like to go to Parsons in New York. All right. Because at the time they had this arrangement where a student from St. Martin's would come for one year to St Martin's from Parsons would come this exchange scholarship. Yes. And one would go to Parsons. So they asked me if I'd like to do it. So I said, yes, I would be interested. But for certain personal reasons, I decided I couldn't and so I said could I take the opportunity next year and they said "Yes, that should be all right". So anyhow, when I graduated, I started to work for Zandra Rhodes. Oh right. Yes. But before Zandra, I had a job with a Japanese designer in London. I think, the first sign of Japanese designers coming to Europe. And I'm pretty sure his name wasn't Kyoji Bobby Hilson [00:03:02] and Barbara Hulanicki, who was drawing. She opened Biba, you know, everybody was launching. I and I had been drawing a lot of children's wear. And that's when I thought there is a gap in the market. And with a journalist friend who for other reasons wanted to set up something else, we set up a company. Which wasn't going to be called Bobby Hillson, the name we wanted, it already been taken. So in desperation, it was under my name which I, and I Howard Tangye [00:03:34] Who should I listen to? She said, "Well, you know, the important thing is just to be a sponge as a student. When you leave here, you're going to just do your own thing anyway." So but she said also, you know, you just have to listen to who you, you know who you kind of connect to, but also you should be open, you know, I remember that very well and, you know, so tried to take take it all. Interviewer [00:03:58] And so who made up the clothes? Where did you get that done? Bobby Hilson [00:04:02] Oh, I had several factories you know, mainly in this country. Some abroad, I used to show in Paris and so well, I sold Japan, I sold it was it had to be the top sort of children's wear companies because the others couldn't afford it, because in order to make it pay, I had to charge really rather a lot. And I was allowed, I did sort of Howard Tangye [00:04:35] great. It was really fun. But you worked very hard for it. You worked very hard. Yes. Interviewer [00:04:42] Was that where you started to have your own womenswear label? Howard Tangye [00:04:45] No, it was when I came back, I decided after the second year I'd also been home to Australia to visit my family during that time and. I decided because my partner had sort of moved to Los Angeles and I was kind of getting homesick for London. And I did miss the designing part of life, doing, designing fashion, designing clothes. So I decided if I came back to London, I'd try and start my own business. So, you know something in that regard. So I did come back and it was 1970. Bobby Hilson [00:05:28] Well, I'd be much richer because there was a childrenswear company called the White House, which was owned by Huntsmen in Savile Row. And they wanted to buy me out, and that would have been an answer because I wouldn't have had to do as much because I would have just done the design. David Curtis [00:05:46] We all thought this is wonderful because it had been set up to broadcast minority interest work. This is, this what the charter originally said, and it had a commissioning editor for independent film and television. And they were very sympathetic and they proved all sorts of things. I curated a program called Midnight Bobby Hilson [00:06:13] and how did I know? Well, my mother had always taken Vogue and I always wanted to work on Vogue which is an extraordinary thing. You know, there you were Howard Tangye [00:06:24] All the items with the collection. So we just got in the box and went around to a lot of dress agents, buying agents, which were in sort of just around Oxford Street. You know, that sort of fashion area. Yes. Rag trade. Yes. And also to a few boutiques, you know, just make appointments. You could walk in and see a buyer, that sort of thing. And we sold it straight away. It was fantastic. And I remember the first big order we got was from a company in Germany called Hertie. Think they had department stores or something. Right. And then they placed a really big order . David Curtis [00:07:14] I think a more diverse mix were attracted to film courses, if we're talking about film courses and actually more broadly. And I think Interesting people have gravitated towards the moving image of diverse people, international Colleen Farr [00:07:32] And I first went up in the golden days of art education when they were generous with the staffing ratios and so on. I could I could teach quite a bit and I jolly well did. But then it got a bit frantic and the administration became more increased. And I found I wasn't teaching nearly as much as I liked. So that was a pity. And of course, we got in, you know, we had to expand and we went from something like, I think 14 to 16 intake a year. To twenty four to thirty, you know, and you just begin to lose any real contact with the students. I mean, there were students that I knew very, very well, and they were like family when I first started teaching. And there was when it came to the end, when they were 30 in a class, I sort of struggled to remember their names. You know, I hated that, which is partly why I left in the end I think Howard Tangye [00:08:37] Just Howard Tangye. Interviewer [00:08:38] All right. Yes. And how long did that go on for? Howard Tangye [00:08:42] It went on for about. So I think it must be around for about, eight years old together. Something like that. Anyhow, what happened at the sort of towards the '80s. I was still still serving in the '80s and also started to do some part time teaching. Interviewer [00:09:09] When you say it was taken away? Did someone else run it? Colleen Farr [00:09:11] It no, we were told not to report any more students. I see. Just like that. And until very late in the year, I mean, I'd actually started contacting students who were applying for the course. I had to ring up and say or ring up their colleges and say, you know, we are no longer offering an M.A. It was all a bit disastrous in the days of what was called CNAA. David Curtis [00:09:35] Yes, there was a huge row in 1977 when the Hayward Gallery reopened and it, it had, it announced the first of what it was calling the Hayward Annual, it was a kind of annual review of new work by painters from all over the place. The selection committee is entirely male and the artists chosen to show were entirely male. And some women noticed that and the next year they did an all women selection group, all women Hayward annual to compensate. But it began a debate which was interesting at the David Curtis [00:10:26] A number of women who were at LCC, no, Chelsea was one of the Howard Tangye [00:10:36] Just get a model to come and draw or draw friends or whatever. But anyway, I had also been teaching part time. At St Martin's and I'd been asked to go and teach in some other college Colleen Farr [00:10:52] He actually didn't support me in various situations that I found myself in that normally you would expect a principal to support you in. And I just, I don't I don't like this at all. And I think that's partly why I decided I'd leave because I left, I decided to leave just a little bit before he left. Interviewer [00:11:16] So. what year did you leave? Howard Tangye [00:11:20] Who did a drawing class in the evening. Interviewer [00:11:23] Oh, yes. Howard Tangye [00:11:25] He needed someone to fill in for him and would I be interested to do it and I never, ever thought of teaching. It never entered my head. So I said to Elizabeth, I said. Well, I don't think I'd be any good at that. So she said, oh, no, I don't think you would David Curtis [00:11:52] This is an Arts Council committee all sitting here unpaid as advisers to advise on giving grants to artists but we need gender balance here, and she insisted nobody's ever questioned the selection criteria before but to its credit our superiors said, "Yes, OK". And that set a principle that at least within the film area of the Arts Council, didn't happen across all the other art forms. We had gender balance in terms of selection committees Howard Tangye [00:12:35] the mood of the collection of, these are the colors or whatever, but they don't really tell me what I have to put on the page. So. And that's how I like to work, really, I I kind of think that I'm not a very good illustrator because I actually hate being told what to do. And I think there's a David Curtis [00:13:02] Want for women-only screenings and. We're talking about. '78. '79. So that was reported, it may have been earlier than that, it was much disputed even amongst you know the highly democratic processes of the filmmakers co-op and there was a splinter group from the co-op circles was set up by Felicity Sparrow and Howard Tangye [00:13:47] a treat to be invited to the show. Interviewer [00:13:48] And he probably feels about you like you feel about. A sort of respect and well, that's very important. At one stage in his life. Howard Tangye [00:13:59] What a lovely thing to say, yes. Well, I mean I think if it does feel like that, that's quite amazing because, you know, for , I just thought, you know, she actually changed my life really, I mean she really did. You know, if it hadn't been Colleen Farr [00:14:18] I I tried to do it in the summer. And Bill and I used to go take the car and go to drive around Germany and France, you know, as freelance designers. I couldn't, I had an assistant for a time and I tried to keep going, but I, I couldn't, it became too much, and that was another reason for me to leave and start up my own career again Voice Over [00:14:53] Life After School is a soundscape composed of clips from the oral history archive in the museum and study collection at Central St. Martins, the voices and accounts you've just heard belonged to Bobby Hillson, David Curtis, Colleen Farr, Giles Last and Howard Tangye. https://aninvisibleguest.org/Accessibility-Info Wed, 21 Apr 2021 10:24:50 +0000 An Invisible Guest https://aninvisibleguest.org/Accessibility-Info THE ACCESSIBLE VERSIONThe issues surrounding audio only project are acknowledged within this project – such as it being inaccessible for those who are deaf and hard-hearing, non-English speakers or individuals who have forms of neuro-divergence. This project works towards including a visual layer, and considering actions such as transcribing the audio to make sure the project reaches a wider audience. https://aninvisibleguest.org/About Sun, 18 Apr 2021 19:41:46 +0000 An Invisible Guest https://aninvisibleguest.org/About ABOUT THE PROJECT <img width="800" height="642" width_o="800" height_o="642" data-src="https://freight.cargo.site/t/original/i/22e50024436dc3f0f0aff5331a08e1c4689d9cc2dbb078c0ebe3028314acf0a9/bafv.jpeg" data-mid="105641570" border="0" data-scale="44" src="https://freight.cargo.site/w/800/i/22e50024436dc3f0f0aff5331a08e1c4689d9cc2dbb078c0ebe3028314acf0a9/bafv.jpeg" /> The raw material of oral history . . . is pre-eminently an expression and representation of culture, and therefore includes not only literal narrations but also the dimensions of memory, ideology and subconscious desires. (Passerini, 1979, p. 84, cited in Green, 2008, p. 90) An Invisible Guest: Mapping Voices, Relations and Agencies is an online project based on the interviews conducted at Central Saint Martins. Encompassing a plurality of narratives around relationships and professional and artistic careers cultivated over the years in the school, this project aspires to capture the stories falling in-between the lines. It centers agency in the core of everything, reminding us to view subjectivities and memories as situated, partial and incomplete. Moreover, it binds the author(s)/producer(s)/curator(s) of this project to reflect on their own agencies throughout the process; acknowledging positions on which the interaction and engagement with the material as well as the audience happen from. Following in the footsteps of an Italian feminist art critic Carla Lonzi’s Autoritratto (Self-Portrait) (1969), this project embodies ‘creative subjectivity’, which steps away from patriarchal ideas linked to individuality, and instead aspires to seize experiences and processes through active engagement with the existing material that challenges notions of visibility. Intertwining the narratives of history with the contemporary ones, alternative spaces are born, decentering the project from a singular point of reference. An Invisible Guest, aims to critically unpack the scenes behind the archival collection: Whose voices are being heard? Who is absent? Who are the gatekeepers? Building on methodologies of care, this project aims to build bridges and conversations between past generations and contemporary creatives within the art institution, bringing up the challenges of now and then and creating interstices where different voices and subjectivities can be heard. Édouard Glissant’s statement on the ‘right to opacity’ is applied as a way of praxis and understanding between the agents of this project to reclaim multiplicities of voices, while aiming to form a transparent way of interacting both with the new interviewees as well as the audience. By deconstructing and demystifying the structures, histories and myths surrounding the institution, the project reveals whose narratives constitute the art school. This online Archival/Curatorial project is the work of Franki McDade, Yuhui ‘Catherine’ Li, Alexander Aplerku, Nimco Hussein, Maria Demine, Clémentine Dubost, and Wenqing Liang – seven Central Saint Martins MA Culture, Criticism and Curation students with varied backgrounds, compiling both UK and international students.Many thanks to Janine Francois, Jamie Sutherland, Siyan Zhang, our wonderful podcast guests as well as Annabel Crowley, Tom Lynch, Rahul Patel,&nbsp;Lara Bazzoui (WIM), Alyshia Jack, Pinky Latt, Dee Juneja, Catherine Caldwell, Sarah Campbell, Alejandro Ball, Alison Green, and Lee Weinberg who have supported this project through its journey. Passerini, L. (1979). Work ideology and consensus under Italian fascism. In History Workshop Journal (Vol. 8, No. 1, pp. 82-108). Oxford University Press. <img width="1828" height="2477" width_o="1828" height_o="2477" data-src="https://freight.cargo.site/t/original/i/2e3e137a4378d1a96c34b73fc633f099f7ec30239b73976316753d714960b305/lonzi.jpeg" data-mid="105641567" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/2e3e137a4378d1a96c34b73fc633f099f7ec30239b73976316753d714960b305/lonzi.jpeg" /> THE ARCHIVAL COLLECTION 1. Ralph Koltai2. Audrey Levy 3. Susan Einzig4. Alison Britton 5. John Lawrence &amp; Myra Lawrence6. Simon Pugh 7. Hanna Weil8. Bobby Hillson 9. Neville Morgan10. Peter Avery11. Jane Short12. David Crisp13. Margaret Till14. Chris Wiggs15. Amal Ghosh16. Judith Kerr17. Paul Eachus18. Sally Jacobs19. Ken Clark &amp; Ann Clark20. Mike Thorpe 21. Nick Morris &amp; William Raeburn 22. Peter Johns 23. Jane Garnett &amp; Richard Garnett 24. Richard Doust25. Fritz Wegner 26. Kathryn Hearn27. Rob Kesseler28. Phil Baines29. Posy Simmonds &amp; Richard Hollis30. John Drummond &amp; Ruth Harris31. Steve Furlonger 32. Colleen Farr33. Malcolm Cocks34. John Laing35. Ken Garland 36. David Curtis37. Anthony Powell38. Sara Midda39. Jane Rapley40. Martin Grierson 41. Robert Addington42. Howard Tangye43. David Parsons 44. Carly Ralph45. Natalie Gibson46. Louise Wilson47. Scilla Speet 48. Pamela Howard49. Anna Buruma50. Giles Last 51. Howard Asher52. Malcolm Le Grice53. Richard Slee54. Derek Birdsall55. Mike Peel