Goldlink 31

G Goldlink 31 Spring 2009 Keeping you in touch with Goldsmiths

Green by Design Alumni make it their business

The Library A quiet revolution

The Rewards of Mentoring Alumna Cathy de Monchaux talks of her experience

Studying in the UK Goldlink meets Stella Tang

Warden’s Welcome

Goldlink 31

Goldsmiths is one of those special universities whose deep roots in its local community can happily go hand-in-hand with a global reputation.

The fact that Goldlink is read in New Cross and around the world testifies to that.

David Mungall joined Goldsmiths as the new Director of the Development and Alumni Office in September 2008.

If proof was needed that an institution committed to social inclusion can also be a world-leading research institution, then the national Research Assessment Exercise in 2008 (the first for seven years) was that proof. Goldsmiths did very well. If one looks at the proportion of our research rated at the very highest world-leading level – 4* in the new grading system – then Goldsmiths came 9th in the UK. This is a remarkable achievement, and one of which we’re proud. Congratulations must in particular go to Sociology and to Media & Communications, which confirmed their position amongst the leading departments in their fields.

2008 was also a year in which I had the pleasure of meeting many alumni at reunions at Goldsmiths and abroad. I particularly remember a warm and lively gathering at the College for alumni who had graduated forty years ago, and a smaller gathering in Toronto. To all of you whom I’ve met over the last year, I offer my thanks for the warmth of your welcome, stimulating conversation and your affection for Goldsmiths.

We’ve reorganised the Development & Alumni Office in recent months, under the leadership of its new Director, David Mungall. David and his colleagues have already got off to an energetic and creative start in responding to the interests of Goldsmiths’ alumni and friends, as well as in their work to secure philanthropic income to advance the College’s educational and cultural goals. I myself became a monthly donor to the College in the past year and I hope many of you will join me in 2009.

I hope that you enjoy this issue of Goldlink.

Best wishes Professor Geoffrey Crossick Warden

As a proud South Londoner, by adoption, I was delighted to join Goldsmiths, which I knew from its outstanding reputation. I have found a very special atmosphere at the College. I particularly like the sense of a campus at New Cross, which is rare for an urban university in London.

But it is the people who make it special: Goldsmiths has personality, and lots of it, and I am really looking forward to getting to know the place in the coming years.

Having just turned 40, I find to my surprise that I have now spent 11 years of my career in higher education.

My first job was at my former college, the University of Strathclyde in Glasgow. I really enjoyed meeting former students who, though graduating decades before, had real warmth of feeling and pride for their old university.

Before joining Goldsmiths I spent four years with Maggie’s Cancer Caring Centres where I raised money to expand their network of support centres. It seemed like a logical step to go from Maggie’s, which believes in the healing power of great art and design, to the College, which among other strengths is one of Britain’s leading creative institutions.

I hope it hardly needs to be said that the advancement of education is one of the most important charitable purposes one can support. I have been a donor to Strathclyde for years, and began giving to Goldsmiths when I joined the College. To improve the quality of the Goldsmiths student experience and our teaching and research, we recognise the importance of raising money independently - not to replace public funding - but rather to provide a better educational experience than the state alone can afford. The more successful our fundraising, the greater the level of excellence Goldsmiths can offer, with all the concomitant benefits to society that brings.

I do hope you will support the College.

Best wishes David

Goldlink 31 Keeping you in touch with Goldsmiths Edited by Liz Ivory Development and Alumni Office Goldsmiths, University of London New Cross, London, SE14 6NW alumni@gold.ac.uk 020 7919 7069 Cover photo of Stella Tang

by Adam Peers

Designed by Reprographics Unit, Goldsmiths © Goldsmiths, University of London, 2009 All rights reserved.

Contributions to Goldlink are welcome by email or post.

We reserve the right to edit articles in the interests of brevity or clarity. The opinions expressed in the magazine are those of the writers concerned and not necessarily of Goldsmiths.

Goldlink is printed on Era Silk, the only coated graphical paper made from UK waste. Era Silk is collected from within a 100 mile locality, thereby reducing its carbon footprint, and is produced under the Eco-Management Audit Scheme (EMAS) certification.

Inside: Goldlink 31

4-7 BULLETINS AND NEWS 8

Amusia Find out what it is and whether you might have it 9 COVER STORY

Speaking from the heart Stella Tang talks about studying Fine Art at Goldsmiths 10-11

Library More resourceful than ever 12

13

Bridging the generations Carrie Paechter and her mother Alison compare life and times at Goldsmiths

Taking Place by Sally Hogarth & Emma Johnson

13

Student mentoring A positive experience at BAA Terminal 5 14-15

Design and the environment

14

Terry Rosenberg proudly introduces successful eco-designers Joanna Lambert’s eco furniture

16-17 REUNIONS

Enduring friendships ‌and new ones made 18 OBITUARIES 19 Alumni services

16 Claire Jones with reunion organiser Mel Blakeley

We can supply information in alternative formats for people with a visual impairment or dyslexia.

Please contact Liz Ivory in Development and Alumni, tel. +44 (0)20 7919 7069 or alumni@gold.ac.uk

10 The Library 1953

4 news

Major new building on campus At the time of going to press, work had begun on a new state-of-the-art building at the College.

Housing Goldsmiths’ internationally renowned Department of Media and Communications, the building will include a new 290-seat lecture theatre, a 120-seat screening room, photography studios, a TV studio and a cafÊ. Located at the rear of the College Green beside the tennis courts, the glass-fronted building will be a counter-point to the Richard Hoggart Building (known to many as the main building). The building is due to open in time for academic year 2010 and will provide a single home for the Department which is currently spread over five different sites on campus. If you would like to support this exciting project please contact David Mungall, Director of Development, d.mungall@gold.ac.uk

Goldsmiths recognises celebrated individuals At the 2008 Presentation Ceremonies, the College honoured individuals who have achieved great success in their field.

Christopher Jonas, CBE, Chair of College Council awarded Honorary Doctorates to the following notable academics: Professor Peter Kivy was made a Doctor of Music (DMus) for his vision in rejuvenating the now f lourishing subject of musical aesthetics.

Professor Jean La Fontaine is an anthropologist whose research interests of kinship, witchcraft and Satanism have led her to become involved in contemporary debates about the existence of ritual abuse of children.

Jean was made a Doctor of Literature (DLit).

Professor Ezio Manzini was awarded an Honorary Doctor of Science (DSci) for his research in strategic design, design for sustainability, and design for innovation, with a focus on scenario building and solution development.

The Honorary Fellowship of Goldsmiths was awarded to leading cultural figures: Paule Constable, English and Drama graduate (1989), went on to become an award-winning lighting designer, winning the Olivier Award for Best Lighting Design in 2005 and 2006, for His Dark Materials and Don Carlos respectively.

Alex James, as bass guitarist of Blur, was part of one of the most influential bands of the 1990s and a key figure in the Britpop scene. The former Goldsmiths student was a contestant in the BBC TV show Maestro last year.

Heather Rabbatts CBE is Executive Deputy Chairwoman of Millwall FC, a role that has seen her challenge preconceptions about women in the sport and the football club itself.

John Sullivan left school at 15 but became famous as the writer of two of the best-loved television sitcoms of all time: Citizen Smith and Only Fools and Horses, both set in South London.

Sam Taylor-Wood graduated from Goldsmiths in 1990 and has been at the forefront of contemporary art in the UK since. In 2002 she became the youngest artist to have a solo show at the Hayward Gallery.

Sam Taylor-Wood and Alex James

5 news

Mayor of London Boris Johnson and Antony Gormley

Alumni chosen for Fourth Plinth Mayor of London Boris Johnson has announced the next two commissions to be placed on the Fourth Plinth in Trafalgar Square will be works by Antony Gormley (1977) and Yinka Shonibare (1991).

Antony Gormley proposes that the fourth plinth is occupied 24 hours a day by members of the public who have volunteered to stand on it for an hour at a time.

“Through elevation onto the plinth and removal from common ground”, explains Antony, “the subjective living body becomes both representation and representative, encouraging consideration of diversity, vulnerability and the individual in contemporary society. This is particularly pertinent in the context of Trafalgar Square with its military statues honouring specific individuals.”

Vivienne Westwood and Professor Geoffrey Crossick, Warden

‘Active Resistance’ brings Dame Vivienne Westwood back to the College One of Goldsmiths’ most famous alumni, Vivienne Westwood, returned to the College to deliver her latest project, ‘Active Resistance to Propaganda’, to an audience of alumni, students and staff in the Ian Gulland Lecture Theatre.

Dame Vivienne’s manifesto is based on the premise that art provides culture, which is subsequently the antidote to propaganda. Students from the Departments of Drama and Media and Communications assisted in delivering the manifesto taking on the persona of characters that are used to illustrate her statements, including ‘Pirate Progress’, ‘Pinocchio’ and ‘Aristotle’. At its core, the manifesto urges people to watch less television, read more books, search for culture and buy fewer luxury items.

The evening was chaired by Professor Angela McRobbie from the Department of Media and Communications.

You can read the manifesto online at www.activeresistance.co.uk

I’ve started so I’ll finish…

Yinka Shonibare’s Nelson’s Ship in a Bottle

Yinka Shonibare MBE will make a scale replica of Nelson’s ship, HMS Victory, in a giant glass bottle. The ship’s magnificent sails will be produced in richly coloured and patterned textiles, which Shonibare buys from Petticoat Lane market in London. They are assumed to be African but in fact the fabric was inspired by Indonesian batik design, mass produced by the Dutch and sold to the colonies in West Africa. By the 1960s the material was popularly assimilated in Africa and became symbolic of African identity and independence. Shonibare says his piece will ref lect the story of multiculturalism in London today, which began as a result of Nelson’s victory at the Battle of Trafalgar: “For me it’s a celebration of London’s immense ethnic wealth, giving expression to and honouring the many cultures and ethnicities that are still breathing precious wind into the sails of the UK.” Both Antony and Yinka are Honorary Fellows of Goldsmiths.

Further information can be found at: http://www.london.gov.uk/fourthplinth/

Alumnus David Clark stormed to victory in the BBC1 series finale of Mastermind 2007/2008.

A teacher from Port Talbot in Wales, David studied English at Goldsmiths from 1983-86. For the past 20 years he has been an English teacher at Cwrt Sart Comprehensive School in Briton Ferry, near Port Talbot in Wales. His time in London must have influenced his choice of specialist subject, as he chose to be quizzed on ‘London Bridge’.

David’s passion for quiz shows has seen him also take starring roles on ‘Who wants to be a Millionaire?’, ‘Eggheads’ and the short-running ‘Come and have a go if you think you’re smart enough’.

He says he has very fond memories of his time at Goldsmiths, with his one regret being that he never rounded up a team from the College to compete on University Challenge.

Mastermind David Clark

6 news

New books by Goldsmiths graduates

Award for knife crime documentary

Out At The Movies: A History of Gay Cinema, the latest book by Steven Paul Davies (BA Media and Communication Studies 1995-98), was published in November 2008 by Kamera Books.

A film by Amienata Sillah, a student in the Department of Media and Communications, about the fatal stabbing of a schoolmate, was shown on Channel 4 last year.

Out At The Movies looks back, decade by decade, at the history of gay cinema, celebrating films which have defined the genre. Indie films, the avant-garde, sex on screen, bad guys, lesbian lovers, transgender films, camp comedies, musicals and gay rom-coms are all featured and illustrated with colour stills.

Amienta’s documentary, Knife Crime, was made as a reaction to the fatal stabbing of schoolmate Kiyan Prince. Amienata explained, “His death affected me. He was a genuine character who stood out in school and he wasn’t involved in knives and gangs. I just wanted to give young people a chance to speak about it and say what they felt. I also wanted to show that most young black people are not doing negative things, that they can be positive as well.”

Steven was the youngest news presenter on national commercial radio, presenting on Virgin Radio, before setting up the PR company, One Media. His previous books include Alex Cox: Film Anarchist, Brat Pack: Confidential (with Andrew Pulver); A-Z Cult Films and Filmmakers, The Prisoner Handbook and Get Carter and Beyond: The Cinema of Mike Hodges.

Ross Raisin, who graduated with an MA in Creative and Life Writing in 2004, has been presented with a Betty Trask First Novel Award for his book God’s Own Country.

He was described by the Irish Times as the “most brilliant new novelist to have appeared in Britain since Martin Amis.”

The film also received a ‘Positive Images’ award from the magazine ‘Children and Young People Now’. Cabinet minister Ed Miliband presented the award to Amienata at a ceremony at Westminster.

Amienata Sillah

God’s Own Country tells the story of Yorkshire farmhand Sam Marsdyke, who spends his days mending fences and working the sheep until a pretty girl from London moves to the village, and events take an unexpected course.

Image Credit: © Mark Wallinger, 2008

It was also shortlisted for The Guardian First Book Award 2008.

Student writers winning awards Anna Leach, a 2008 graduate in Journalism, is the first winner of the Wyn Harness Prize for Young Journalists which was established

by The Independent last November in memory of their former assistant editor, Wyngate Harness, who died from a brain tumour in 2007.

Anna’s feature about the breakdown of sectarian divisions in Ulster’s gay community caught the judges’ attention for its strong story and fresh approach, and was published in The Independent in January.

Born in England but raised in Belfast, 24-year-old Anna said she wanted to present a more optimistic view of Northern Ireland: “It just struck me that it’s only ever negative stories that come out.” Anna is currently on a work placement at The Independent and plans to pursue a career in feature-writing.

Another award-winning writer in the past year was Media and Communications graduate Gwyn Roberts who won Feature Writer of the Year at the Press Gazette’s Student Journalism Awards. Gwyn is now editor of Hedge Fund Manager Week. Of reporting on hedge funds during the credit crunch, Gwyn says: “Currently everybody, for good or for ill, has an opinion on hedge funds and wants to know about their role in the credit crunch. Much of our work has been to defend a much maligned sector, but we have also been at the forefront of covering the mistakes of managers – not least the recent fall-out from the Madoff fraud.”

Mark Wallinger 2009 has already been a busy year for Mark Wallinger (MA Fine Art 1983-85 and also later a tutor at Goldsmiths). Not only has his 50 metre high white horse sculpture been commissioned in Ebbsfleet, he has also curated the show The Russian Linesman for the Hayward Gallery.

The title refers to England’s disputed goal during the 1966 World Cup final, and the crucial ruling which changed the course of English football history. He presents a wonderful selection of works, including a pair of rocks by Vija Celmins – one real, one an exact replica made of bronze – and a beautiful film by Jérôme Bel of a ballet dancer narrating her last dance to an audience as she stands on the threshold of retirement. At the Hayward Gallery until 4 May 2009.

New alumni and fundraising team There is an entirely new team in the Development and Alumni Office.

Liz Ivory has joined as Alumni Officer – Liz is an alumna of Goldsmiths and is delighted to be back at New Cross to see the view from the ‘other side’. Annette Bullen has joined from Kings College London as Senior Development Manager. Also pictured with David Mungall, the new Director of Development, are Antoinette Carey, Database and Research Officer, and Abigail Thatcher, Events and Administration Officer.

The team plan to offer new and interesting ways for alumni to keep in touch with their contemporaries and other graduates, and to provide useful networking opportunities and other benefits to former students.

The team will also be fundraising to improve the quality of the student experience and the facilities for current students to ensure Goldsmiths continues to create outstanding graduates able to play an important role in society.

During the course of the year the team will be writing out to all alumni to ask for support and conducting a telephone fundraising campaign – a first for Goldsmiths though commonplace in most UK universities. There has never been a better time to give to Goldsmiths as the government’s Matched Funding scheme for higher education adds extra money to donations from individuals to universities.

See back page for details.

The Warden, Professor Geoffrey Crossick, said: “Goldsmiths is seen

Annette Bullen, Abigail Thatcher, David Mungall, Antoinette Carey, Liz Ivory

across the country and internationally as a very exciting and vibrant institution. We’re proud of the transformative experience that we provide for our students, and it is something that additional resources will help us enhance.

Please seriously consider giving to Goldsmiths.”

Student degree shows 2009 Calling overseas alumni We have an exciting programme of exhibitions, shows and performances during the summer months at which you can spot emerging talent in a range of disciplines. All degree shows are free of charge with the exception of performances at the Albany Theatre. Some work will be available for purchase at the Art and Design shows.

If you live outside the UK, a new scheme run by the Department of Media and Communications needs your input.

MA Performance Making When: week beginning 23 June Where: Goldsmiths

Media/Academic Partners (MAP) aims to help partner-countries improve the quality of their home-grown media by running training courses in those countries. MAP covers film, TV, radio, print, and new media, and, following a successful pilot in Pakistan (in TV journalism), is exploring collaborations with training bodies in China (radio), Brazil (film) and Sierra Leone (documentary). Do you have links we could explore where you live? If so, get in touch with Judy Holland, at j.holland@ gold.ac.uk. For more information, see http://www.goldsmiths.ac.uk/mediacommunications/MAP/

MA in Interactive Media: Critical Theory and Practice When: 29 June – 5 July Where: Goldsmiths

Buzzing on the blogs

Postgraduate Art Show When: 10 – 13 July Where: Goldsmiths

Goldsmiths has ranked second among the UK’s universities in a new league table which measures what is being said about them in online blogs.

Undergraduate Music performances When: 11 May – 16 May Where: BMus Music Shows, Deptford Town Hall, Goldsmiths; BMus Popular Music Shows, Albany Theatre Undergraduate Design Show When: May 28 – 1 June Where: Boiler House, Old Truman Brewery, Brick Lane, E1 Undergraduate Art Show When: 19 June – 22 June Where: Goldsmiths

MA Image and Communications When: 3 – 6 July Where: Boiler House, Old Truman Brewery, Brick Lane, E1 Details of some degree shows were still to be confirmed at the time of going to press, so keep your eye on our website at http://www.gold.ac.uk/degree-shows.

For further information please contact Liz Ivory at l.ivory@gold.ac.uk

The data was compiled to measure how different universities’ reputations are faring on the internet, and Goldsmiths has shone in the rankings which are said to reflect the level of ‘online buzz’ about each institution. The research, which was compiled by Portfolio Communications, is based on an analysis of the content of almost 4,000 sites.

Prize winner In Goldlink 30 we offered an iPod as a prize to encourage alumni to update their details.

Thank you to the 400+ alumni who responded. The lucky winner is Rick Copeman (MA English 2006-07).

The Development and Alumni Office is keen to save paper and costs by making sure our records are correct so please keep your updates and email addresses coming. Antoinette Carey, our newly appointed Database and Research Officer, will be delighted to hear from you on 020 7919 7465 or a.carey@gold.ac.uk

Rick enjoying his prize

8

AMUSIA

THE MUSICAL EQUIVALENT OF DYSLEXIA

“Music affects me merely as an arbitrary succession of more or less irritating sounds”.

Vladimir Nabokov

Dr Lauren Stewart, Senior Lecturer in Psychology

One might think that musical appreciation, or lack of it, is simply a matter of personal taste. But recent research by psychologists and neuroscientists has suggested that the inability to make sense of musical sound – which often results in its avoidance – is genuine and biological.

Individuals with congenital amusia cannot recognise tunes that would be familiar to the rest of us, do not spot notes that are ‘out of tune’ and may experience music as noise or banging.

In the same way that dyslexics fail to acquire the automatic mechanisms required to map sounds onto letters, up to 4% of the population lack the cognitive resources required to perceive and appreciate music.

Dr Lauren Stewart’s research within the Department of Psychology focuses on understanding the pattern of impairments in those with amusia and the possible brain basis of these.

She explains, “We have screened 150,000 people using a continuing web-based test and are following up individuals who score in the lower range to assess various aspects of their musical, spatial and linguistic abilities. So far we’ve found that those with amusia have particular problems in discerning the direction of a change in pitch, and can only discriminate upward from downward changes when the pitch difference is greatly exaggerated. Given that most Western music moves in steps of one or two semitones, this explains why, for individuals with amusia, one tune sounds much the same as another.”

The underlying basis of this condition seems to be genetic, since identical twins (who share all their DNA) score more similarly on amusia tests than non-identical twins (who share only half their DNA). One strand of the work involves identifying families with multiply-affected members, and analysing their DNA to identify possible candidate genes. Because genes determine brain development, magnetic resonance imaging (MRI) is being used to establish whether those with amusia differ in their brain structure.

The study of disordered musical development sets in sharp relief the perceptual and cognitive abilities which most of us take for granted and allows a unique chance to investigate how musical perceptual ability develops, from the level of the gene to the brain development and the emergence of a complex and fundamental human behaviour that – for most of us – really does matter.

The above research is just one of several projects in the Department exploring the cognitive and brain basis of music. A new MSc in Music, Mind and Brain (MMB), launched in 2008, capitalises on this area of strength.

The course has attracted students of different ages and from varied academic backgrounds, including music, psychology, neuroscience, engineering and linguistics.

Ben Schleifer, from Colorado, comments, “The MSc has provided me with the hands-on experience and in-depth knowledge I need to pursue a PhD in music and the brain as well as increasing my ability to think analytically and approach scientific problems.”

Participate in the research Take the online listening test at www.delosis.com/listening/home.html

Stella Tang graduated with a BA Fine Art in 1989. She is now an award-winning artist and has participated at more than 40 exhibitions. Stella combines and merges her role of artist with that of curator, editor and lecturer. Last summer Stella returned to London as one of six Chinese artists who studied in the UK. She was invited to showcase her work to mark 60 years of the British Council’s presence in Hong Kong. She took time to come to Goldsmiths to meet with the Warden, Professor Geoffrey Crossick, and speak to Liz Ivory, Alumni Officer.

Your first career was as a primary school teacher. What made you decide to study art?

Stella: Because I loved art and wanted to know more. Even when I came to Goldsmiths I did not really have an idea that I would become a professional artist. I think people were different in those day, nowadays students always seem to know what they want to do.

Why did you choose to study at Goldsmiths?

I knew I wanted to study art but I also wanted to experience something else. I decided that I would like to learn about living in another culture and England was my first choice.

At that time I did not know Goldsmiths very well but I liked the education system and the philosophy seemed good and that is why I came to this College. Even when I arrived … at first sight the buildings in New Cross seemed old and run down and I wondered whether I was in the wrong school. Now there are many new buildings around the campus and South East London is looking more prosperous. But then I started talking to people and making steps and it all started to make sense. I loved it.

9

SPEAKING FROM THE HEART

Interview with STELLA TANG

You came to Goldsmiths at the same time as many of the artists that formed what later became known as YBA movement.

Yes, as I remember, Gillian Wearing and Sarah Lucas were in the year before me so I was not familiar with them. I did know Sam Taylor-Wood and Damien Hirst and I remember their work.

In my second year Damien organised an exhibition and I was one of the exhibitors.

Stella Tang

Artists’ Studios in Hong Kong edited by Stella Tang

Do you think fellow students had an influence on your work at that time, or vice versa?

Hmm, well I don’t know. At that time I was very independent.

Students at Goldsmiths at that time were all very independent.

I don’t think that students were influencing each other so much.

They had confidence and they knew what the wanted to do.

One common strand that I have identified is that the artists who have come from Goldsmiths do not stick to one discipline.

They will do different things. Thinking again about Damien Hirst or Sam Taylor-Wood, it is difficult to tell them to name their art: you are a painter, you are a sculptor. You can not even say that they are just an artist. Or maybe you can say that they are conceptual artists. For me I really don’t want to stick to one type of discipline or one type of medium.

Even if I use paint I seldom use the word painting. If I don’t know how to classify it, I just say ‘two dimensional work’.

Did the staff have more influence?

The inf luence from staff was obvious. I think the staff helped me to understand many things. The whole structure of the Department inf luenced me a lot, the whole freedom and independence. The inf luence from the other students was the spirit of creativity and energy that was generated by everyone.

There are strong social, political and cultural themes in your work, which I think have always been a strong focus in all Goldsmiths student’s work.

At times there were a lot of debates generated by the tutors and amongst the students as well. Gender issues, cultural issues, that made me stick to these sociological and political issues in my work. At least I tried to, but of course it is not very radical in an obvious way. So yes, I think this is one of Goldsmiths’ inf luences. Art can be so inf luential and, exercised in this way, can reveal something beyond just aesthetic.

Did you have much contact with people from other courses?

Not many people that I can remember because it was really a long time ago. But I do remember discussions and debates among students were very common at that time, in a group or individually. There were many international students too.

Was there much on offer by way of sports or leisure in your time? Anything that you got involved with outside the art?

Sometimes students or tutors would invite me to things or take me to places. Overseas students tend to focus on their studies. England was quite new to me at that time.

Veiled Clothes

Do you think that your work would be different now if you had chosen to study in Hong Kong instead of coming to England?

Yes I would think so. Because of the freedom in the Department, I was able to try many things. If I had stayed in Hong Kong there is only one culture but here you have different cultures, different perspectives. So that is the difference.

What’s next for you?

Recently I have just finished a big project, which is called Art Container project. The work is located on a very big site in Kowloon that will be used as a cultural development centre.

I have used the space to site 45 freight containers and invited 39 artists to paint on the surfaces of the containers. Afterwards the containers will be sailed around the world. During the three years we can go and visit them in different places and gain more funding and meet with people. Then after three years, all the containers will come back to Hong Kong and we will have another exhibition. You can check out it out on my website at http://www.tangyingchi.com.

Can you help reunite students with Goldsmiths?

Yes, I would love to. I regularly meet up with old College friends in Hong Kong.

If you would like to meet up with Goldsmiths graduates where you live, contact Liz Ivory.

10

A LIBRARY FOR THE 21ST CENTURY

Jacqueline Cooke, Mary Nixon and Veronica Lawrence

Goldsmiths’ Library is evolving to keep up with new ways of learning.

Mary Nixon, Librarian, is very happy to welcome back former students.

She says: “Those alumni who have visited the Library since summer 2008 will know that it has undergone big changes. The long issue desk on the ground f loor has gone, and been replaced by a large social learning area, where students can gather in groups around tables or in comfy chairs, with laptops and even drinks or cold food.”

First year Anthropology students Jeanne Malan and Jordan Campbell are delighted to have this new resource: “We are only in our second term and still finding our way, it is great to have a place to meet up to discuss group projects and plan them without disturbing other people. On the second f loor there is a new ‘super silent’ area, where laptops are not allowed and the desks are screened from each other for added peace. The best of both worlds.”

Mary commented: “These changes are the start of a three-year programme to improve facilities in the Rutherford Building and make them more suitable for 21st century learning.

We are also investing in more staff and improving the library book stock; however, we still have a need for more books as it is sometimes the case that students have difficulty in locating the copies they need for their studies.”

So, should alumni bring along their unwanted books?

“Please no!”, says Mary. “Contact us before you bring them in as we have to be very strategic about space.

Collections of books in particular can only be considered when a lecturer has put forward a very good case for having them. Much more useful are donations to the College which allows us to buy the books we need.”

Opposite page, Jacqueline Cooke (Research Support) outlines the special collections. Right, Veronica Lawrence (Teaching Support) gives the run down on the top ten most borrowed books.

All alumni are welcome to use the Library; reference use is free of charge or an annual subscription of £50 allows alumni to borrow books.

If you would like to know more about how you can support the College please see the leaflet inside this issue of Goldlink.

The current top ten most borrowed books in the Library 1. Orientalism by Edward W. Said 2. Mass Media and Society edited by James Curran and Michael Gurevitch 3.

Imagined Communities: Ref lections on the Origin and Spread of Nationalism

by Benedict Anderson

4. The Foucault Reader edited by Paul Rabinow 5. Representation: Cultural Representation and Signifying Practices edited by Stuart Hall 6. ‘There ain’t no Black in the Union Jack’: the Cultural Politics of Race and Nation

by Paul Gilroy

7. Bodies that Matter: on the Discursive Limits of ‘Sex’,

by Judith Butler

8. Black Skin, White Masks

by Frantz Fanon 9. Theory of Addiction

by Robert West with Ainsley Hardy 10. Mass Hysteria: Critical Psychology and Media Studies

by Lisa Blackman and Valerie Walkerdine The Library, 1953

The Special Collections support Goldsmiths’ academic research and the qualities of interdisciplinarity and radical thinking upon which it is based. Collections cover the creative and performing arts, culture and society, particularly post-1900, and includes audio and visual materials as well as printed matter.

ART

The Women’s Art Library/Make was established in order to enhance public knowledge of the practice, impact and achievement of women in visual culture and contains extensive documentation of women’s art practice. Thousands of artists from around the world are represented in some form in this collection.

In collaboration with the Feminist Review, Make has just commissioned research into the Women’s Art Library which will lead to the creation of an abbreviated history of women’s performance art.

MUSIC

Jeanne Malan and Jordan Campbell

The Library, 2009

The music collections focus principally on folk music from Britain and Eastern Europe and Russian classical music. In addition to the outstanding collections of scores, in particular of keyboard music, Goldsmiths hosts the Serge Prokofiev Archive, the only archive dedicated to the composer outside Russia.

Recently, the Daphne Oram Archive has been added after a successful cataloguing and digitisation project carried out by the Music Department.

Daphne Oram was the founder of the BBC’s Radiophonic Workshop and a pioneer of electronic music.

THEATRE

An exciting new acquisition is the LIFT Living Archive.

The first London International Festival of Theatre was held in 1981 and presented companies from Europe, Asia and South America. The records relate to the running and organisation of LIFT festivals from 1981-2001 and include material about the companies that performed, planning documents, technical and artistic documents, and research and marketing material. Staff and students from the Drama department are working with LIFT on workshops for school children and community groups based on material from the Archive.

NEW ARCHIVES

In January the Library received an extensive new collection on cinema donated by Deac Rossell, lecturer. The collection comprises more than 500 books and 1,000 pamphlets and programmes. It will be of interest to students and researchers in anthropology, drama, history, literature, sociology and music as well as media, and visual cultures.

Another collection to be launched later this year is the personal library of Angus Fairhurst. Angus, who sadly died last year, studied Art in the 1980s. Students from the Masters course in Curating are currently competing for the honour of curating Angus’ books. This special collection will give students and researchers the opportunity to have insight into a brilliant, creative mind.

Published works in the special collections can be searched from the main library catalogue http://library.gold.ac.uk. View these collections by emailing alumni@gold.ac.uk or calling Liz Ivory on 020 7919 7609.

12

BRIDGING THE GENERATIONS What made you change from the Goldsmiths Art School to the Teacher Training College here?

Because I wanted a quick qualification and because I had enjoyed some teaching practice at the local primary schools.

It must have been a huge change from having been an art student?

By comparison the Art School was very relaxed. The Art School had a reputation for ‘Artiness’ in dress, but the Training College was a different matter altogether. Day trainers, or DTs as we were known, were not allowed to wear trousers of any kind, so my drainpipes were quite the wrong thing.

After all, we were going to be teachers!

Alison and baby Carrie

Carrie Paechter came to Goldsmiths as a senior lecturer in 2001. A Professor since 2005, she is now Dean of the Graduate School. Both her mother, Alison Paechter (née Palmer), and her aunt Gillian Newson (née Palmer) are Goldsmiths’ alumnae. Alison studied in both the Art School and Teacher Training. Here Carrie and Alison compare life and times at Goldsmiths.

Carrie: When were you and Gill students at Goldsmiths?

Alison: My sister started at Goldsmiths School of Art in 1950 and finished in 1955 with an NDD and, as you know, she is still producing art work in her seventies. I followed in 1952 and transferred from the Art School to the Training College in 1953.

Why did you choose Goldsmiths?

We chose Goldsmiths because it had a good reputation and because we lived in South London and could live at home in comparative freedom rather than in a hostel where there were many restrictions on one’s life as a twenty year old.

Yes, I have heard that the hostels were really strict then. In those days most of the trainee teachers were young women, often away from home, and because in those days the age of majority was twenty-one, the College was considered to be in loco parentis.

Also in those days there were many affairs between students and other students, and also between students and staff in the Art School. We would find that very shocking now. Funnily enough, one could not entertain a man in a hostel room without removing the bed. This would be laughable now.

Morals have changed in strange ways.

Yes, in your day the teacher was supposed to be a particularly moral upright person, and Goldsmiths, like other colleges at the time, was organised to reflect this.

That’s true, when I was at Goldsmiths it was a recent development that women no longer had to give up teaching on marriage. When I announced my engagement to your father I was told that if I married while I was still at College I would have to leave, so being an education student wasn’t really like being any other sort of student; it was more like being at school.

It is completely different now, the students are treated like any other student, and far more of them are male and/or mature. In our Department of Educational Studies those who are training to be teachers are also all postgraduates. In your day, primary school teaching was not a graduate profession; now, we encourage teachers to study for Master’s degrees and some go on to take doctorates. I expect the nature of teaching has changed too?

Goodness yes, the children of Deptford and Woolwich, where we did our school practice, were quite deprived and were

given bread and dripping in the morning and sometimes needed bathing and a liberal coating of the purple dye that cured impetigo.

Was there much consideration of discrimination or equal opportunities back then?

Carrie Paechter There was a compulsory assembly every morning in the Training College. I managed to miss all of them, having missed the first few, I felt I would be less noticed if I never went. I gathered that this had a religious content that would be considered discriminatory now.

I knew of one married man and one widowed woman in my year. The woman was asked to leave after her first year, as the Vice Principal could not make allowances for her childcare commitment. This would certainly be considered discriminatory too.

Alison: What about you? What drew you to Goldsmiths?

Carrie: Well, I became interested in gender when I started work as a mathematics teacher in a girls’ school in East London in the early 1980s. I joined the Gender and Mathematics Association, which was a relatively small campaigning group, aimed at addressing the ways in which girls were falling behind boys in mathematics attainment at the time. Fairly soon after I joined, the base for the association moved to Goldsmiths, where it remained for the next ten years or so. We used to meet in one of the houses in St James’.

When you stopped being a teacher and started work as a researcher it was to study the effect of gender on educational attainment?

Not really, I was mainly working on curriculum models at that time but I continued to think about gender and gradually moved my main research to that area. I think the most important thing for me is that schools really need to consider gender in everything they do. What can otherwise seem to be sound curriculum decisions can have unintended gender effects (for example, the move to vocational education in secondary schools is leading to classes dominated by one gender or the other, because young people make stereotyped choices) so we have to think ahead and try and pre-empt these problems.

Carrie: So, you have already told me you skipped compulsory assemblies, were you otherwise a model student?

Alison: My friends and I from the Art School would often go out onto the roof. I wonder if anyone does that now. I gave up when I was a DT because I knew I would be in deep trouble. There is a good view though!

What was the best bit of advice that you learnt at Goldsmiths?

The best bit of advice was from Miss Southern. She said we should be nastier on school practice than we would like anyone to see us being, as we could also be nicer later. And I remember with love Betty Bernard who taught music to us nursery people. We had to perform these action songs for three-year-olds with men laughing at us through the windows.

But she told us that every child can sing in tune, and I have found this to be quite true.

And the worst bit of advice?

‘Never hit a child in anger’. I acted on the first but was truly shocked by the second, although smacking was an everyday affair in Infant and Nursery Schools in the fifties and sixties.

On the whole, do you feel Goldsmiths was a good choice?

After my children were born I opened a Nursery School for children from three to five years, and taught for ten years.

Then I changed direction and became a silversmith. So both my time at the Art School and my teacher training were of use to me for the whole of my working life.

13

STUDENT MENTORING CATHY DE MONCHAUX Goldsmiths and BAA joined forces in 2008 to create a unique contemporary art and design project: the Goldsmiths/ BAA Expo Award. Goldsmiths students from all levels and disciplines were invited to propose innovative installations for Heathrow Terminal 5, culminating in the commission of two works in the British Airways departure area. The successful artists were mentored by Cathy de Monchaux.

70 students in 28 teams originally put ideas forward. Seven of these teams were invited to develop their concepts and presentations with support from BAA, design agency Imagination and 2008 Fine Art graduate, Hannah Hull. After a final presentation, the two winning teams were selected by a panel which included Andrew Shoben, Professor of Public Art and Computing and Cathy de Monchaux, Goldsmiths’ alumna and artist.

One of the winning teams, Sally Hogarth and Emma Johnson, put forward Taking Place (pictured page 3) – a multi media light installation with video imagery from the departure lounges of airports from all over the world. Cathy went on to mentor Sally and Emma through the award process, lending professional insight and critique.

Goldlink caught up with Cathy in her studio in Camberwell.

Did you have a good experience on the MA Fine Art? “I honestly don’t think I would have had the life that I have had if I hadn’t gone to Goldsmiths. I was totally myopic in my approach when I first went there.

It was about learning to be an artist who had an awareness of the richness of possibility for art-making and how ideas can be translated by other human beings. Looking back it was a unique catalyst whereby a group of individuals and tutors got together to chew the fat for two years at a time of change. I am very grateful to have been part of that.

How did you come to be involved in mentoring current Goldsmiths students?

“Aidan Sheridan, Goldsmiths Business Development Manager, asked if I would like to become involved in the BAA Terminal 5 Project by assisting with the judging of the competition and offer mentoring support to those students that needed it while they saw their projects to resolution. I was very impressed with all of the proposals that the students made and they all held their own during the fairly daunting selection procedure.”

How were you able to help the students?

“I hope that I was able to offer Sally and Emma some practical advice on how to work with manufacturers and get their work safely on site on time.

Not an easy task often! It’s a real skill to be gently and politely firm about your objectives so that you get your work resolved according to your vision. I wish I had had someone to tell me the pitfalls and things to watch out for. Actually they took to heart everything that Andrew and I had to tell them about our combined horror stories of “how not to do it”. Emma and Sally maintained good cheer throughout; they didn’t fall out with their manufacturer and everyone at BAA bent over backwards to help them.

They had to stay up for a couple of nights to see their work through to resolution.

They also made a great piece in which they were heart and soul involved in as artists.”

How do you think your involvement will help Sally and Emma with their future careers?

I hope that it helped, although in truth they did all the learning by themselves.

I think I did heavily push the notion that charm, friendliness, goodwill and commitment to your own project is what gets people to go the extra mile to make your work look great. It’s easy to lose it when you are under pressure yourself.

Did you benefit from being involved with the students?

Yes I did, they were a really good reminder that the above really does apply. They kept upbeat and positive throughout and everyone that they came into contact with in the resolution of their project respected that, it felt like the whole of BAA would

Cathy in her studio

have walked over hot coals for them.

I have been known to lose my temper in stressful installation situations and it doesn’t help anything.

Have you ever had a mentor?

No not really, but I wish that I did.

I often get assigned young artists to look after me and help translate and put up my work when I do a show abroad and I always learn a lot from them. I’m probably more able to accept advice now than when I was younger. I do have one or two people that I listen to now, in the past I was too pig-headed to listen to anyone much. It’s a real skill to learn to accept help and advice.

Would you recommend mentoring to others?

Definitely, it’s a really good way of looking back at your past mistakes and finally learning from them as you describe them to someone else.

What advice would you give someone who was considering mentoring?

It is important to remember that you are not always right and you might learn something.

In response, Sally Hogarth said: “Cathy was amazingly supportive throughout the development of our work and had plenty of first hand advice to give about the best ways to conduct the project. She ensured we knew she was always there if we needed any guidance and gave us the confidence we needed to ensure everything was delivered on time. It was great to get the rare chance to meet a successful artist and talk to them about how they have developed their career. As an artist I have loved since my early teens it was an honour to have the opportunity to work with her, and she has offered to give advice on our work during the remainder of the course.

Throughout the development of the piece Cathy really helped make the transition between producing art for our course to making a large scale piece for a very public location.”

If you could mentor a student, please contact Liz Ivory, email l.ivory@gold.ac.uk

14

DESIGN AND THE ENVIRONMENT Design has a huge influence on the way we live. 90% of the environmental impact of a product is determined in the earliest stages of its design.

In an increasingly uncertain world – facing climate change, increased energy consumption, globalised consumerism and social fragmentation – designers need to think more critically and creatively about their activities than ever before.

Eco Design used to be studied as a separate BA course but given the importance of ecology and sustainability the concepts have been incorporated into all Goldsmiths design courses.

Terry Rosenberg, Head of the Design Department commented: “We take pride in being one of the first (if not the first) higher education institution to offer a programme

in Eco Design. By running the programme we put it on the agenda for design education. We also take pride in being the first to close such a programme, as we came to believe that all undergraduate students should engage with sustainability/ecology on a design degree.”

“Ecology and sustainability are very much part of all postgraduate programmes too. This year, however, we are launching a Masters in Design and Environment where it does make sense to have ‘environment’ as a locus for specific research and practice.

Terry is very proud that graduates from the Department of Design are making a positive impact. He suggested Goldlink catch up with three pioneering alumnae to find out how their designs are making a difference.

Terry Rosenberg, Head of the Design Department

On graduating in 2005 Sarah Smith and her business partner set up Greenknickers. Sarah is an Eco Designer with a passion for fun, inspiring, ethical design.

“I was attracted to study eco-design by my ideals, to use creativity to make a difference, to change the world!

I was drawn to Goldsmiths because it has a great reputation for innovative creative thinking and I wanted to use my time at University to hone my creative thinking skills.”

Her products, knickers and pants, use only fair-trade and organic cotton, why is this so important?

“Non-organic cotton is the most widely used fibre in the clothing industry due to its diversity and cost. Yet the true cost of cotton production includes as many as 3 million poisonings and 20,000 deaths each year from pesticide use”.

Sarah Smith

Global Warming

by Greenknickers

She also uses hemp which grows very fast on the roughest ground and requires no insecticides. Her very pretty low carbon knickers are made from re-cycled fabrics.

Sarah’s designs are both beautiful and practical and have received a lot of press attention. Is this the secret to her success?

“To have success in any creative field you have to be extremely driven.

I think that Goldsmiths tends to attract quite driven people to start with. The course hopefully gives people the time to build confidence and arms them with a few of their own original ideas to go out an make an impact. Taking on a subject like eco-design is such an incredible journey, the more you learn the more determined and passionate you become. When you are tackling ethics and serious environmental issues you will never wake up in the morning with no reason to get out of bed.”

Visit Sarah’s website to discover not only how to buy the knickers but also the eco-friendly way to launder. There are even some hilarious video clips that suggest how the stains might come to be on your pants in the first place! www.greenknickers.org

From a very young age Joanna Lambert (1999) had an interest in environmental issues and also in design.

She explained: “I saw the design course at Goldsmiths as being the perfect way to combine these two interests, and to find a way into a very new and pioneering specialisation.”

After graduating Joanna went on to win one of the first International Design Eco Awards. The Awards were launched in London with the goal of promoting ecological design and innovation. Joanna’s laminated bamboo multiuse table (pictured) won the eco-furniture category.

Joanna has gone on to work for Competitive Design Network in Barcelona. CDN, now Node, is a company focused on product and strategy innovation. Joanna’s task has been to introduce Sustainability and Eco Design concepts and methods into projects with clients, and has recently worked on projects to identify business and design opportunities with sustainability for multinationals, small businesses and other organisations alike.

She has also co-founded the ‘o2Spain’ local network group in Barcelona with another Goldsmiths alumnus, Petz Scholtus. o2Spain holds events, talks and workshops which are raising the profile of eco-design within the design and business community in Barcelona, a major centre for design.

Goldlink asked Joanna why she thought graduates from Goldsmiths are so successful in the employment market: “Eco-design is so necessary for our society and there are very few people properly qualified for the job. Also, we have seen a dramatic change in awareness in the last few years, which is noticeable in many aspects of society, from private industry to public policy, and in consumer choices.”

Joanna Lambert, and above, her multi-use bamboo table

Sarah Johnson came to Goldsmiths as a mature student after working in the financial services sector.

“I wanted a big career change, and to make a positive, creative contribution to the world. I opted for Goldsmiths for its holistic approach and focus on design thinking.”

As a founder of [re]design, WEmake and Greengaged, Sarah has been at the forefront of sustainable design for the last five years. She has lectured, run workshops, published books, designed products and curated exhibitions with a diverse range of partners including the Royal Festival Hall, NESTA, the Barbican, Conran, Sony, LEGO and Selfridges, and worked overseas on high-profile projects with the British Council and UK Trade & Investment.

Above, Sarah Johnson and right, Hare Rug by Annie Sherburne Designs was one of 120 designs selected for [re]design 06 Good and Gorgeous? at the Old Truman Brewery as part of the London Design Festival.

Asked why she thought Goldsmiths graduates had such a high rate of success in industry, Sarah commented: “My time on the course challenged and pushed me, and left me with the confidence to create my own path. We were always encouraged to be critical and think for ourselves, and this ability to conceptualise is very powerful when combined with pragmatic design skills.”

Did Sarah enjoy her time at Goldsmiths?

“The people I met at Goldsmiths, tutors and students, were and are inspirational.”

Sarah’s pioneering role in UK business has been recognised with industry and other accolades including invitations to Buckingham Palace and 10 Downing Street.

More information on Sarah’s work can be found at www.redesigndesign.org

16

REUNION NEWS

1960s alumni with student tour guide Marie-Therese Lesforis

40 YEARS ON

Six alumni, Peter Skinner (1967-70); Eric Le-Ruez (1968-71); Pete Coy (1966-70); Neil Brittain (196770); Mel Blakeley (1965-70) and Merv Ainsworth (1966-71), joined forces with the Development and Alumni Office to organise their first major reunion.

The party kicked-off at midday on the last sunny Saturday in September and continued long into the evening with a

hog-roast in the courtyard of the Richard Hoggart Building.

There were guided tours of the College, an exhibition of photographs and memorabilia. Music added to the entertainment, but the majority were delighted just to be in each others’ company again. The following day many of the group met up in Greenwich Park to walk off the excesses of the day before.

Will they be doing it again? Most certainly!

50 YEARS ON

Al Barclay (1956-58) teamed up with Liz Ivory, Alumni Officer to organise a reunion for alumni who studied at the College 50 years ago.

Welcome address

This was the third reunion of this group who meet up every two years.

Alumni came from far and wide to be there. Patricia Bayley (nee Thomas) had travelled from Ontario, Canada, with her husband Dennis. Jennifer Nunes (nee Radburn) kept up her one hundred per cent attendance record having travelled once again all the way from Lisbon, Portugal. Making her first appearance at Goldsmiths’ since 1958 was Naomi Kingston (nee Sackstein) who travelled down from Liverpool and was delighted to be instantly recognised by old friends who had last seen her when she was in her early 20s.

October 18th was a memorable day where old friendships were cemented and new ones forged.

Tim Hall, Al Barclay, Paul Alvarez and Alan Fox

ARMYTAGE HOUSE

Catherine Moore travelled from the Cayman Islands to meet up with the Armytage House 1964-67 “girls”.

Armytage House was in Brixton but has since been demolished, Catherine says wryly “… it was condemned even when we were there!” Fond memories nevertheless and the group have always stayed in touch. Each time they have met up it has been at Marion Davies’ home in Walsall. But they have more exotic plans afoot for their next reunion. Catherine will be hosting the next reunion on Grand Cayman where she has lived and worked as a Head of House and teacher of English since 1972.

Chris Hill, left, and friends

Back row: Katherine Joch (nee Sinfield), Angela Huxley (Stewart), Sue Carless (Revis), Janet Alleridge (Hadley), Di Wisdom (Cox).

Front: Catherine Moore (Kingdom), Marion Davies (Humpage)

LORING HALL REUNION

Greg Conway chatting to organiser Merv Ainsworth, right

Sixty two years ago eleven naive and nervous girls from all over the country arrived at Loring Hall to embark upon their Teacher Training Course at Goldsmiths. Hard work and great fun followed.

We have had nine reunions over the years. We are all octogenarians and widely scattered across the UK. For this reason we decided to make this reunion our last but separate meetings are not out of the question.

The affectionate bond remains.

In 1946 we were part of the intake that considered itself fortunate to be at Goldsmiths, in spite of there being no roof on Great Hall, no glass in any window, no heating, and uneatable food in Refectory. Loring Hall provided a life-saving ‘almost’ warm haven where an ex-Wren cook did wonders with the rations.

We hope that the ‘Smiths’ of today, too, in a world so different from ours then, will enjoy such enduring friendships forged at Goldsmiths. Jean Neilsen

Naomi Kingston with organiser Al Barclay

Mrs Joyce Canning nee Pratchett, Mrs Patricia Wainwright nee Desbrow, Mrs Jean Neilsen nee Etheridge, Mrs Mary Harding nee Temlett, Mrs Mavis Winton nee Martin

18 Obituaries BRENDA BENTALL* (Teaching Cert. 1942) Brenda Bentall, of Romney Lane, died at home last year at the age of 86, after years of serving her local community. Having trained in teaching at Goldsmiths, Mrs Bentall held various teaching posts in Kent. She was appointed teacher of singing at the Kent Music School, in Tonbridge, when it first opened.

She was a founder member of Tonbridge Theatre Club, where she performed in several productions.

In 1951 she married Graham Bentall, she leaves two sons, two daughters and six grandchildren.

SIDNEY FAGAN* (Creative Writing 2007) Sidney Fagan, primary school teacher and life long scholar, has died at the age of 89. You may have read Sidney’s inspirational story in the last issue of Goldlink. He left school at 14 but continued to read the classics throughout his army service in WWII. At the end of the war he was accepted on the Emergency Teacher Training Scheme and taught in London primary schools for 30 years. At the time of his death he was studying at Goldsmiths for his fourth MA. ANGUS FAIRHURST* (BA Art 1989) Angus was found dead at Bridge of Orchy, Argyll, at the age of 41. Whilst in his second year at Goldsmiths, Angus, along with Damien Hirst, Gary Hume and Sarah Lucas, participated in the famous group show Freeze, which took place in 1988 in London’s Docklands. Freeze helped launch a generation of artists who became known as the Young British Artists.

He continued with his career as a successful multi-media artist until the time of his death. He is survived by his mother Sally, and brother Charles.

JOHN GINGELL (Teaching Cert. 1959) John Gingell, trained to be a teacher at Goldsmiths. He lived in Cardiff and died last year after a short illness with cancer. He is survived by his wife Anne who also trained to teach at Goldsmiths. Al Barclay (friend and contemporary)

ANDREW HOBSON* (BMus 1977) After graduating from the Northern School of Music (as it then was) in Manchester, Andrew Hobson took the BMus course at Goldsmiths, studying on a part-time basis between 1973 and 1977. He later took an Advanced Piano Studies course between 1987 and 1991.

His death was completely unexpected.

He contracted a very severe strain of atypical pneumonia and died after three weeks in intensive care.

Vicky Harris (Andrew’s sister) KATE JONES* (BA 1983) Kate took a first-class honours degree at Goldsmiths (1980-83). She died of cancer aged 46 in February 2008.

She was one of the brightest and best in the British book world: a rare and gifted reader, a dedicated and inspiring editor, and an exceptional publisher. In the last years of her short life, she was also the guiding light and much-loved boss of the London office of American literary agency ICM. In 1996, she married the lawyer John Tackaberry. Her daughter Molly was born in 2000.

MOIRA REES MBE* We were recently informed of the unexpected death of Miss Moira Rees, former Senior Assistant Finance Officer (Establishment, Superannuation and Payroll) who retired in 1991 after 40 years service.

She grew up against the Goldsmiths background because her father, Dr Billie Rees, was a member of the academic staff from 1919 to 1938. She started working at Goldsmiths in September 1951 as a shorthand typist.

From 1966 to 1971, she was also a part-time student in what was then the Evening Department, graduating with a BSc in Sociology. Moira was an active member of the Goldsmiths’ College Association (since disbanded), and a former President. She was awarded an MBE in 1994 for services to the College.

SEONAID ROBERTSON* Seonaid, who worked as a lecturer in art education at Goldsmiths, between the late 1950s to 1971, has died at the age of 95. Through her seminal works for post-war educators, Creative Crafts in Education (1952) and Rosegarden and Labyrinth (1963) she reached many more teachers worldwide. Seonaid was a founder member of the International Society for Education Through Art and also of the World Craft Council.

ANGELA SEARLE* (BA Sociology 1981) After a hospital visit for a minor procedure, Angela contracted a rare but virulent infection and died on November 13th 2007. Angela had an illustrious career in social work, pioneering many innovative schemes in the area of child protection. At the time of her death she was one of Newcastle City Council’s three children’s service managers. Angela is survived by her husband Simon Eedle and their children James and Molly. Hilary Wilson (close friend of 30 years) NORMAN WHALE* (Teaching Cert. 1952) Norman died unexpectedly at the age of 81 in January 2008. During his third year at Goldsmiths Norman served as a popular President of the Students’ Union. He taught English, speech and drama in secondary schools in Penge, Dover and for many years in Stevenage.

JOHN S WHITMORE* (Teaching Cert. 1956) John died in Cambridge in 2007 following complications arising from a minor operation. After qualifying at Goldsmiths John went on to teach Mathematics at Chesterton Secondary School for Boys, Cambridge. He loved teaching and stayed there for 36 years rising to the post of Deputy Head.

He is survived by his wife Ann and their two children.

GEOFFREY WILSON OBE* Geoffrey had a close connection with the College and was at one time Chief Examiner for the Teachers’ Certificate. He was a leading figure in the 1960s in the advancement of craft and design. He worked on several programmes with the BBC on design education. Later he became Chief Inspector for a Local Education Authority. In 1993 he was awarded an OBE for his services to education. *The Editor holds a fuller obituary for this person. Regrettably many people with strong ties to Goldsmiths have died over the past year and it seemed fitting that all should receive a short obituary. Should you require fuller information please email me at l.ivory@gold.ac.uk or view online at www.goldsmiths.ac.uk/former-students

Angela Searle

Moira Rees

Angus Fairhurst © Johnnie Shand Kydd; Courtesy Sadie Coles HQ, London

Alumni services www.goldsmiths.ac.uk/former-students/

I graduated from Goldsmiths 25 years ago with a BHum in Visual Communication and Education and I am really happy to be back.

So what’s changed and what remains the same over a quarter of a century?

Way back in 1984 a Media and Communications degree was such a new and untried area of study that the University of London would only validate Visual Communication when studied joint honours with another subject. Now the Media and Communications Department is internationally renowned with the recent Research and Assessment Exercise confirming its position as a leader in the field. Work has begun on a sensational new building to accommodate the Department (page 4).

The Library I remember looked very little changed from the 1950s depiction on page 10, it is now a much more convivial space with a social area and ever evolving special collections. The staff remain incredibly knowledgeable and accessible – I have really enjoyed having the opportunity to meet them.

Go and take a look, you will be most welcome.

Social inclusion has always been high on the agenda at Goldsmiths.

But back in 1984 we talked about how we could make it happen. Now it is a

reality, the student body reflects the diversity of modern Britain and 20% of our students are from overseas.

What better way to investigate fresh new ways of thinking.

Goldsmiths is, and always was, a friendly and supportive environment and I very much hope you will stay a part of our community. In the autumn term we were delighted to welcome back two groups of students who studied here 40 and 50 years ago.

We would be happy to do the same for you, contact me and we will get the ball rolling.

Perhaps you would like to become involved in careers and project mentoring? It was my pleasure and privilege to meet with the very generous and insightful Cathy de Monchaux who was willing to share her expertise with aspiring artists (page 13).

Liz Ivory Alumni Officer Development and Alumni Office Goldsmiths, University of London New Cross, London, SE14 6NW alumni@gold.ac.uk 020 7919 7069

My sincere thanks to alumni and colleagues, too many to name individually, for their contributions to this edition of Goldlink. If you have suggestions for the magazine or additional services we can offer please contact me.

I look forward to hearing from you.

Liz Ivory Alumni Officer

ALUMNI SERVICES www.goldsmiths.ac.uk/former-students/services Discount on Tuition Fees Contact Steve Edwards at s.edwards@gold.ac.uk Library Access http://libweb.gold.ac.uk/homelinks/ alumni.php Confirmation of awards and Transcripts archives@gold.ac.uk Discounted Gym Membership www.clubpulse.gold.ac.uk Careers Advice www.goldsmiths.ac.uk/careers

Goldsmiths Memorabilia Available from the Students’ Union shop. Now offering graduation rings in addition to scarves, pens etc. www.goldsmithsstudents.com Chatham House Chatham House, home of the Royal Institute of International Affairs, has teamed up with Goldsmiths to offer discounted membership to former students.

Attend events and read about the real issues behind the news and access one of the most established collections of international affairs materials in the UK. To take up this offer or for more information, please contact: Stephanie Walker on 020 7919 7612 or swalker@chathamhouse.org.uk

Data held by Goldsmiths Development Office is secure and will be treated confidentially and appropriately in carrying out the ongoing business of Goldsmiths, University of London.

The data is for the use of Goldsmiths and will not be disclosed to external organisations, other than those acting as agents for Goldsmiths. It is used for a full range of alumni activities, including mailing publications, notification of events and programmes involving academic and administrative departments, fundraising, and the promotion of benefits and services.

Under the terms of the 1998 Data Protection Act you have the right to object to the use of your data for any of the above purposes.

TURN £100 INTO £187 There has never been a better time to give to Goldsmiths as the government’s new matched funding scheme for higher education adds extra money to almost all donations to universities. The scheme will run until 2011 and until then Goldsmiths will receive an extra £1 from the government for every £2 you donate, including overseas gifts. And, if you are a UK taxpayer, your gift plus Gift Aid will be matched under the scheme. This means that a donation of £100 is worth £187 to the College.

Download a gift form at: http://www.goldsmiths.ac.uk/giving-to-goldsmiths

Goldsmiths Reconnected Keeping you in touch with Goldsmiths Update your own details, search for friends online and be the first to hear about Goldsmiths news and events www.goldsmiths.ac.uk/former-students