Goldlink 40

Vigilante archetypes The phenomenon of ‘real life superheroes’ Music and Protest in 1968 The role music played in the Vietnam War

Reflections of a Young British Artist In conversation with Damien Hirst Goldlink

WINTER 2013 NO. 40 Keeping you in touch with Goldsmiths

On the first cover Her Royal Highness The Princess Royal, Chancellor of the University of London — From the first issue, published 20 years ago in November 1993

IN THIS ISSUE

GOLDLINK 40 Editor: Mary Ivers Design: zoebather.co.uk Photography: Patricio Forrester (sunflowers, page 3) Richard Masoner via Flickr: Cyclelicious (hand dryer, page 5) Ivan Coleman (front cover & pages 8-11) Roger Wooldridge (A Thousand Years, 1990, page 12). © Damien Hirst and Science Ltd. All rights reserved, DACS 2013 Goldlink

Prudence Cuming Associates Ltd (pages 12-13 & back cover). © Damien Hirst and Science Ltd. All rights reserved, DACS 2013 Surian Soosay via Flickr: ssoosay (page 14) www.mikiphotography.info (page 23) Back cover: Damien Hirst, Sinner, 1988 Glass, faced particleboard, ramin, plastic, aluminium, anatomical model, scalpels and pharmaceutical packaging 1371.6 x 1016 x 228.6 mm

Development & Alumni Office Goldsmiths, University of London New Cross, London SE14 6NW alumni@gold.ac.uk +44 (0)20 7919 7253 The opinions expressed in the magazine are those of the writers concerned and not necessarily of Goldsmiths.

Goldlink is printed on paper accredited by the Forestry Stewardship Council.

02 Gender Gap

Study sparks media debate 03 News 06 Global change maker

Olivia Owen, student

and charity CEO 08 Interview

In conversation with

Damien Hirst

14

16

18

Real life superheroes Where fiction and vigilantism meet Showcase Hefin Jones Made in Goldsmiths Music, Protest and the Vietnam War

21 22 23 24 26

32

Books 3x3 Life After Gold Stories Thank You Donors to Goldsmiths Parting Shot

Winter 2013 No.40

On the first cover Her Royal Highness The Princess Royal, Chancellor of the University of London — From the first issue, published 20 years ago in November 1993

IN THIS ISSUE

GOLDLINK 40 Editor: Mary Ivers Design: zoebather.co.uk Photography: Patricio Forrester (sunflowers, page 3) Richard Masoner via Flickr: Cyclelicious (hand dryer, page 5) Ivan Coleman (front cover & pages 8-11) Roger Wooldridge (A Thousand Years, 1990, page 12). © Damien Hirst and Science Ltd. All rights reserved, DACS 2013 Goldlink

Prudence Cuming Associates Ltd (pages 12-13 & back cover). © Damien Hirst and Science Ltd. All rights reserved, DACS 2013 Surian Soosay via Flickr: ssoosay (page 14) www.mikiphotography.info (page 23) Back cover: Damien Hirst, Sinner, 1988 Glass, faced particleboard, ramin, plastic, aluminium, anatomical model, scalpels and pharmaceutical packaging 1371.6 x 1016 x 228.6 mm

Development & Alumni Office Goldsmiths, University of London New Cross, London SE14 6NW alumni@gold.ac.uk +44 (0)20 7919 7253 The opinions expressed in the magazine are those of the writers concerned and not necessarily of Goldsmiths.

Goldlink is printed on paper accredited by the Forestry Stewardship Council.

02 Gender Gap

Study sparks media debate 03 News 06 Global change maker

Olivia Owen, student

and charity CEO 08 Interview

In conversation with

Damien Hirst

14

16

18

Real life superheroes Where fiction and vigilantism meet Showcase Hefin Jones Made in Goldsmiths Music, Protest and the Vietnam War

21 22 23 24 26

32

Books 3x3 Life After Gold Stories Thank You Donors to Goldsmiths Parting Shot

Winter 2013 No.40

2 News

3

STUDY IDENTIFIES GENDER GAP IN POLITICAL KNOWLEDGE Goldsmiths research study receives global news coverage and sparks debate about gender representation in news media

A

research study from Goldsmiths released this summer revealed that women living in the world’s most advanced democracies and under the most progressive gender equality regimes still know less about politics than men. The ten-nation study of media systems and national political knowledge concluded that a gender gap in political knowledge seems to be a global phenomenon.

Professor James Curran, Director of the Leverhulme Media Research Centre, led the study which also found that gender gaps in political knowledge are even wider in so-called ‘advanced’ economies such as the United Kingdom and United States than in less advanced economies such as Colombia.

In the study, researchers surveyed men and women’s knowledge of domestic and international news as well as

current affairs in Australia, Canada, Colombia, Greece, Italy, Japan, Korea, Norway, the UK and the US. Exploring the reasons for the gender gap, researchers examined both the content of news and the supply of news in all ten nations. It found that, overall, women are only interviewed or cited in 30% of TV news stories, and in all ten countries female

Throughout the world women know less about politics than men, and this is as true for people in Norway as it is in Colombia.

NEWS

INVESTING IN OUR CAMPUS

HONORARY APPOINTMENTS

1,000 SUNFLOWERS FOR NEW CROSS

W

P

N

ork to the Richard Hoggart Building continues as the main reception, front forecourt and quadrangle areas are transformed in order to shape the building to meet the needs of the Goldsmiths community. The works have thrown up some interesting surprises, such as a tunnel underneath the main reception area leading to an area believed to be former dungeons dating back to the building’s days as the Royal Naval School (1843-1890). So far, over 350 donors have given towards a total of £85,000 for the renewal of the building. Alumni Julian Clary, Linton Kwesi Johnson and Mary Quant have generously supported the appeal, as have the family of former Warden, Richard Hoggart, after whom the building is named. All donors giving £100 or more will feature on a donor board going up in a prominent place in the new foyer.

oet Wendy Cope was one of several leading figures from the arts and media who received an Honorary Fellowship from Goldsmiths in September.

Remembering her time at Goldsmiths, Cope commented: “I attended evening classes for several years from around 1976.

These classes were very helpful at a time when I was keen to pursue my interest in poetry. I am delighted Goldsmiths has decided to honour me with a fellowship.”

Others who received honorary degrees and fellowships included BBC journalist and former Goldsmiths student Helen Fawkes, former Chair of Goldsmiths’ governing Council, Christopher Jonas, and spoken word artist David J Pugilist.

Marion North, former Director of Deptford’s Laban Centre, received a posthumous fellowship.

ew Cross received a blast of colour this summer as one thousand sunflowers were planted on New Cross Road and locally.

The ‘1,000 sunflowers for New Cross’ project, a collaboration between local community groups Grow Wild, NEW X-ING and Goldsmiths, aims to give life to urban spaces and highlight the importance of bees. The seeding began at Edmund Waller Primary school in June, and planting took place around New Cross with the help of local schools and volunteers. Richard Groves, Energy and Environmental Manager at Goldsmiths said: “The project is not only helping to brighten up the local area but is also providing much needed extra food for bees.

There is a surprisingly high bee population in the area and the extra food from this great initiative will help local bee-keepers to sustain their bee populations.”

sources tend only to appear in longer news items or articles and are preferred for ‘soft news’ topics such as family, lifestyle and culture.

Professor Curran commented: “Our findings that the gap between men and women’s knowledge of politics is greater in Norway – a country ranked globally as one of the very highest in terms of gender equality – than in South Korea – a country with a much lower equality rating – is particularly striking.

The fact that throughout the whole world women know less about politics than men, and that this is as true for people in Norway as it is in Colombia, is really very surprising.”

Goldlink

Winter 2013 No.40

2 News

3

STUDY IDENTIFIES GENDER GAP IN POLITICAL KNOWLEDGE Goldsmiths research study receives global news coverage and sparks debate about gender representation in news media

A

research study from Goldsmiths released this summer revealed that women living in the world’s most advanced democracies and under the most progressive gender equality regimes still know less about politics than men. The ten-nation study of media systems and national political knowledge concluded that a gender gap in political knowledge seems to be a global phenomenon.

Professor James Curran, Director of the Leverhulme Media Research Centre, led the study which also found that gender gaps in political knowledge are even wider in so-called ‘advanced’ economies such as the United Kingdom and United States than in less advanced economies such as Colombia.

In the study, researchers surveyed men and women’s knowledge of domestic and international news as well as

current affairs in Australia, Canada, Colombia, Greece, Italy, Japan, Korea, Norway, the UK and the US. Exploring the reasons for the gender gap, researchers examined both the content of news and the supply of news in all ten nations. It found that, overall, women are only interviewed or cited in 30% of TV news stories, and in all ten countries female

Throughout the world women know less about politics than men, and this is as true for people in Norway as it is in Colombia.

NEWS

INVESTING IN OUR CAMPUS

HONORARY APPOINTMENTS

1,000 SUNFLOWERS FOR NEW CROSS

W

P

N

ork to the Richard Hoggart Building continues as the main reception, front forecourt and quadrangle areas are transformed in order to shape the building to meet the needs of the Goldsmiths community. The works have thrown up some interesting surprises, such as a tunnel underneath the main reception area leading to an area believed to be former dungeons dating back to the building’s days as the Royal Naval School (1843-1890). So far, over 350 donors have given towards a total of £85,000 for the renewal of the building. Alumni Julian Clary, Linton Kwesi Johnson and Mary Quant have generously supported the appeal, as have the family of former Warden, Richard Hoggart, after whom the building is named. All donors giving £100 or more will feature on a donor board going up in a prominent place in the new foyer.

oet Wendy Cope was one of several leading figures from the arts and media who received an Honorary Fellowship from Goldsmiths in September.

Remembering her time at Goldsmiths, Cope commented: “I attended evening classes for several years from around 1976.

These classes were very helpful at a time when I was keen to pursue my interest in poetry. I am delighted Goldsmiths has decided to honour me with a fellowship.”

Others who received honorary degrees and fellowships included BBC journalist and former Goldsmiths student Helen Fawkes, former Chair of Goldsmiths’ governing Council, Christopher Jonas, and spoken word artist David J Pugilist.

Marion North, former Director of Deptford’s Laban Centre, received a posthumous fellowship.

ew Cross received a blast of colour this summer as one thousand sunflowers were planted on New Cross Road and locally.

The ‘1,000 sunflowers for New Cross’ project, a collaboration between local community groups Grow Wild, NEW X-ING and Goldsmiths, aims to give life to urban spaces and highlight the importance of bees. The seeding began at Edmund Waller Primary school in June, and planting took place around New Cross with the help of local schools and volunteers. Richard Groves, Energy and Environmental Manager at Goldsmiths said: “The project is not only helping to brighten up the local area but is also providing much needed extra food for bees.

There is a surprisingly high bee population in the area and the extra food from this great initiative will help local bee-keepers to sustain their bee populations.”

sources tend only to appear in longer news items or articles and are preferred for ‘soft news’ topics such as family, lifestyle and culture.

Professor Curran commented: “Our findings that the gap between men and women’s knowledge of politics is greater in Norway – a country ranked globally as one of the very highest in terms of gender equality – than in South Korea – a country with a much lower equality rating – is particularly striking.

The fact that throughout the whole world women know less about politics than men, and that this is as true for people in Norway as it is in Colombia, is really very surprising.”

Goldlink

Winter 2013 No.40

4 News

5 NEWS

NEWS

NEW STUDENT SATISFACTION RECORD

RENDEZVOUS GOLDSMITHS

TRINITY & GOLDSMITHS LAUNCH MPHIL

LASALLE STUDENTS GRADUATE

PODCAST SERIES LAUNCHED

IMPACT OF SUPER-FAST HAND DRYERS

S

A

A

T

T

S

tudent satisfaction at Goldsmiths is better than it has ever been, according to statistics released in August. Results from the 2013 National Student Survey (NSS) revealed 88% of final year students were satisfied with their course. The result is the best ever for Goldsmiths, and sees it ranked in the top 40 non-specialist universities for overall student satisfaction in the UK. The statistics also showed that 91% of students at Goldsmiths were happy with the teaching on their course – 5% higher than the national average – and 92% of students found their course intellectually stimulating.

Dr Michael Young, Pro-Warden for Students and Learning Development, said: “More students than ever are satisfied with their education at Goldsmiths and results in this survey have outshone a number of other highly revered universities. This is an impressive achievement, and demonstrates the excellence of our institution.”

Goldlink

recent exhibition at the Ruthin Craft Centre celebrated the work of the Goldsmiths Textile Department between 1975 and 1988, dedicating a room to the work of Audrey Walker, who was head of the department during this time. Audrey is recognised for her ability to capture the atmosphere of a fleeting moment or encounter by building up layers of fabric and stitch.

This use of textiles as a medium for artistic expression is characteristic of pieces originating from Goldsmiths. Audrey built on the achievements of Constance Howard, who founded what was then called the Embroidery Department in 1953. Continuing to foster a philosophy of encouraging individuality and innovation, Audrey broadened the department to include all textile media, strengthening textiles as a critical practice – this interdisciplinary approach continues at Goldsmiths today.

new Masters programme aiming to drive the creative economy has been launched by Goldsmiths and Trinity College Dublin. The programme, which is the first of its kind globally, will integrate entrepreneurship with creative practice, developing new business and creative enterprises within the creative sector. Trinity College and Goldsmiths signed a strategic partnership this summer, building on complementary strengths in the arts, humanities and social sciences at both institutions. The new interdisciplinary programme, which started this autumn, will offer courses in Entrepreneurship, Creative Technologies, Drama, Film, Music, Animation, Creative Practice, Art Theory and Curation, and Games Design and Development. Students will have the opportunity to work on creative entrepreneurial ideas under specialist supervision at either institution.

he partnership between Goldsmiths and LASALLE College of the Arts has seen its first graduates, as 441 Goldsmithsvalidated degrees were awarded in Singapore this September.

The partnership officially started in August 2012, and also supports academic development activities between the two institutions.

Donning bespoke gowns designed

by Ede and Ravenscroft, graduates from 18 programmes across Art, Media and Communications, Creative and Cultural Entrepreneurship, Music and Design were awarded degrees validated by Goldsmiths. Patrick Loughrey, Warden of Goldsmiths, said: “Goldsmiths has built a global reputation for the arts since our beginnings over 100 years ago so we are delighted to be in partnership with a College that is following the same path, having established itself in a relatively short space of time as one of the foremost arts institutions in South East Asia.”

he first podcast in a series exploring the ‘University of the Future’ has been launched at Goldsmiths in partnership with Times Higher Education.

Covering topics such as MOOCs, Open Access, and how to best equip students for the digital age, the series will feature a range of individuals from Goldsmiths, the sector and beyond in an engaging conversation format.

The podcast launch took place in front of a live audience on 1 October and featured Professor Sir Adrian Smith, Vice-Chancellor of the University of London, in conversation with John Gill, Editor of Times Higher Education. The title of the podcast was ‘Technology v Tradition: Universities meeting the challenge of change’. The series will be hosted on the Goldsmiths iTunesU channel and at www.gold.ac.uk/podcasts.

ound researchers at Goldsmiths have revealed the noise from high-speed hand dryers has the same impact on the human ear as that of a road drill at close range.

The research project, led by Dr John Levack Drever, Senior Lecturer in Composition and Head of the Unit for Sound Practice Research, found the dryers caused discomfort for elderly dementia sufferers, affected the navigation of visually-impaired people and even forced hearing aid users to turn their devices off when entering public toilets.

The research team found that the decibels reached by hand dryers in toilets could reach 11 times more than that recorded in the ultraabsorbent acoustic laboratories manufacturers tend to test in. The next phase of the project will see the commissioning of a wide range of users to compose and in turn propose new favourable sound design possibilities.

Winter 2013 No.40

4 News

5 NEWS

NEWS

NEW STUDENT SATISFACTION RECORD

RENDEZVOUS GOLDSMITHS

TRINITY & GOLDSMITHS LAUNCH MPHIL

LASALLE STUDENTS GRADUATE

PODCAST SERIES LAUNCHED

IMPACT OF SUPER-FAST HAND DRYERS

S

A

A

T

T

S

tudent satisfaction at Goldsmiths is better than it has ever been, according to statistics released in August. Results from the 2013 National Student Survey (NSS) revealed 88% of final year students were satisfied with their course. The result is the best ever for Goldsmiths, and sees it ranked in the top 40 non-specialist universities for overall student satisfaction in the UK. The statistics also showed that 91% of students at Goldsmiths were happy with the teaching on their course – 5% higher than the national average – and 92% of students found their course intellectually stimulating.

Dr Michael Young, Pro-Warden for Students and Learning Development, said: “More students than ever are satisfied with their education at Goldsmiths and results in this survey have outshone a number of other highly revered universities. This is an impressive achievement, and demonstrates the excellence of our institution.”

Goldlink

recent exhibition at the Ruthin Craft Centre celebrated the work of the Goldsmiths Textile Department between 1975 and 1988, dedicating a room to the work of Audrey Walker, who was head of the department during this time. Audrey is recognised for her ability to capture the atmosphere of a fleeting moment or encounter by building up layers of fabric and stitch.

This use of textiles as a medium for artistic expression is characteristic of pieces originating from Goldsmiths. Audrey built on the achievements of Constance Howard, who founded what was then called the Embroidery Department in 1953. Continuing to foster a philosophy of encouraging individuality and innovation, Audrey broadened the department to include all textile media, strengthening textiles as a critical practice – this interdisciplinary approach continues at Goldsmiths today.

new Masters programme aiming to drive the creative economy has been launched by Goldsmiths and Trinity College Dublin. The programme, which is the first of its kind globally, will integrate entrepreneurship with creative practice, developing new business and creative enterprises within the creative sector. Trinity College and Goldsmiths signed a strategic partnership this summer, building on complementary strengths in the arts, humanities and social sciences at both institutions. The new interdisciplinary programme, which started this autumn, will offer courses in Entrepreneurship, Creative Technologies, Drama, Film, Music, Animation, Creative Practice, Art Theory and Curation, and Games Design and Development. Students will have the opportunity to work on creative entrepreneurial ideas under specialist supervision at either institution.

he partnership between Goldsmiths and LASALLE College of the Arts has seen its first graduates, as 441 Goldsmithsvalidated degrees were awarded in Singapore this September.

The partnership officially started in August 2012, and also supports academic development activities between the two institutions.

Donning bespoke gowns designed

by Ede and Ravenscroft, graduates from 18 programmes across Art, Media and Communications, Creative and Cultural Entrepreneurship, Music and Design were awarded degrees validated by Goldsmiths. Patrick Loughrey, Warden of Goldsmiths, said: “Goldsmiths has built a global reputation for the arts since our beginnings over 100 years ago so we are delighted to be in partnership with a College that is following the same path, having established itself in a relatively short space of time as one of the foremost arts institutions in South East Asia.”

he first podcast in a series exploring the ‘University of the Future’ has been launched at Goldsmiths in partnership with Times Higher Education.

Covering topics such as MOOCs, Open Access, and how to best equip students for the digital age, the series will feature a range of individuals from Goldsmiths, the sector and beyond in an engaging conversation format.

The podcast launch took place in front of a live audience on 1 October and featured Professor Sir Adrian Smith, Vice-Chancellor of the University of London, in conversation with John Gill, Editor of Times Higher Education. The title of the podcast was ‘Technology v Tradition: Universities meeting the challenge of change’. The series will be hosted on the Goldsmiths iTunesU channel and at www.gold.ac.uk/podcasts.

ound researchers at Goldsmiths have revealed the noise from high-speed hand dryers has the same impact on the human ear as that of a road drill at close range.

The research project, led by Dr John Levack Drever, Senior Lecturer in Composition and Head of the Unit for Sound Practice Research, found the dryers caused discomfort for elderly dementia sufferers, affected the navigation of visually-impaired people and even forced hearing aid users to turn their devices off when entering public toilets.

The research team found that the decibels reached by hand dryers in toilets could reach 11 times more than that recorded in the ultraabsorbent acoustic laboratories manufacturers tend to test in. The next phase of the project will see the commissioning of a wide range of users to compose and in turn propose new favourable sound design possibilities.

Winter 2013 No.40

6 Feature

7

Olivia Jones is the Chief Executive Officer for EduHaitian and is currently studying a BA International Studies at Goldsmiths.

AN EXTRAORDINARY YOUNG ACHIEVER

I

n 2010, Olivia travelled to Haiti to contribute to relief efforts in the wake of the country’s devastating earthquake. Having fallen in love with the country, she founded EduHaitian, a charity that matches children with sponsors who pay for their education.

She was recently named one of 25 fellows in the London hub of Sandbox – a global organisation which supports extraordinary young achievers under the age of 30. The Sandbox community includes 23 published authors and five of Forbes’ ‘30 under 30’ (2011). We spoke to her to find out more about Sandbox and her volunteering work....

In order to get through to the first round of Sandbox, you need to be recommended by someone who is already a member. Tara YipBannicq is someone I have lived and worked alongside in Haiti. She is now a member or EduHaitian’s advisory board and resides in Haiti working full-time for UNICEF. Tara recommended me to Sandbox and, alongside my original written application, this got me through to the final round. Following this, I had to make a ‘WOW’ video about myself. Thankfully this was ‘WOW’ enough for Sandbox; they saw merit in my work and I made it through to the Final 25 Class of 2013 London Hub. My fundraising work has been a huge highlight of the last few years. Some events include: black tie balls, cycling the length of the UK, speaking tours of primary schools, privately hosted events and army assault courses. I’ve done all sorts to enable the children in our programme to receive the gift

Goldlink

of an education and I love finding new and challenging ways to inspire people to raise money. In total I have raised something in the region of £25,000 and that is set to increase dramatically as we are re-launching our programme.

I have done all sorts to enable the children in our programme to receive the gift of an education and I love finding new and challenging ways to inspire people to raise money.

Working in the field for two years taught me a lot, but I needed to understand how the world works.

After coming to visit Goldsmiths, I knew this was the place I wanted to study. I could see they valued my experience and appreciated I had been on a different path to others and wasn’t your typical academic.

It was a good decision and studying here has been absolutely wonderful.

The best thing is the way the academic teaching staff encourage you to think for yourself about issues and value all opinions.

Another huge benefit I feel is the multi-diversity among the students, it brings a whole other dimension to political debates. To me, this is a true representation of how the

world actually is: diverse. For me, a classroom at Goldsmiths reflects time spent in the field in Haiti.

My course has ensured I do not lose my passion for humanitarian work.

It has given me the confidence in my ability and ensured that I don’t lose sight of the objectives of my charity work. My peers have been very keen to get involved and I love being surrounded by young, passionate people. It really inspires me to carry on what I’ve been doing.

The more I learn at Goldsmiths, the more I realise what I do not know.

My course has helped me understand the creation of the modern world in so many ways I didn’t understand before. A skill I found hardest to adopt was thinking critically when understanding academic topics but I have really improved in this area during my first year. Studying here has also ensured that I always appreciate strengths and skills in others. I have learnt so much from engaging with my peers.

Following my degree, I would like to ensure EduHaitian is the biggest success it can be. I would like to take a year out to master speaking French fluently, preferably residing in a French speaking nation. I’m very passionate about children’s/women’s rights and would like to advocate these rights through education.

Read more about the work of EduHaitian at www.eduhaitian.org.

Winter 2013 No.40

6 Feature

7

Olivia Jones is the Chief Executive Officer for EduHaitian and is currently studying a BA International Studies at Goldsmiths.

AN EXTRAORDINARY YOUNG ACHIEVER

I

n 2010, Olivia travelled to Haiti to contribute to relief efforts in the wake of the country’s devastating earthquake. Having fallen in love with the country, she founded EduHaitian, a charity that matches children with sponsors who pay for their education.

She was recently named one of 25 fellows in the London hub of Sandbox – a global organisation which supports extraordinary young achievers under the age of 30. The Sandbox community includes 23 published authors and five of Forbes’ ‘30 under 30’ (2011). We spoke to her to find out more about Sandbox and her volunteering work....

In order to get through to the first round of Sandbox, you need to be recommended by someone who is already a member. Tara YipBannicq is someone I have lived and worked alongside in Haiti. She is now a member or EduHaitian’s advisory board and resides in Haiti working full-time for UNICEF. Tara recommended me to Sandbox and, alongside my original written application, this got me through to the final round. Following this, I had to make a ‘WOW’ video about myself. Thankfully this was ‘WOW’ enough for Sandbox; they saw merit in my work and I made it through to the Final 25 Class of 2013 London Hub. My fundraising work has been a huge highlight of the last few years. Some events include: black tie balls, cycling the length of the UK, speaking tours of primary schools, privately hosted events and army assault courses. I’ve done all sorts to enable the children in our programme to receive the gift

Goldlink

of an education and I love finding new and challenging ways to inspire people to raise money. In total I have raised something in the region of £25,000 and that is set to increase dramatically as we are re-launching our programme.

I have done all sorts to enable the children in our programme to receive the gift of an education and I love finding new and challenging ways to inspire people to raise money.

Working in the field for two years taught me a lot, but I needed to understand how the world works.

After coming to visit Goldsmiths, I knew this was the place I wanted to study. I could see they valued my experience and appreciated I had been on a different path to others and wasn’t your typical academic.

It was a good decision and studying here has been absolutely wonderful.

The best thing is the way the academic teaching staff encourage you to think for yourself about issues and value all opinions.

Another huge benefit I feel is the multi-diversity among the students, it brings a whole other dimension to political debates. To me, this is a true representation of how the

world actually is: diverse. For me, a classroom at Goldsmiths reflects time spent in the field in Haiti.

My course has ensured I do not lose my passion for humanitarian work.

It has given me the confidence in my ability and ensured that I don’t lose sight of the objectives of my charity work. My peers have been very keen to get involved and I love being surrounded by young, passionate people. It really inspires me to carry on what I’ve been doing.

The more I learn at Goldsmiths, the more I realise what I do not know.

My course has helped me understand the creation of the modern world in so many ways I didn’t understand before. A skill I found hardest to adopt was thinking critically when understanding academic topics but I have really improved in this area during my first year. Studying here has also ensured that I always appreciate strengths and skills in others. I have learnt so much from engaging with my peers.

Following my degree, I would like to ensure EduHaitian is the biggest success it can be. I would like to take a year out to master speaking French fluently, preferably residing in a French speaking nation. I’m very passionate about children’s/women’s rights and would like to advocate these rights through education.

Read more about the work of EduHaitian at www.eduhaitian.org.

Winter 2013 No.40

8 Interview

REFLECTIONS OF A YOUNG BRITISH ARTIST Damien Hirst (BA Fine Art, 1989) looks back on his time at Goldsmiths and the importance of treating art students as artists.

9

M

ore than 463,000 people visited the Damien Hirst exhibition last year at Tate Modern; it was the most successful solo show the gallery has ever exhibited. The works on display showcased the sometimes controversial career of Britain’s most successful artist, with several pieces dating back to Damien’s time at Goldsmiths. Dr Richard Noble, current Head of the Department of Art, recently met with Damien to talk about his time at Goldsmiths, his fellow artists and their role in redefining the British art scene at the time.

Damien’s Timeline: 1983: completes a foundation

course at Jacob Kramer

College in Leeds 1984: moves to London and works

as a labourer 1986: begins his Fine Art degree

at Goldsmiths 1988: conceives and curates the

art exhibition Freeze, which

becomes the launching

point for a generation of

young British artists (widely

referred to as the YBAs) 1992: exhibits his famous shark

in formaldehyde piece

(The Physical Impossibility

of Death in the Mind of

Someone Living) at the

Saatchi Gallery 1995: awarded the Turner Prize 2007: exhibits For the Love of God,

a platinum cast of a skull set

with 8,601 flawless diamonds,

at the White Cube exhibition

Beyond Belief 2012: most successful solo exhibition

in Tate Modern’s history Why did you choose to come to Goldsmiths?

I moved down to London with some friends, and that was when I worked out that really I only wanted to go to Goldsmiths. I was doing little collages of [Kurt] Schwitterstype stuff that I then painted, and Goldsmiths’ Fine Art course was the only place where you didn’t

Goldlink

have to choose between painting and sculpture. I just thought, “I want to do both”.

And when you got to Goldsmiths, what were your initial impressions of the place?

Well it was really different to anywhere else – they treated you like artists. Michael [Craig-Martin] was there, Jon Thompson was my tutor; he was great. They just said “you’re artists, you’re not students – get on with it”. They didn’t push you around; if you wanted a tutorial, you had to ask for one.

Goldsmiths’ Fine Art course was the only place where you didn’t have to choose between painting and sculpture. I just thought, “I want to do both”.

It was up to you. I got into a load of trouble on my Foundation course [at Leeds], like I did at school. Once I got to Goldsmiths I was taken much more seriously.

They were great times. On my first day I met Angus Fairhurst, Mat Collishaw, Simon Pattison – all in my year. Gary Hume was there too, and Sarah Lucas was in the year above me. I remember Sarah was the link to everything because she was going out with Grenville Davey. So he was coming into the bar, this artist that had been at the College and who had recently got famous. And then you’d bump into Julian Opie and Lisa Milroy through Michael [Craig-Martin].

You thought, “Oh my God, it’s a real connection to the art world”.

Winter 2013 No.40

8 Interview

REFLECTIONS OF A YOUNG BRITISH ARTIST Damien Hirst (BA Fine Art, 1989) looks back on his time at Goldsmiths and the importance of treating art students as artists.

9

M

ore than 463,000 people visited the Damien Hirst exhibition last year at Tate Modern; it was the most successful solo show the gallery has ever exhibited. The works on display showcased the sometimes controversial career of Britain’s most successful artist, with several pieces dating back to Damien’s time at Goldsmiths. Dr Richard Noble, current Head of the Department of Art, recently met with Damien to talk about his time at Goldsmiths, his fellow artists and their role in redefining the British art scene at the time.

Damien’s Timeline: 1983: completes a foundation

course at Jacob Kramer

College in Leeds 1984: moves to London and works

as a labourer 1986: begins his Fine Art degree

at Goldsmiths 1988: conceives and curates the

art exhibition Freeze, which

becomes the launching

point for a generation of

young British artists (widely

referred to as the YBAs) 1992: exhibits his famous shark

in formaldehyde piece

(The Physical Impossibility

of Death in the Mind of

Someone Living) at the

Saatchi Gallery 1995: awarded the Turner Prize 2007: exhibits For the Love of God,

a platinum cast of a skull set

with 8,601 flawless diamonds,

at the White Cube exhibition

Beyond Belief 2012: most successful solo exhibition

in Tate Modern’s history Why did you choose to come to Goldsmiths?

I moved down to London with some friends, and that was when I worked out that really I only wanted to go to Goldsmiths. I was doing little collages of [Kurt] Schwitterstype stuff that I then painted, and Goldsmiths’ Fine Art course was the only place where you didn’t

Goldlink

have to choose between painting and sculpture. I just thought, “I want to do both”.

And when you got to Goldsmiths, what were your initial impressions of the place?

Well it was really different to anywhere else – they treated you like artists. Michael [Craig-Martin] was there, Jon Thompson was my tutor; he was great. They just said “you’re artists, you’re not students – get on with it”. They didn’t push you around; if you wanted a tutorial, you had to ask for one.

Goldsmiths’ Fine Art course was the only place where you didn’t have to choose between painting and sculpture. I just thought, “I want to do both”.

It was up to you. I got into a load of trouble on my Foundation course [at Leeds], like I did at school. Once I got to Goldsmiths I was taken much more seriously.

They were great times. On my first day I met Angus Fairhurst, Mat Collishaw, Simon Pattison – all in my year. Gary Hume was there too, and Sarah Lucas was in the year above me. I remember Sarah was the link to everything because she was going out with Grenville Davey. So he was coming into the bar, this artist that had been at the College and who had recently got famous. And then you’d bump into Julian Opie and Lisa Milroy through Michael [Craig-Martin].

You thought, “Oh my God, it’s a real connection to the art world”.

Winter 2013 No.40

10 Interview Below and opposite: Details from Damien Hirst’s office

11 Right: Damien Hirst and the Head of the Department of Art at Goldsmiths, Richard Noble

How did your work evolve while you were here?

I didn’t really know what I was doing at first. I remember in my first year I saw [tutor] Basil Beattie.

I was doing these collages and he said I shouldn’t really be here if that’s what I was doing. I realised that they were a bit nostalgic and retro, so I ended up breaking them all up and sweeping them into a pile and having a few tutorials talking about the pile. I think my ‘spot’ paintings came out of that.

I just sort of rid myself of it all and started again.

I was into that really romantic 1950s’ feeling of abstract paintings: if you’re feeling moody you do a purple painting; if you’re feeling happy you do an orange one. I really believed in that. But then suddenly, being at Goldsmiths, it slowly started to dawn on me that it was bollocks. I basically fell in love with minimalism. I realised it can be Goldlink

emotional if it’s done well. I went totally away from that 50s stuff to 60s minimalism.

I made my first cabinet at Goldsmiths. Mick [Roberts] in the woodwork shop used to make them.

I mean he thought I was nuts! The spot paintings were like a colour, and then the cabinets were really found objects. It was just an orange square really. I was into repetition: it was art without angst. That was sort of a discovery for me.

And the Pop thing? One often hears you in connection to Jeff Koons.

At Goldsmiths I thought the tutors were absolutely so cool and brilliant and amazing, and then the show New York Art Now at the Saatchi Gallery opened. I went there and it blew me away – I totally loved it. And then all the tutors at Goldsmiths said it was shit. That was the first time I disagreed with

the tutors. And once that happened I was off – I realised they were just another set of parents.

So what inspired you to organise Freeze? It must have been a hugely ambitious thing for a second year student.

Well I had a friend who wanted to do something like that in Leeds and I kept telling him how to organise it, thinking “Well you just do this”, and he never did it.

When I got to Goldsmiths I worked at Anthony d’Offay Gallery.

I was hanging and wrapping up Carl Andre’s work, and watching Anthony sell work through the little viewfinder. I was doing two and a half days a week at d’Offay and then going back to Goldsmiths.

I thought: “My God, the work going on here is better than or at least as good as a lot of the work at d’Offay”. You know, it was finished, it was complete. So then I thought:

“You could do that, you just have to get a building.”

Did the other students immediately think it was a great idea, or did you have to talk them into it?

My year were good, but the people in the year above weren’t quite sure. I remember I got a tutorial with Michael Craig-Martin; he didn’t want to talk about my work, he just asked about the exhibition.

He said: “It’s got to be good”. I said: “It’s going to be good”.

They just said “you’re artists, you’re not students – get on with it”. They didn’t push you around; if you wanted a tutorial, you had to ask for one. It was up to you.

It must have been a tremendously exciting thing to do at the time.

It just seemed to happen naturally.

The first people I asked for money gave me it. The first people I asked for the building gave it to me. Had it been harder than that I might have given up. When I did [group exhibition] Modern Winter 2013 No.40

10 Interview Below and opposite: Details from Damien Hirst’s office

11 Right: Damien Hirst and the Head of the Department of Art at Goldsmiths, Richard Noble

How did your work evolve while you were here?

I didn’t really know what I was doing at first. I remember in my first year I saw [tutor] Basil Beattie.

I was doing these collages and he said I shouldn’t really be here if that’s what I was doing. I realised that they were a bit nostalgic and retro, so I ended up breaking them all up and sweeping them into a pile and having a few tutorials talking about the pile. I think my ‘spot’ paintings came out of that.

I just sort of rid myself of it all and started again.

I was into that really romantic 1950s’ feeling of abstract paintings: if you’re feeling moody you do a purple painting; if you’re feeling happy you do an orange one. I really believed in that. But then suddenly, being at Goldsmiths, it slowly started to dawn on me that it was bollocks. I basically fell in love with minimalism. I realised it can be Goldlink

emotional if it’s done well. I went totally away from that 50s stuff to 60s minimalism.

I made my first cabinet at Goldsmiths. Mick [Roberts] in the woodwork shop used to make them.

I mean he thought I was nuts! The spot paintings were like a colour, and then the cabinets were really found objects. It was just an orange square really. I was into repetition: it was art without angst. That was sort of a discovery for me.

And the Pop thing? One often hears you in connection to Jeff Koons.

At Goldsmiths I thought the tutors were absolutely so cool and brilliant and amazing, and then the show New York Art Now at the Saatchi Gallery opened. I went there and it blew me away – I totally loved it. And then all the tutors at Goldsmiths said it was shit. That was the first time I disagreed with

the tutors. And once that happened I was off – I realised they were just another set of parents.

So what inspired you to organise Freeze? It must have been a hugely ambitious thing for a second year student.

Well I had a friend who wanted to do something like that in Leeds and I kept telling him how to organise it, thinking “Well you just do this”, and he never did it.

When I got to Goldsmiths I worked at Anthony d’Offay Gallery.

I was hanging and wrapping up Carl Andre’s work, and watching Anthony sell work through the little viewfinder. I was doing two and a half days a week at d’Offay and then going back to Goldsmiths.

I thought: “My God, the work going on here is better than or at least as good as a lot of the work at d’Offay”. You know, it was finished, it was complete. So then I thought:

“You could do that, you just have to get a building.”

Did the other students immediately think it was a great idea, or did you have to talk them into it?

My year were good, but the people in the year above weren’t quite sure. I remember I got a tutorial with Michael Craig-Martin; he didn’t want to talk about my work, he just asked about the exhibition.

He said: “It’s got to be good”. I said: “It’s going to be good”.

They just said “you’re artists, you’re not students – get on with it”. They didn’t push you around; if you wanted a tutorial, you had to ask for one. It was up to you.

It must have been a tremendously exciting thing to do at the time.

It just seemed to happen naturally.

The first people I asked for money gave me it. The first people I asked for the building gave it to me. Had it been harder than that I might have given up. When I did [group exhibition] Modern Winter 2013 No.40

12 Interview

13

Medicine afterwards it was a massive struggle and everybody we asked said ‘no’. We only just managed to do that.

Freeze was so important to the British art world – it was a landmark moment because your whole generation came out of it.

I think there were other things happening. I think there was a bit of frustration. We’d seen what had happened with Julian Opie.

We’d seen what had happened with Grenville Davey. With the art world the way it was there were likely to be only three artists, if that, ‘making it’ each year. There was also that pressure from the College – good pressure – saying ‘you need an audience’, basically.

Don’t wait for one; don’t put your paintings in the corner of the studio and wait for someone to buy them when you’re dead. So we were really thinking like that and you just wanted that to carry on.

Goldlink

As soon as I arrived at Goldsmiths I knew it was where I needed to be. It was absolutely the right place; there was nowhere else I could have gone where I could have done what I wanted to do.

Top: Damien Hirst, A Thousand Years, 1990 Glass, steel, silicone rubber, painted MDF, insect-o-cutor,

cow’s head, blood, flies, maggots, metal dishes, cotton wool, sugar and water 2075 x 4000 x 2150 mm

Above: Damien Hirst, Spot Painting, 1986 Household gloss on board 2438 x 3658 mm

Above: Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, 1991 (Sideview) Glass, painted

steel, silicone, monofilament, shark and formaldehyde solution 2170 x 5420 x 1800 mm

You recently visited the campus, didn’t you?

You know when I went in [to the main building] I couldn’t believe it.

I hadn’t been back for about 23 years.

I went into the canteen and it was identical. I mean, obviously the tables had changed but everything was in the same place. A kid in the corridor came up to me and said, “I’ve just been studying you”. And I was like (gulps). It was so freaky. So weird.

One of the striking things about your career, aside from your success as an artist, is the sheer range of work that you’ve done: curating exhibitions, designing magazines, making films, building restaurants.

I’m wondering if it in any way relates to your education, to being at Goldsmiths?

Before I went to Goldsmiths I used to think that I was a Jack of all trades: so many ideas and so many different directions.

I think what really helped me was doing group shows like Freeze. Once I started arranging other people’s work in a white room, I could just do that with my own work. I could separate each individual piece so they didn’t spill over into each other.

If I’m making a painting and I’m not sure if it is any good or not, I always imagine leaving it outside the pub and thinking if no one takes it home it’s crap. That was what I was thinking with the spot painting; you couldn’t leave that in the skip if you walked past it, you’d have to get it out and take it home.

Being in art school empowers you to do your own thing. When I left my Foundation course I didn’t know what I wanted to do and then as soon as I arrived at Goldsmiths I knew it was where I needed to be.

It was absolutely the right place; there was nowhere else I could have gone where I could have done what I wanted to do.

Winter 2013 No.40

12 Interview

13

Medicine afterwards it was a massive struggle and everybody we asked said ‘no’. We only just managed to do that.

Freeze was so important to the British art world – it was a landmark moment because your whole generation came out of it.

I think there were other things happening. I think there was a bit of frustration. We’d seen what had happened with Julian Opie.

We’d seen what had happened with Grenville Davey. With the art world the way it was there were likely to be only three artists, if that, ‘making it’ each year. There was also that pressure from the College – good pressure – saying ‘you need an audience’, basically.

Don’t wait for one; don’t put your paintings in the corner of the studio and wait for someone to buy them when you’re dead. So we were really thinking like that and you just wanted that to carry on.

Goldlink

As soon as I arrived at Goldsmiths I knew it was where I needed to be. It was absolutely the right place; there was nowhere else I could have gone where I could have done what I wanted to do.

Top: Damien Hirst, A Thousand Years, 1990 Glass, steel, silicone rubber, painted MDF, insect-o-cutor,

cow’s head, blood, flies, maggots, metal dishes, cotton wool, sugar and water 2075 x 4000 x 2150 mm

Above: Damien Hirst, Spot Painting, 1986 Household gloss on board 2438 x 3658 mm

Above: Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, 1991 (Sideview) Glass, painted

steel, silicone, monofilament, shark and formaldehyde solution 2170 x 5420 x 1800 mm

You recently visited the campus, didn’t you?

You know when I went in [to the main building] I couldn’t believe it.

I hadn’t been back for about 23 years.

I went into the canteen and it was identical. I mean, obviously the tables had changed but everything was in the same place. A kid in the corridor came up to me and said, “I’ve just been studying you”. And I was like (gulps). It was so freaky. So weird.

One of the striking things about your career, aside from your success as an artist, is the sheer range of work that you’ve done: curating exhibitions, designing magazines, making films, building restaurants.

I’m wondering if it in any way relates to your education, to being at Goldsmiths?

Before I went to Goldsmiths I used to think that I was a Jack of all trades: so many ideas and so many different directions.

I think what really helped me was doing group shows like Freeze. Once I started arranging other people’s work in a white room, I could just do that with my own work. I could separate each individual piece so they didn’t spill over into each other.

If I’m making a painting and I’m not sure if it is any good or not, I always imagine leaving it outside the pub and thinking if no one takes it home it’s crap. That was what I was thinking with the spot painting; you couldn’t leave that in the skip if you walked past it, you’d have to get it out and take it home.

Being in art school empowers you to do your own thing. When I left my Foundation course I didn’t know what I wanted to do and then as soon as I arrived at Goldsmiths I knew it was where I needed to be.

It was absolutely the right place; there was nowhere else I could have gone where I could have done what I wanted to do.

Winter 2013 No.40

14 Feature

15

VIGILANTE ARCHETYPES & ‘REAL LIFE SUPERHEROES’ Dr Gavin Weston, Department of Anthropology, explores the phenomenon of ‘real life superheroes’ and the influence fictional characters have on real life vigilantism.

T

he exponential rise of superheroes throughout popular culture is seeing a corresponding increase in related news stories: the Burka Avenger’s role model status in the battle against Islamic fundamentalism, a portly gentleman dressed as Batman handing over a wanted criminal to the police in Bradford, or the galling details of the Aurora theatre killings are just the tip of the iceberg. This attention continued in a recent news story when Jim Carrey refused to publicise his role in the superhero film Kick-Ass 2 due to discomfort with the film in the wake of the Sandy Hook shootings – he tweeted “I did Kickass a month b4 Sandy Hook and now in all good conscience I cannot support that level of violence [sic]”. In an interview in The Times his 16-year-old co-star Chloe Grace Moretz clarified “It’s fake. It’s not real life. I’ve known the difference since I was a child.” But KickAss is itself an exploration of the blurring between the imagined world of superheroes and real life vigilantism. Recent news stories regarding ‘real life superheroes’ Goldlink

(RLSH) see these distinctions collapse further still.

Through research on Guatemalan lynchings I became intrigued by the way in which vigilantism spreads. When the provision of justice is seen as severely deficient people take justice into their own hands, doing so in a way that corresponds with existing blueprints for such actions.

Role models are generally drawn from the real world, but sometimes they come from fiction. The starkest example of this can be seen in the way in which D W Griffith’s 1915 silent film The Birth of a Nation led directly to William J Simmons re-founding the Ku Klux Klan: fictional vigilantes directly inspiring real vigilantes. Throughout comic books, films and TV programmes costumed vigilante archetypes abound. The eponymous hero in Kick-Ass asks “Why do you think nobody’s tried to be a superhero before?”, leading to him donning a costume to patrol the streets.

Phoenix Jones, the most prominent among the growing number of real life superheroes, recently came to the UK gaining attention across TV, newspapers

Kick-Ass is itself an exploration of the blurring between the imagined world of superheroes and real life vigilantism.

and online. During his stay I had the pleasure of sharing the stage with Jones, his wife Purple Reign, and Peter Tangen, the founder of The Real Life Superhero Project, to discuss ideas of vigilantism and justice. It became clear that while Jones and Reign patrol and often use violent force, his brand of policing has become increasingly intertwined with the state, moving him away from vigilantism.

His involvement in 250 arrests demonstrates his inherent pro-police stance, although he is never short of criticisms of their flaws. Jones and his Rain City

Superhero Movement refer to themselves as a ‘citizen prevention eyewitness group’. Other patrolling RLSHs such as The New York Initiative conduct themselves in a similar manner. The ability of the police to clamp down hard on over-exuberant ‘superheroism’ is fundamental to the shape this new movement is taking. A look at Tangen’s RLSH Project website shows that you’re more likely to find costumed heroes handing out food to the homeless or raising awareness of social issues than patrolling. This new movement appears to be spreading at

increasing pace with at least 200 active RLSHs. But this is not best understood as a vigilante movement, despite their actions often being described as vigilantism in the press. This is something more subtle, more charitable and pro-state.

The real life superheroes that Kick-Ass and other superhero media outputs have inspired are acting in societies where satisfaction with justice is relatively high and police authority relatively strong. While this remains true, RLSHs will rarely stray into vigilante territory.

Winter 2013 No.40

14 Feature

15

VIGILANTE ARCHETYPES & ‘REAL LIFE SUPERHEROES’ Dr Gavin Weston, Department of Anthropology, explores the phenomenon of ‘real life superheroes’ and the influence fictional characters have on real life vigilantism.

T

he exponential rise of superheroes throughout popular culture is seeing a corresponding increase in related news stories: the Burka Avenger’s role model status in the battle against Islamic fundamentalism, a portly gentleman dressed as Batman handing over a wanted criminal to the police in Bradford, or the galling details of the Aurora theatre killings are just the tip of the iceberg. This attention continued in a recent news story when Jim Carrey refused to publicise his role in the superhero film Kick-Ass 2 due to discomfort with the film in the wake of the Sandy Hook shootings – he tweeted “I did Kickass a month b4 Sandy Hook and now in all good conscience I cannot support that level of violence [sic]”. In an interview in The Times his 16-year-old co-star Chloe Grace Moretz clarified “It’s fake. It’s not real life. I’ve known the difference since I was a child.” But KickAss is itself an exploration of the blurring between the imagined world of superheroes and real life vigilantism. Recent news stories regarding ‘real life superheroes’ Goldlink

(RLSH) see these distinctions collapse further still.

Through research on Guatemalan lynchings I became intrigued by the way in which vigilantism spreads. When the provision of justice is seen as severely deficient people take justice into their own hands, doing so in a way that corresponds with existing blueprints for such actions.

Role models are generally drawn from the real world, but sometimes they come from fiction. The starkest example of this can be seen in the way in which D W Griffith’s 1915 silent film The Birth of a Nation led directly to William J Simmons re-founding the Ku Klux Klan: fictional vigilantes directly inspiring real vigilantes. Throughout comic books, films and TV programmes costumed vigilante archetypes abound. The eponymous hero in Kick-Ass asks “Why do you think nobody’s tried to be a superhero before?”, leading to him donning a costume to patrol the streets.

Phoenix Jones, the most prominent among the growing number of real life superheroes, recently came to the UK gaining attention across TV, newspapers

Kick-Ass is itself an exploration of the blurring between the imagined world of superheroes and real life vigilantism.

and online. During his stay I had the pleasure of sharing the stage with Jones, his wife Purple Reign, and Peter Tangen, the founder of The Real Life Superhero Project, to discuss ideas of vigilantism and justice. It became clear that while Jones and Reign patrol and often use violent force, his brand of policing has become increasingly intertwined with the state, moving him away from vigilantism.

His involvement in 250 arrests demonstrates his inherent pro-police stance, although he is never short of criticisms of their flaws. Jones and his Rain City

Superhero Movement refer to themselves as a ‘citizen prevention eyewitness group’. Other patrolling RLSHs such as The New York Initiative conduct themselves in a similar manner. The ability of the police to clamp down hard on over-exuberant ‘superheroism’ is fundamental to the shape this new movement is taking. A look at Tangen’s RLSH Project website shows that you’re more likely to find costumed heroes handing out food to the homeless or raising awareness of social issues than patrolling. This new movement appears to be spreading at

increasing pace with at least 200 active RLSHs. But this is not best understood as a vigilante movement, despite their actions often being described as vigilantism in the press. This is something more subtle, more charitable and pro-state.

The real life superheroes that Kick-Ass and other superhero media outputs have inspired are acting in societies where satisfaction with justice is relatively high and police authority relatively strong. While this remains true, RLSHs will rarely stray into vigilante territory.

Winter 2013 No.40

16 Showcase

17 Hefin Jones BA Design, 2013 Design graduate Hefin, from Cardigan in Wales, created a space suit made by Welsh craftsmen from materials sourced in Wales.

Hefin explains: “The Welsh Space Campaign (WSC) launches ordinary Welsh people into outer space, by finding a cosmic context for Welsh culture, skills and traditions. I aim to reveal that Wales has the capacity to explore space, and to show that off-world culturalisation can be achieved through a collective communitarian effort; as a way to allow the people involved to reconsider their role and skill in relation to these cosmic contexts.” www.hefinjones.co.uk

Goldlink

Winter 2013 No.40

16 Showcase

17 Hefin Jones BA Design, 2013 Design graduate Hefin, from Cardigan in Wales, created a space suit made by Welsh craftsmen from materials sourced in Wales.

Hefin explains: “The Welsh Space Campaign (WSC) launches ordinary Welsh people into outer space, by finding a cosmic context for Welsh culture, skills and traditions. I aim to reveal that Wales has the capacity to explore space, and to show that off-world culturalisation can be achieved through a collective communitarian effort; as a way to allow the people involved to reconsider their role and skill in relation to these cosmic contexts.” www.hefinjones.co.uk

Goldlink

Winter 2013 No.40

18 Made in Goldsmiths

19

MUSIC, PROTEST & THE VIETNAM WAR To celebrate the publication of Music and Protest in 1968 (Cambridge University Press), co-editor Dr Barley Norton delivered a talk offering new perspectives on the role that music played in the events of that year.

Opposite: USA Miami, Republican Convention, August 1972. Young hippies serenade armed policemen, behind a fence, protecting the convention hall. © Abbas/Magnum Photos.

Goldlink

O

ver 30,000 books have been written about the Vietnam War, but much of this literature is extremely one-sided as it focuses overwhelmingly on the American experience. Vietnam has often been portrayed as a pawn of the Cold War, as a place where the superpowers of the capitalist and communist world played out global power struggles. Too often the Vietnamese have been represented as mere foils or puppets of outside forces.

With a view to countering such gross representations, in a recent lecture at Goldsmiths I reflected on Vietnamese responses to the war, focusing on how musical protest figured in the fractious politics of war. Much has been written about the impact of the Vietnam War on music outside of Vietnam, especially on rock and folk music in the United States. Yet the musical revolution that unfolded in Vietnam during the 1960s and 1970s has largely gone unnoticed. In a recent fieldwork-based research project, I aimed to address this imbalance by exploring Vietnamese perspectives on music, war and protest.

My talk at Goldsmiths marked the publication of a book that I co-edited, Music and Protest in 1968.

A central premise is that music was integral to the profound cultural, social and political changes that swept the globe around 1968. Going beyond a narrow focus on protest song in America and Western Europe, the 15 chapters in the book explore how politics and social protest played out in a wide range of musical genres in different parts of the world. The book envisages the phenomenon of ‘1968’ – not just the year itself but the broader period of socio-political change that spanned from the late 1950s to the early 1970s – as a global event characterised by intensive transnational interaction and cross-genre musical influence.

In addition to such major upheavals as the Prague Spring, the May riots in France, and the assassination of Martin Luther King, the year 1968 saw widespread anti-war demonstrations. These demonstrations were sparked by the Tet Offensive, the series of coordinated attacks launched on 30 January 1968 against numerous sites in South Vietnam by

forces of the North Vietnamese People’s Army, and the National Liberation Front, the guerrilla forces fighting in the South. The tragedy of war in Vietnam fuelled widespread unrest and helped galvanise diverse protest movements around a potent symbol of struggle. Jean-Paul Sartre’s comment about the effect of Vietnam ‘extending the field of the possible’ highlighted how the seemingly impossible struggle of the North Vietnamese against the might of the American military became a symbol of hope for a diverse collection of oppressed groups who saw capitalist imperialism as their enemy. While the countercultural movements that embodied the ‘spirit of 1968’ ultimately failed to bring about the collapse of the capitalist system, they had a far-reaching impact on social and cultural life and gave rise to new forms of politically-engaged artistic expression.

Protest songs are typically understood as conveying explicit political statements of opposition.

Such overt forms of protest can be contrasted with more metaphorical, coded or opaque forms of musical Winter 2013 No.40

18 Made in Goldsmiths

19

MUSIC, PROTEST & THE VIETNAM WAR To celebrate the publication of Music and Protest in 1968 (Cambridge University Press), co-editor Dr Barley Norton delivered a talk offering new perspectives on the role that music played in the events of that year.

Opposite: USA Miami, Republican Convention, August 1972. Young hippies serenade armed policemen, behind a fence, protecting the convention hall. © Abbas/Magnum Photos.

Goldlink

O

ver 30,000 books have been written about the Vietnam War, but much of this literature is extremely one-sided as it focuses overwhelmingly on the American experience. Vietnam has often been portrayed as a pawn of the Cold War, as a place where the superpowers of the capitalist and communist world played out global power struggles. Too often the Vietnamese have been represented as mere foils or puppets of outside forces.

With a view to countering such gross representations, in a recent lecture at Goldsmiths I reflected on Vietnamese responses to the war, focusing on how musical protest figured in the fractious politics of war. Much has been written about the impact of the Vietnam War on music outside of Vietnam, especially on rock and folk music in the United States. Yet the musical revolution that unfolded in Vietnam during the 1960s and 1970s has largely gone unnoticed. In a recent fieldwork-based research project, I aimed to address this imbalance by exploring Vietnamese perspectives on music, war and protest.

My talk at Goldsmiths marked the publication of a book that I co-edited, Music and Protest in 1968.

A central premise is that music was integral to the profound cultural, social and political changes that swept the globe around 1968. Going beyond a narrow focus on protest song in America and Western Europe, the 15 chapters in the book explore how politics and social protest played out in a wide range of musical genres in different parts of the world. The book envisages the phenomenon of ‘1968’ – not just the year itself but the broader period of socio-political change that spanned from the late 1950s to the early 1970s – as a global event characterised by intensive transnational interaction and cross-genre musical influence.

In addition to such major upheavals as the Prague Spring, the May riots in France, and the assassination of Martin Luther King, the year 1968 saw widespread anti-war demonstrations. These demonstrations were sparked by the Tet Offensive, the series of coordinated attacks launched on 30 January 1968 against numerous sites in South Vietnam by

forces of the North Vietnamese People’s Army, and the National Liberation Front, the guerrilla forces fighting in the South. The tragedy of war in Vietnam fuelled widespread unrest and helped galvanise diverse protest movements around a potent symbol of struggle. Jean-Paul Sartre’s comment about the effect of Vietnam ‘extending the field of the possible’ highlighted how the seemingly impossible struggle of the North Vietnamese against the might of the American military became a symbol of hope for a diverse collection of oppressed groups who saw capitalist imperialism as their enemy. While the countercultural movements that embodied the ‘spirit of 1968’ ultimately failed to bring about the collapse of the capitalist system, they had a far-reaching impact on social and cultural life and gave rise to new forms of politically-engaged artistic expression.

Protest songs are typically understood as conveying explicit political statements of opposition.

Such overt forms of protest can be contrasted with more metaphorical, coded or opaque forms of musical Winter 2013 No.40

20 Made in Goldsmiths resistance. Thinking about the nature of musical protest and resistance inevitably raises broader questions about musical meaning and how music intersects with politics, ideology and power. Music may be used to confirm or naturalise a dominant ideology or it may accrue meanings that contest established power relations. A distinctive characteristic of music is that it is semantically ambiguous and it even has the potential to simultaneously convey different meanings.

While a particular music performance or piece may ostensibly serve to confirm the status quo, it may also contain hidden meanings. Music is also connected to other domains of human experience and action: it is often implicated in protest by virtue of its performance context, the discursive formations in which it is embedded, and the formal and informal structures through which it is shaped.

As part of the ‘affective turn’ in the arts, humanities and social sciences, over the last decade there has been a growing interest in how politics and emotions are interconnected. Working against the dismissive view of protestors as irrational, emotional deviants, the burgeoning research on the emotional dimensions of social movements has brought attention to the unbridled potential of affective states as a motivational force for political action (and inaction). Through its capacity to engage people’s emotions, music can serve as a powerful agent in socio-political movements.

The emotional appeal of music makes it a potent medium for articulating protest. In the Vietnamese case, popular song became an instrument of politics and protest in different ways in the North and the South. In the North, the ruling Vietnamese Communist Party saw music as an ‘ideological weapon’ to strengthen people’s commitment to the war and to convey love for the nation and the Party.

This ideological stance is evident in the youth song movement called ‘Our songs can drown out the bombs’, which emerged in response to US bombing raids that began in 1965. The aim of the ‘Our songs...’ movement was to harness the power of song to combat the US military offensive by bolstering unity and morale and by strengthening resolve for the armed struggle. One of the main songwriters in the movement, Pham Tuyen, explained to me in an interview in Hanoi in 2010 how he wrote songs while living in an air-raid shelter. Soldiers who manned anti-aircraft guns sung these songs in order to help them overcome their fear and gain courage to fight to the death. Interestingly, such pro-war songs in the style of marches were performed as protest songs by folk musicians in the anti-war movement in the US like Pete Seeger and Barbara Dane. In contrast to revolutionary ‘red music’ in North Vietnam, South Vietnamese songwriters favoured sentimental songs, or ‘yellow music’, which had a different emotional Goldlink

21 appeal. The most famous songwriter in the South, Trinh Cong Son, wrote sentimental songs about lost love and human fate, about the pain and suffering of war and about the desire for peace and national reconciliation. Vietnamese commentators often remark on how Trinh Cong Song’s music ‘enters people’s guts’, a phrase that encapsulates how deeply his songs touch his listeners. The emotional power of Trinh Cong Son’s songs partly lies in the imaginative ways that he sets lyrics to melody. In many of his anti-war songs, there is a tension between the meaning of the lyrics and the expressivity of the music. For instance, in ‘Singing on

A distinctive characteristic of music is that it is semantically ambiguous and it even has the potential to simultaneously convey different meanings.

the Corpses’ (‘Hat Tren Nhung Xac Nguoi’) – written in response to the horrific loss of life that Trinh Cong Son himself witnessed during the Tet Offensive – dark lyrics about death are sung to a reassuring, dreamy, folk-like melody. The song is a melancholic lullaby that marks out a compassionate musical space for sharing intimate feelings of love and loss, suffering and sadness.

The contrast between the sentimentalism of Trinh Cong Song’s anti-war songs and the strident pro-war songs of North Vietnam is striking, yet both constituted forms of musical protest. Listening attentively to music on different sides of conflict provides opportunities not only for investigating why music is such a vital medium of protest, but also for studying multiple interpretations of war and for interrogating the dynamics of socio-political change.

This article is based on a lecture from the ‘Made in Goldsmiths’ event series that showcases the very best scholarship at Goldsmiths. To hear the podcast from this event and others, or to find out about forthcoming talks, go to www.gold.ac.uk/made-in-goldsmiths.

BOOKS

WEAVE OF THE RIDE Andy Welch After a year of preparation, with no experience of travelling or any idea of what to expect, Andy Welch (MA Design: Critical Practice, 2012) embarked on a cycle journey from England to Georgia. Weave of the Ride is a tale of friendship, disaster, love, and self-transformation, by bicycle, set against the backdrop of a world of friendly strangers, strange weather, wild dog attacks, and a tapestry of rich local culture and hospitality.

TAMING THE POUND: Making Money Your Servant, Not Your Master Kim Stephenson Kim Stephenson (MSc Occupational Psychology, 1997) uses his consultancy experience to help people banish their money worries. Using straightforward language, humour and mixing current research with experience and anecdote, Taming the Pound provides a ‘what you need to know’ guide for anyone lacking existing knowledge of complex finance.

ALL THE BEGGARS RIDING Lucy Caldwell This is the most recent novel by award-winning author and Goldsmiths alumna Lucy Caldwell (MA Creative and Life Writing, 2004). Narrated by protagonist Lara, All the Beggars Riding is the heartbreaking portrait of a woman confronting her past. Moving backwards and forwards from the 1970s to the present day we learn of the lies and deceptions present in Lara’s past, and the lasting effects they have had on Lara as an adult.

THE CURRENCY OF PAPER Alex Kovacs Alex Kovacs’ (MA Comparative Literary Studies – Modern Literature, 2012) debut novel is about a sculptor, filmmaker, sound artist, mystic, and terminal recluse who, over the course of 50 years, making use of a vast stockpile of illegitimate currency, funds a great range of secret, large-scale art projects throughout London. This is a strikingly original satire about the ways in which art and currency conspire to favour certain voices and forms over others.

TALES OF THE SUBURBS Justin David Tales of the Suburbs is a trilogy of coming-of-age short stories, previously published individually: Unicorn, Mirror Ball and Trifle.

A nostalgic family drama set in the West Midlands, the trilogy explores gender and class during the 80s and 90s, augmented with a sprinkle of camp and dark humour. Written by Justin David (MA Creative and Life Writing, 2008) it provides a warm, witty and thought-provoking tale of working class gay life.

DEAR BOY Emily Berry Dear Boy is the debut poetry collection by Goldsmiths alumna Emily Berry (MA Creative and Life Writing, 2007) and winner of the 2013 Forward Prize for Best First Collection. The book’s confiding, conversational voices tell stories recognisable and refracted, carried along by the undercurrent on which the collection ebbs and rides: the anguish and energy brought about by a long-distance love affair, which propels, terrorises and ultimately unites the work.

Winter 2013 No.40

20 Made in Goldsmiths resistance. Thinking about the nature of musical protest and resistance inevitably raises broader questions about musical meaning and how music intersects with politics, ideology and power. Music may be used to confirm or naturalise a dominant ideology or it may accrue meanings that contest established power relations. A distinctive characteristic of music is that it is semantically ambiguous and it even has the potential to simultaneously convey different meanings.

While a particular music performance or piece may ostensibly serve to confirm the status quo, it may also contain hidden meanings. Music is also connected to other domains of human experience and action: it is often implicated in protest by virtue of its performance context, the discursive formations in which it is embedded, and the formal and informal structures through which it is shaped.

As part of the ‘affective turn’ in the arts, humanities and social sciences, over the last decade there has been a growing interest in how politics and emotions are interconnected. Working against the dismissive view of protestors as irrational, emotional deviants, the burgeoning research on the emotional dimensions of social movements has brought attention to the unbridled potential of affective states as a motivational force for political action (and inaction). Through its capacity to engage people’s emotions, music can serve as a powerful agent in socio-political movements.

The emotional appeal of music makes it a potent medium for articulating protest. In the Vietnamese case, popular song became an instrument of politics and protest in different ways in the North and the South. In the North, the ruling Vietnamese Communist Party saw music as an ‘ideological weapon’ to strengthen people’s commitment to the war and to convey love for the nation and the Party.

This ideological stance is evident in the youth song movement called ‘Our songs can drown out the bombs’, which emerged in response to US bombing raids that began in 1965. The aim of the ‘Our songs...’ movement was to harness the power of song to combat the US military offensive by bolstering unity and morale and by strengthening resolve for the armed struggle. One of the main songwriters in the movement, Pham Tuyen, explained to me in an interview in Hanoi in 2010 how he wrote songs while living in an air-raid shelter. Soldiers who manned anti-aircraft guns sung these songs in order to help them overcome their fear and gain courage to fight to the death. Interestingly, such pro-war songs in the style of marches were performed as protest songs by folk musicians in the anti-war movement in the US like Pete Seeger and Barbara Dane. In contrast to revolutionary ‘red music’ in North Vietnam, South Vietnamese songwriters favoured sentimental songs, or ‘yellow music’, which had a different emotional Goldlink

21 appeal. The most famous songwriter in the South, Trinh Cong Son, wrote sentimental songs about lost love and human fate, about the pain and suffering of war and about the desire for peace and national reconciliation. Vietnamese commentators often remark on how Trinh Cong Song’s music ‘enters people’s guts’, a phrase that encapsulates how deeply his songs touch his listeners. The emotional power of Trinh Cong Son’s songs partly lies in the imaginative ways that he sets lyrics to melody. In many of his anti-war songs, there is a tension between the meaning of the lyrics and the expressivity of the music. For instance, in ‘Singing on

A distinctive characteristic of music is that it is semantically ambiguous and it even has the potential to simultaneously convey different meanings.

the Corpses’ (‘Hat Tren Nhung Xac Nguoi’) – written in response to the horrific loss of life that Trinh Cong Son himself witnessed during the Tet Offensive – dark lyrics about death are sung to a reassuring, dreamy, folk-like melody. The song is a melancholic lullaby that marks out a compassionate musical space for sharing intimate feelings of love and loss, suffering and sadness.

The contrast between the sentimentalism of Trinh Cong Song’s anti-war songs and the strident pro-war songs of North Vietnam is striking, yet both constituted forms of musical protest. Listening attentively to music on different sides of conflict provides opportunities not only for investigating why music is such a vital medium of protest, but also for studying multiple interpretations of war and for interrogating the dynamics of socio-political change.

This article is based on a lecture from the ‘Made in Goldsmiths’ event series that showcases the very best scholarship at Goldsmiths. To hear the podcast from this event and others, or to find out about forthcoming talks, go to www.gold.ac.uk/made-in-goldsmiths.

BOOKS

WEAVE OF THE RIDE Andy Welch After a year of preparation, with no experience of travelling or any idea of what to expect, Andy Welch (MA Design: Critical Practice, 2012) embarked on a cycle journey from England to Georgia. Weave of the Ride is a tale of friendship, disaster, love, and self-transformation, by bicycle, set against the backdrop of a world of friendly strangers, strange weather, wild dog attacks, and a tapestry of rich local culture and hospitality.

TAMING THE POUND: Making Money Your Servant, Not Your Master Kim Stephenson Kim Stephenson (MSc Occupational Psychology, 1997) uses his consultancy experience to help people banish their money worries. Using straightforward language, humour and mixing current research with experience and anecdote, Taming the Pound provides a ‘what you need to know’ guide for anyone lacking existing knowledge of complex finance.

ALL THE BEGGARS RIDING Lucy Caldwell This is the most recent novel by award-winning author and Goldsmiths alumna Lucy Caldwell (MA Creative and Life Writing, 2004). Narrated by protagonist Lara, All the Beggars Riding is the heartbreaking portrait of a woman confronting her past. Moving backwards and forwards from the 1970s to the present day we learn of the lies and deceptions present in Lara’s past, and the lasting effects they have had on Lara as an adult.

THE CURRENCY OF PAPER Alex Kovacs Alex Kovacs’ (MA Comparative Literary Studies – Modern Literature, 2012) debut novel is about a sculptor, filmmaker, sound artist, mystic, and terminal recluse who, over the course of 50 years, making use of a vast stockpile of illegitimate currency, funds a great range of secret, large-scale art projects throughout London. This is a strikingly original satire about the ways in which art and currency conspire to favour certain voices and forms over others.

TALES OF THE SUBURBS Justin David Tales of the Suburbs is a trilogy of coming-of-age short stories, previously published individually: Unicorn, Mirror Ball and Trifle.

A nostalgic family drama set in the West Midlands, the trilogy explores gender and class during the 80s and 90s, augmented with a sprinkle of camp and dark humour. Written by Justin David (MA Creative and Life Writing, 2008) it provides a warm, witty and thought-provoking tale of working class gay life.

DEAR BOY Emily Berry Dear Boy is the debut poetry collection by Goldsmiths alumna Emily Berry (MA Creative and Life Writing, 2007) and winner of the 2013 Forward Prize for Best First Collection. The book’s confiding, conversational voices tell stories recognisable and refracted, carried along by the undercurrent on which the collection ebbs and rides: the anguish and energy brought about by a long-distance love affair, which propels, terrorises and ultimately unites the work.

Winter 2013 No.40

22 Retrospectives

23

3X3 BEN GWALCHMAI (BA English and Drama, 2008) Actor, producer, writer and former staff member, Ben’s debut novel Purefinder will be published on 13 December.

KRISSA CURRAN (BA Media and Communications, 2009) CEO and Founder of FoF Travel, an online marketplace and social network that allows friends (and friends of friends) to exchange travel services.

PHILIP GAMMAGE (T.Cert English with Education, 1958) Formerly the Dean at Nottingham University, Philip is now an education policy adviser in South Australia. He is Trustee for the Centre for Research in Early Childhood.

My abiding memory from my time at Goldsmiths is...

The place you would be most likely to find me was…

One person who truly inspired me was…

BG: The friends I met, still drink with, and hope to always know.

That and the first play I ever wrote receiving great laughs and applause on its opening night in the Drama Department’s Studio 1 but deafening, gut–wrenching silence on its second (and fortunately closing) night.

BG: Wearing a red Aspire [Aimhigher] t-shirt, helping out with events and workshops on campus and off. If it was warm, and sometimes even when it wasn’t, on the backfield playing with the Ultimate Frisbee team.

If it was cold, the poetry section.

BG: Goldsmiths was such a diverse environment filled with brilliant people doing fascinating things that were always an inspiration, I couldn’t say just one member of staff or just one of my peers. I’m grateful to everyone I worked with.

KC: Walking along the chequeredfloored hallway of the Richard Hoggart Building; crossing the green to get to the media labs; the hours we’d spend perfecting an illustration or film project there; coming home to midnight parties at Loring Hall after a late shift at work.

PG: Within a composite image of duffle coats, striped scarves and London smogs lies a central memory of excitement, of a positive, creative climate. Education mattered; the key to a better and more equitable society. The staff themselves were characters, exuding optimism and creativity, a heady mixture.

Goldlink

KC: Killing time between lectures and seminars at local pubs and cafés; camped out in the library, enjoying the peace and silence for a change; behind the box office, bar or ushering at the Greenwich Picturehouse down the road (best part-time job ever!).

PG: Three places were my ‘home’.

The refectory: long conversations against a backdrop of noise and outrageously dressed art students; the student common room: sounds of Dankworth and earnest discussions; the big hall: with its impressive architecture and Goldsmiths’ orchestra rehearsing (I played D/Bass).

LIFE AFTER GOLDSMITHS Sandra Leong & Simon Ly

SANDRA: We were set up by a mutual friend and met on a drunken night at The Amersham Arms in 2009. I was an overseas student from Singapore living in Dean House and doing an MA in Political Communications. We dated for a while before I returned home after graduation. We survived the distance and made a home close to Goldsmiths before our wedding in nearby Greenwich in June 2013.

I’m now working in a PR evaluation and planning agency, and being based in a major media hub like London has given me the opportunity to work with lots of big-name clients. We both continue to love the area although these days, you are more likely to find us in New Cross House than you are The Amersham!

SIMON: I did not come quite as far as Sandra to study my MA in Scriptwriting. Born and bred in Bromley, I was very much the local boy. When Sandra left, neither of us knew how the long distance thing would work out but everything fell into place and we were reunited in 2011. Our first home together was of course in New Cross Gate. Since then, I’ve found a job in advertising but I’m still very much involved in scriptwriting. I’m currently working on setting up a little theatre company, Papergang Theatre, that hopes to represent British-born East Asian writers. We remain regulars of several south London haunts, including the Greenwich Picturehouse, and recently made an offer on a new home that is just a short walking distance from the College.

KC: I’d like to think I took a little bit from every person I met – the international group of friends I made while I was there, the housemates, people on my course and outside of it. Angela McRobbie was always engaging. I really respected Tracy Bass (Film) and Jane Stobbart (Illustration) and spent a lot of time under their guidance.

PG: One person stood out for me and I wrote to him throughout my career: Norman Kirby. Norman had been Aide to Field Marshal Montgomery during the war. A gentler more insightful man would be hard to find. He was very much ‘on the child’s side’ and inspired us to be the same.

Winter 2013 No.40

22 Retrospectives

23

3X3 BEN GWALCHMAI (BA English and Drama, 2008) Actor, producer, writer and former staff member, Ben’s debut novel Purefinder will be published on 13 December.

KRISSA CURRAN (BA Media and Communications, 2009) CEO and Founder of FoF Travel, an online marketplace and social network that allows friends (and friends of friends) to exchange travel services.

PHILIP GAMMAGE (T.Cert English with Education, 1958) Formerly the Dean at Nottingham University, Philip is now an education policy adviser in South Australia. He is Trustee for the Centre for Research in Early Childhood.

My abiding memory from my time at Goldsmiths is...

The place you would be most likely to find me was…

One person who truly inspired me was…

BG: The friends I met, still drink with, and hope to always know.

That and the first play I ever wrote receiving great laughs and applause on its opening night in the Drama Department’s Studio 1 but deafening, gut–wrenching silence on its second (and fortunately closing) night.

BG: Wearing a red Aspire [Aimhigher] t-shirt, helping out with events and workshops on campus and off. If it was warm, and sometimes even when it wasn’t, on the backfield playing with the Ultimate Frisbee team.

If it was cold, the poetry section.

BG: Goldsmiths was such a diverse environment filled with brilliant people doing fascinating things that were always an inspiration, I couldn’t say just one member of staff or just one of my peers. I’m grateful to everyone I worked with.

KC: Walking along the chequeredfloored hallway of the Richard Hoggart Building; crossing the green to get to the media labs; the hours we’d spend perfecting an illustration or film project there; coming home to midnight parties at Loring Hall after a late shift at work.

PG: Within a composite image of duffle coats, striped scarves and London smogs lies a central memory of excitement, of a positive, creative climate. Education mattered; the key to a better and more equitable society. The staff themselves were characters, exuding optimism and creativity, a heady mixture.

Goldlink

KC: Killing time between lectures and seminars at local pubs and cafés; camped out in the library, enjoying the peace and silence for a change; behind the box office, bar or ushering at the Greenwich Picturehouse down the road (best part-time job ever!).

PG: Three places were my ‘home’.

The refectory: long conversations against a backdrop of noise and outrageously dressed art students; the student common room: sounds of Dankworth and earnest discussions; the big hall: with its impressive architecture and Goldsmiths’ orchestra rehearsing (I played D/Bass).

LIFE AFTER GOLDSMITHS Sandra Leong & Simon Ly

SANDRA: We were set up by a mutual friend and met on a drunken night at The Amersham Arms in 2009. I was an overseas student from Singapore living in Dean House and doing an MA in Political Communications. We dated for a while before I returned home after graduation. We survived the distance and made a home close to Goldsmiths before our wedding in nearby Greenwich in June 2013.

I’m now working in a PR evaluation and planning agency, and being based in a major media hub like London has given me the opportunity to work with lots of big-name clients. We both continue to love the area although these days, you are more likely to find us in New Cross House than you are The Amersham!

SIMON: I did not come quite as far as Sandra to study my MA in Scriptwriting. Born and bred in Bromley, I was very much the local boy. When Sandra left, neither of us knew how the long distance thing would work out but everything fell into place and we were reunited in 2011. Our first home together was of course in New Cross Gate. Since then, I’ve found a job in advertising but I’m still very much involved in scriptwriting. I’m currently working on setting up a little theatre company, Papergang Theatre, that hopes to represent British-born East Asian writers. We remain regulars of several south London haunts, including the Greenwich Picturehouse, and recently made an offer on a new home that is just a short walking distance from the College.

KC: I’d like to think I took a little bit from every person I met – the international group of friends I made while I was there, the housemates, people on my course and outside of it. Angela McRobbie was always engaging. I really respected Tracy Bass (Film) and Jane Stobbart (Illustration) and spent a lot of time under their guidance.

PG: One person stood out for me and I wrote to him throughout my career: Norman Kirby. Norman had been Aide to Field Marshal Montgomery during the war. A gentler more insightful man would be hard to find. He was very much ‘on the child’s side’ and inspired us to be the same.

Winter 2013 No.40

24 People

25 GOLD STORIES

GOLD STORIES

ERROLLYN WALLEN MBE Composer Described as “the renaissance woman of contemporary British music”, Errollyn Wallen (BMus Music) was the first black woman to have her work performed at the Proms. This year she was awarded an Ivor Novello Award for Classical Music, but she refuses to rest on her laurels. “Winning any award embarrasses me at first, then I think, well I’d better live up to this award as everyone’s made such a fuss – and I must work even harder!” she says.

HELEN FAWKES

BA Media & Communications, 1993 Helen has been a roving reporter for the national news for many years.

After surviving cancer 11 years ago she came up with her ‘list for living’, an inventory of things she had always wanted to do, which prompted a move to Moscow where she spent seven years as a BBC foreign correspondent.

“When I was having chemo and very ill I thought ‘What are the things I’ll regret not doing?’”, she explains. “A few weeks after chemo finished I was in Russia.

The cancer gave me the courage to leave a good job and step into the unknown.”

The highlight of Helen’s career has been witnessing history being made. She was at the forefront of the BBC’s coverage of the Ukrainian Orange Revolution in 2004-5, where she was reporting on the demonstrations protesting against electoral fraud. “By mid-afternoon there were tens of thousands of people in front Goldlink

of us. It was then that I realised I was witnessing history in the making – watching a protest turn into a revolution. I never expected to have those experiences in my career.” She also reported on the aftermath of Kosovo’s declaration of independence from Serbia, and the conflict between Russia and Georgia in 2008.

Helen was awarded a Goldsmiths Honorary Fellowship at the September presentation ceremonies. “After having the career I’ve had it’s amazing coming back to Goldsmiths 20 years after originally graduating and thinking ‘this is where it all started’. I’ve achieved so much – and so much more than I ever expected to.”

Helen is grateful for the radio and journalism training she received during her degree. “It was a chance to experiment and work out what I liked doing. It’s so important in the media – being able to have lots of ideas, and

coming up with stuff that’s a little bit different, a bit unconventional.”

Goldsmiths lecturer Tim Crook, who taught Helen at the time, remembers her being full of these ideas. “Nobody could forget Helen,” he explains. “She was creative, professional, disciplined, charismatic, original, and inspired her fellow students in the same way she inspires people now.

Helen would surprise you with ideas and production plans that challenged our own thinking as well as her own courage and spirit of adventure.”

Helen was diagnosed with ovarian cancer for the second time in 2012. She blogs regularly on her experience of living with the disease, and on working through a new list for living (helenfawkes. wordpress.com). “It’s weird having a likely expiration date,” she has said. “But you know it’s not the years in your life that matter, but the life in your years.”

HENNY BRAUND Chief Executive of Anthony Nolan Since 2009, History alumna Henny Braund has worked to secure the future of Anthony Nolan, the pioneering charity that saves the lives of people with blood cancer. “Anthony Nolan is the world’s first bone marrow register, set up in 1974 by Shirley Nolan, who was looking for a chance to save the life of her son Anthony,” explains Henny. “Being part of a charity that literally saves lives every day is fantastic. It’s a real privilege to lead such an organisation.”

ALTHEA EFUNSHILE Chief Operating Officer at Arts Council England After her PGCE, Althea taught and worked with young people before joining the London Borough of Lewisham and then taking on various director-level roles in the Department for Education and Skills. In 2007 she joined the Arts Council, where she is responsible for operational delivery across the organisation. “Goldsmiths taught me to be bold and fearless but at the same time disciplined, structured and organised.”

CELEBRATING YOUR STORIES

GERRY JUDAH Artist & Designer Gerry Judah studied Fine Art at Goldsmiths in the 1970s.

He has created settings for the BBC, British Museum, Imperial War Museum, and the Royal Shakespeare Company amongst others, and has worked with musicians including Led Zeppelin, Michael Jackson and Paul McCartney. “I enjoyed my time at Goldsmiths enormously. It wasn’t just art we engaged with, but philosophy, psychology, theatre, and many other interests. We all fed off each other. It really felt like we were part of a community of artists.”

SARNATH BANERJEE Graphic Novelist Sarnath Banerjee (MA Image and Communication) is the author of one of India’s first graphic novels, the semi-autobiographical Corridor (2004), which layers history, mythology and popular culture.

He’s also an artist, filmmaker and co-founder of the comics publishing house Phantomville.

“Being a Goldsmiths graduate undeniably has a certain cultural cache,” explains Sarnath, “but that’s just a cosmetic reason to go to an institution. For me, it was the inner Goldsmiths life that was more important in terms of what I ended up doing.”

For over a century, Goldsmiths has nurtured minds that not only challenge the world, but change it. Our Gold Stories celebrate the achievements of our stellar alumni, students and staff who are making a difference to society and supporting others to succeed. You can read some of these stories at: www.gold.ac.uk/ gold-stories If you have your own story to tell, or have a suggestion for someone else who could be showcased, drop us a line at: alumni@gold.ac.uk

Winter 2013 No.40

24 People

25 GOLD STORIES

GOLD STORIES

ERROLLYN WALLEN MBE Composer Described as “the renaissance woman of contemporary British music”, Errollyn Wallen (BMus Music) was the first black woman to have her work performed at the Proms. This year she was awarded an Ivor Novello Award for Classical Music, but she refuses to rest on her laurels. “Winning any award embarrasses me at first, then I think, well I’d better live up to this award as everyone’s made such a fuss – and I must work even harder!” she says.

HELEN FAWKES

BA Media & Communications, 1993 Helen has been a roving reporter for the national news for many years.

After surviving cancer 11 years ago she came up with her ‘list for living’, an inventory of things she had always wanted to do, which prompted a move to Moscow where she spent seven years as a BBC foreign correspondent.

“When I was having chemo and very ill I thought ‘What are the things I’ll regret not doing?’”, she explains. “A few weeks after chemo finished I was in Russia.

The cancer gave me the courage to leave a good job and step into the unknown.”

The highlight of Helen’s career has been witnessing history being made. She was at the forefront of the BBC’s coverage of the Ukrainian Orange Revolution in 2004-5, where she was reporting on the demonstrations protesting against electoral fraud. “By mid-afternoon there were tens of thousands of people in front Goldlink

of us. It was then that I realised I was witnessing history in the making – watching a protest turn into a revolution. I never expected to have those experiences in my career.” She also reported on the aftermath of Kosovo’s declaration of independence from Serbia, and the conflict between Russia and Georgia in 2008.

Helen was awarded a Goldsmiths Honorary Fellowship at the September presentation ceremonies. “After having the career I’ve had it’s amazing coming back to Goldsmiths 20 years after originally graduating and thinking ‘this is where it all started’. I’ve achieved so much – and so much more than I ever expected to.”

Helen is grateful for the radio and journalism training she received during her degree. “It was a chance to experiment and work out what I liked doing. It’s so important in the media – being able to have lots of ideas, and

coming up with stuff that’s a little bit different, a bit unconventional.”

Goldsmiths lecturer Tim Crook, who taught Helen at the time, remembers her being full of these ideas. “Nobody could forget Helen,” he explains. “She was creative, professional, disciplined, charismatic, original, and inspired her fellow students in the same way she inspires people now.

Helen would surprise you with ideas and production plans that challenged our own thinking as well as her own courage and spirit of adventure.”

Helen was diagnosed with ovarian cancer for the second time in 2012. She blogs regularly on her experience of living with the disease, and on working through a new list for living (helenfawkes. wordpress.com). “It’s weird having a likely expiration date,” she has said. “But you know it’s not the years in your life that matter, but the life in your years.”

HENNY BRAUND Chief Executive of Anthony Nolan Since 2009, History alumna Henny Braund has worked to secure the future of Anthony Nolan, the pioneering charity that saves the lives of people with blood cancer. “Anthony Nolan is the world’s first bone marrow register, set up in 1974 by Shirley Nolan, who was looking for a chance to save the life of her son Anthony,” explains Henny. “Being part of a charity that literally saves lives every day is fantastic. It’s a real privilege to lead such an organisation.”

ALTHEA EFUNSHILE Chief Operating Officer at Arts Council England After her PGCE, Althea taught and worked with young people before joining the London Borough of Lewisham and then taking on various director-level roles in the Department for Education and Skills. In 2007 she joined the Arts Council, where she is responsible for operational delivery across the organisation. “Goldsmiths taught me to be bold and fearless but at the same time disciplined, structured and organised.”

CELEBRATING YOUR STORIES

GERRY JUDAH Artist & Designer Gerry Judah studied Fine Art at Goldsmiths in the 1970s.

He has created settings for the BBC, British Museum, Imperial War Museum, and the Royal Shakespeare Company amongst others, and has worked with musicians including Led Zeppelin, Michael Jackson and Paul McCartney. “I enjoyed my time at Goldsmiths enormously. It wasn’t just art we engaged with, but philosophy, psychology, theatre, and many other interests. We all fed off each other. It really felt like we were part of a community of artists.”

SARNATH BANERJEE Graphic Novelist Sarnath Banerjee (MA Image and Communication) is the author of one of India’s first graphic novels, the semi-autobiographical Corridor (2004), which layers history, mythology and popular culture.

He’s also an artist, filmmaker and co-founder of the comics publishing house Phantomville.

“Being a Goldsmiths graduate undeniably has a certain cultural cache,” explains Sarnath, “but that’s just a cosmetic reason to go to an institution. For me, it was the inner Goldsmiths life that was more important in terms of what I ended up doing.”

For over a century, Goldsmiths has nurtured minds that not only challenge the world, but change it. Our Gold Stories celebrate the achievements of our stellar alumni, students and staff who are making a difference to society and supporting others to succeed. You can read some of these stories at: www.gold.ac.uk/ gold-stories If you have your own story to tell, or have a suggestion for someone else who could be showcased, drop us a line at: alumni@gold.ac.uk

Winter 2013 No.40

27

Our community of donors

THANK YOU Thank you to all of our donors whose generosity over the past year has made such a difference to the lives of current and future Goldsmiths students.

Your gifts have fulfilled long cherished ideas and projects, including the ongoing transformation of the heart of the College – the Richard Hoggart Building.

You have also provided vital support to our library and enabled talented students to realise their full potential through scholarships and hardship funds.

If you would like to read more about the impact our donors make to Goldsmiths please visit www.gold.ac.uk/impact

“I decided to give to the Annual Fund to say thanks for the huge boost the College gave to a young lad from a small and forNAME the lasting educational PERSON’S NAME town, PERSON’S PERSON’S NAME legacy on which I still sometimes draw.

Degree subject & year Degree subject & year Degree subject & year I’ve flourished because of Goldsmiths.” of Grad.

of Grad.

of Grad.

DONORS TO GOLDSMITHS 1 August 2012 to 31 July 2013

FRIENDS OF GOLDSMITHS

Up to £1,000

£200,000 or more

The 29th May 1961 Charitable Trust The London Borough of Lewisham The Geoffrey E Clark & Martha Fuller Clark Fund Intel Corporation Santander UK plc Sir John Cass’s Foundation

Lynn Bowers* Rupert Evenett* Sally Fairhurst* Lady Celia Goodhart* Professor Chris Jenks Pauline Kenyon Kenneth May Richard G Melly Professor Colonel Alan Roberts OBE Eileen Rossiter Dame Joan Ruddock DBE MP Margaret Titmus and four anonymous donors

£1,000 to £9,999

ALUMNI

Mark Astaire* Marlene Burston Chelsea Arts Club Trust Compass Group The Corinne Burton Memorial Trust* ISA Charity Music for Alice* Nancy Rutherford* Kalu Singh Sir William Utting CB

£10,000 to £99,999

— Mark Mitchell BA English 1979-1982

The Garfield Weston Foundation £10,000 to £99,999

Rob and Julia Stringer £1,000 to £9,999 Catherine M Golding Terence M Grady Michael J Griffiths Edith M Macgill* Mary Quant OBE Angela Rodgers Joan E Shuttleworth Jean E Simons Eve and John Turner* and two anonymous donors Winter 2013 No.40

27

Our community of donors

THANK YOU Thank you to all of our donors whose generosity over the past year has made such a difference to the lives of current and future Goldsmiths students.

Your gifts have fulfilled long cherished ideas and projects, including the ongoing transformation of the heart of the College – the Richard Hoggart Building.

You have also provided vital support to our library and enabled talented students to realise their full potential through scholarships and hardship funds.

If you would like to read more about the impact our donors make to Goldsmiths please visit www.gold.ac.uk/impact

“I decided to give to the Annual Fund to say thanks for the huge boost the College gave to a young lad from a small and forNAME the lasting educational PERSON’S NAME town, PERSON’S PERSON’S NAME legacy on which I still sometimes draw.

Degree subject & year Degree subject & year Degree subject & year I’ve flourished because of Goldsmiths.” of Grad.

of Grad.

of Grad.

DONORS TO GOLDSMITHS 1 August 2012 to 31 July 2013

FRIENDS OF GOLDSMITHS

Up to £1,000

£200,000 or more

The 29th May 1961 Charitable Trust The London Borough of Lewisham The Geoffrey E Clark & Martha Fuller Clark Fund Intel Corporation Santander UK plc Sir John Cass’s Foundation

Lynn Bowers* Rupert Evenett* Sally Fairhurst* Lady Celia Goodhart* Professor Chris Jenks Pauline Kenyon Kenneth May Richard G Melly Professor Colonel Alan Roberts OBE Eileen Rossiter Dame Joan Ruddock DBE MP Margaret Titmus and four anonymous donors

£1,000 to £9,999

ALUMNI

Mark Astaire* Marlene Burston Chelsea Arts Club Trust Compass Group The Corinne Burton Memorial Trust* ISA Charity Music for Alice* Nancy Rutherford* Kalu Singh Sir William Utting CB

£10,000 to £99,999

— Mark Mitchell BA English 1979-1982

The Garfield Weston Foundation £10,000 to £99,999

Rob and Julia Stringer £1,000 to £9,999 Catherine M Golding Terence M Grady Michael J Griffiths Edith M Macgill* Mary Quant OBE Angela Rodgers Joan E Shuttleworth Jean E Simons Eve and John Turner* and two anonymous donors Winter 2013 No.40

28 Thank you Alumni giving up to £1,000 by decade of graduation 1930 to 1939 Philip H Harrison Arthur Moore Evelyn M I Plowman Freda E Terry and one anonymous donor 1940 to 1949 Joan M Altman Lorna Anderson Kathleen Boothby Nancy M Cape Kenneth C Collins Sidney C Earl June and Ronald Ford Ruth Grater Margaret J Grindrod* John B Hobden* Joan Kerridge Peter M Lewis Anne S G Paisley Brenda Pickburn George A Poole James Snowden Jean M Sommer* Frank Spencer* Shirley Stobbs# Patricia E Stoker Walter R Usherwood 1950 to 1959 Pauline S Abbott Valerie J Adams Kay Aldridge and Marjorie Guest Margaret Beattie Harold Beldon Bettina Birtwistle Winifred Blackburn OBE Esme J Britton Eric and Mary Burdett Dr Aileen M Carpenter* Patricia M Cavill Geoffrey R Chapman Edward M Charlton William J Christmas Leonard D Clark MBE* Keith Clements Mary Crouch Barbara J Davey* Kenneth Dixon Goldlink

29 Pamela Elliott Anthony B Ellison* Alan E Fox* Sybil Howie Dr Barbara Hull* John Hunt Neville Graydon Thomas H Hiscock Stanley Hornsby Mary Inkpen* Elizabeth and Hugh Jones Bernice E Marshall Daphne B Newman Marion Panzetta Leon M Potter June Reddiex* Joseph S Richards John A Richardson Denys and Eirian Short Jean Stolton Gillian L Stringfellow Clifford and Patricia Swindells Chris Thompson* (Dorothy Hartland) Dr Eveleen S Thorne Dr John Versey Ann M Westmorland Marilyn Wood and two anonymous donors 1960 to 1969 Richard A Alder Carol Appleby* Herbert S Anderson* Bob Archibold Revd Pierre Aucoin Roy S Axell* Jennifer Barnett* Peter Baseley Susan Brady Peter V Brown* Jenty Burrill Professor Christine M Chapman CBE Derek R Cobley Hubert Cole Noreen A Cole Brian H Cox* Rosemary Cranmer Roger B Dilks Dr Graham E Eldridge Richard Feakin* Suzanne Fernando John Gleeson Peter W Griffiths

Professor Christopher Haines Terence and Valerie Hall Moira L Hammond Roger W Hardaker* Kevin J Hart Janet Hatcher Jenny Headlam-Wells Angela Higgs Jacqueline and James Hunt Michael W Hurst Christopher M Jackson Paula Jordan Savvas I Karayiannis Revd Clive Knight Jennifer E Lane* Dr Barry S C Leadbeater Richard H R Lewis* Patience E Light* Margery K Lord Catherine M J Love Frank J Luce* Anna Mason* Colin Masters Christopher J Meehan Patricia G Miles Catherine Moore Philip B Munson Carole Myers* Joyce R Newton* Ernest Norris# Grafton W A Oates Elizabeth Peace Irene M Pennington* Marjorie J Piddock John B Polley* Susan H Poole* Diana F Pordham* Rosemary Pratt Christopher J Redman* Rosemary Ross* Rosemary L Shippard* Joan E Shuttleworth Myra Slater Valerie Smith Richard I Spittle Diana Springall Peter G Starling* Carol K Stratton Marilyn Taylor James E Thomas Joan Thomas Susan C A Thomas Florence M Wallace* Cynthia Warren Peter R Watson John R Woodward

Christopher J Young* Mirjana Zivanovic* and two anonymous donors 1970 to 1979

Mary C Lockett* Susan Macartney* Linda M MacDonald Mick Martin* Andrew F Mathieson* Clare McConkey* Margaret J Mendel Ashley Meyer* Janet R Parker June M Punnett William N B Richardson DL Hazel Rickett Audrey Ringrose Angela Rodgers Sian Roffe William E Samuel Sally A Selim Bernard Simmons Jean E Simons Gillian Smith Judy Smith* Professor Peter E Smith Margaret M Stephens Sheila Stirrup John D Swarbrick* Margarite I Theodorides Susan C Thompson Professor Diane Waller* David J Ward Catherine M Webber Richard G Whiting Derek Whittaker and four anonymous donors

Meriel Downey Dr Dorothee Eberhardt-Lutz Althea Efunshile* Diane Emery* Helen M Flack Piers E C Ford* Simon Gales Peter W Goldsmith Derek L Gooch* Simon B Hale* Nick Halkes Nicola C Hamill-Stewart Irene Heasman Jeremy Howes and Janet Jamieson Julia and Nicholas James Glynis M Macdonald Catherine J Mann* Jill M Marshall* Paul C Martin* Susan Mason Richard J Mayo Mark J C Mitchell* Sarah Nelson Dr Nici Nelson-Mattingly Stella and Dr John Newbery Nicholas G Parkes* Margaret Parry Anthony C Powell* Derek Ratcliffe Dr Barbara Rinn Andrew P Robinson* Lee R F Robson Richard J Royle John E Smith Christopher E Spear Caroline L Speller* Ross E Straughan Andrew C M Taylor* Professor Helen Thomas* Rebecca N Turner Catherine J Twist Peter R Wilton and two anonymous donors

PERSON’S NAME PERSON’S NAME PERSON’S NAME Joyce Adams Degree subject & year of Grad.

Mervyn J Ainsworth OBE* Kay Albrecht* Robert Appleby* Monica A Allen Mary A Alston-Sengul David Anstead Charles F Bake Ann Barlow Carol Barry Colin Bland* Alice Blazena Richards Paul D Bridgewater Geoffrey Buck* Claire Bysshe Diana M Case* Jonathan Causer Andy Christian* Beverley A R Clements Marina Cogman Kath Cox Susan P Cox Peter J V Coy Dr Susan M Cunningham Professor Celia P Duffy Kathleen and Revd Kenneth Dunstan* Brian Espiner Jenny Espiner Alan Evans Albert J Evans Christopher Farrow Jennifer A Fletcher* Stephen H Franks The Revd Professor Peter Galloway OBE Ruth Garcha John Glockler* Patricia M Green Beverley Howard* Susan E Howarth June V Keeble* Linton Kwesi Johnson Elvira Jones Marion Jones John and Paula Lauwerys Gerald Lidstone* Brenda M Little Richard S Lloyd David R Lock*

Degree subject & year of Grad.

1980 to 1989 Habib Allyboccus Vicky Annand* Diana M Austin Eileen L Avery Dr Margaret B Barrowman Rupert Bond David A Brenton* Lesley Bricknell Kate Buchanan* Madeleine Carrington* Susan T C Chessell Angela Chillingworth Nicola Christie* Carol A Clark Julian P Clary Colin Coates Carol Crowdy Michael I Davies* Beric Davis Dr Ursula R K Dommett

Degree subject & year of Grad.

1990 to 1999 Gabriel K Ajeigbe* Jacqueline R Andrews Lynne Andrews Paul D Andrews Modupe Awolola* Claire Barnes* Zonia M Bateman Elizabeth C Bennett* Josephine M Bensted Sally A Blackmore Winter 2013 No.40

28 Thank you Alumni giving up to £1,000 by decade of graduation 1930 to 1939 Philip H Harrison Arthur Moore Evelyn M I Plowman Freda E Terry and one anonymous donor 1940 to 1949 Joan M Altman Lorna Anderson Kathleen Boothby Nancy M Cape Kenneth C Collins Sidney C Earl June and Ronald Ford Ruth Grater Margaret J Grindrod* John B Hobden* Joan Kerridge Peter M Lewis Anne S G Paisley Brenda Pickburn George A Poole James Snowden Jean M Sommer* Frank Spencer* Shirley Stobbs# Patricia E Stoker Walter R Usherwood 1950 to 1959 Pauline S Abbott Valerie J Adams Kay Aldridge and Marjorie Guest Margaret Beattie Harold Beldon Bettina Birtwistle Winifred Blackburn OBE Esme J Britton Eric and Mary Burdett Dr Aileen M Carpenter* Patricia M Cavill Geoffrey R Chapman Edward M Charlton William J Christmas Leonard D Clark MBE* Keith Clements Mary Crouch Barbara J Davey* Kenneth Dixon Goldlink

29 Pamela Elliott Anthony B Ellison* Alan E Fox* Sybil Howie Dr Barbara Hull* John Hunt Neville Graydon Thomas H Hiscock Stanley Hornsby Mary Inkpen* Elizabeth and Hugh Jones Bernice E Marshall Daphne B Newman Marion Panzetta Leon M Potter June Reddiex* Joseph S Richards John A Richardson Denys and Eirian Short Jean Stolton Gillian L Stringfellow Clifford and Patricia Swindells Chris Thompson* (Dorothy Hartland) Dr Eveleen S Thorne Dr John Versey Ann M Westmorland Marilyn Wood and two anonymous donors 1960 to 1969 Richard A Alder Carol Appleby* Herbert S Anderson* Bob Archibold Revd Pierre Aucoin Roy S Axell* Jennifer Barnett* Peter Baseley Susan Brady Peter V Brown* Jenty Burrill Professor Christine M Chapman CBE Derek R Cobley Hubert Cole Noreen A Cole Brian H Cox* Rosemary Cranmer Roger B Dilks Dr Graham E Eldridge Richard Feakin* Suzanne Fernando John Gleeson Peter W Griffiths

Professor Christopher Haines Terence and Valerie Hall Moira L Hammond Roger W Hardaker* Kevin J Hart Janet Hatcher Jenny Headlam-Wells Angela Higgs Jacqueline and James Hunt Michael W Hurst Christopher M Jackson Paula Jordan Savvas I Karayiannis Revd Clive Knight Jennifer E Lane* Dr Barry S C Leadbeater Richard H R Lewis* Patience E Light* Margery K Lord Catherine M J Love Frank J Luce* Anna Mason* Colin Masters Christopher J Meehan Patricia G Miles Catherine Moore Philip B Munson Carole Myers* Joyce R Newton* Ernest Norris# Grafton W A Oates Elizabeth Peace Irene M Pennington* Marjorie J Piddock John B Polley* Susan H Poole* Diana F Pordham* Rosemary Pratt Christopher J Redman* Rosemary Ross* Rosemary L Shippard* Joan E Shuttleworth Myra Slater Valerie Smith Richard I Spittle Diana Springall Peter G Starling* Carol K Stratton Marilyn Taylor James E Thomas Joan Thomas Susan C A Thomas Florence M Wallace* Cynthia Warren Peter R Watson John R Woodward

Christopher J Young* Mirjana Zivanovic* and two anonymous donors 1970 to 1979

Mary C Lockett* Susan Macartney* Linda M MacDonald Mick Martin* Andrew F Mathieson* Clare McConkey* Margaret J Mendel Ashley Meyer* Janet R Parker June M Punnett William N B Richardson DL Hazel Rickett Audrey Ringrose Angela Rodgers Sian Roffe William E Samuel Sally A Selim Bernard Simmons Jean E Simons Gillian Smith Judy Smith* Professor Peter E Smith Margaret M Stephens Sheila Stirrup John D Swarbrick* Margarite I Theodorides Susan C Thompson Professor Diane Waller* David J Ward Catherine M Webber Richard G Whiting Derek Whittaker and four anonymous donors

Meriel Downey Dr Dorothee Eberhardt-Lutz Althea Efunshile* Diane Emery* Helen M Flack Piers E C Ford* Simon Gales Peter W Goldsmith Derek L Gooch* Simon B Hale* Nick Halkes Nicola C Hamill-Stewart Irene Heasman Jeremy Howes and Janet Jamieson Julia and Nicholas James Glynis M Macdonald Catherine J Mann* Jill M Marshall* Paul C Martin* Susan Mason Richard J Mayo Mark J C Mitchell* Sarah Nelson Dr Nici Nelson-Mattingly Stella and Dr John Newbery Nicholas G Parkes* Margaret Parry Anthony C Powell* Derek Ratcliffe Dr Barbara Rinn Andrew P Robinson* Lee R F Robson Richard J Royle John E Smith Christopher E Spear Caroline L Speller* Ross E Straughan Andrew C M Taylor* Professor Helen Thomas* Rebecca N Turner Catherine J Twist Peter R Wilton and two anonymous donors

PERSON’S NAME PERSON’S NAME PERSON’S NAME Joyce Adams Degree subject & year of Grad.

Mervyn J Ainsworth OBE* Kay Albrecht* Robert Appleby* Monica A Allen Mary A Alston-Sengul David Anstead Charles F Bake Ann Barlow Carol Barry Colin Bland* Alice Blazena Richards Paul D Bridgewater Geoffrey Buck* Claire Bysshe Diana M Case* Jonathan Causer Andy Christian* Beverley A R Clements Marina Cogman Kath Cox Susan P Cox Peter J V Coy Dr Susan M Cunningham Professor Celia P Duffy Kathleen and Revd Kenneth Dunstan* Brian Espiner Jenny Espiner Alan Evans Albert J Evans Christopher Farrow Jennifer A Fletcher* Stephen H Franks The Revd Professor Peter Galloway OBE Ruth Garcha John Glockler* Patricia M Green Beverley Howard* Susan E Howarth June V Keeble* Linton Kwesi Johnson Elvira Jones Marion Jones John and Paula Lauwerys Gerald Lidstone* Brenda M Little Richard S Lloyd David R Lock*

Degree subject & year of Grad.

1980 to 1989 Habib Allyboccus Vicky Annand* Diana M Austin Eileen L Avery Dr Margaret B Barrowman Rupert Bond David A Brenton* Lesley Bricknell Kate Buchanan* Madeleine Carrington* Susan T C Chessell Angela Chillingworth Nicola Christie* Carol A Clark Julian P Clary Colin Coates Carol Crowdy Michael I Davies* Beric Davis Dr Ursula R K Dommett

Degree subject & year of Grad.

1990 to 1999 Gabriel K Ajeigbe* Jacqueline R Andrews Lynne Andrews Paul D Andrews Modupe Awolola* Claire Barnes* Zonia M Bateman Elizabeth C Bennett* Josephine M Bensted Sally A Blackmore Winter 2013 No.40

30 Thank you Joan M Blake* Rebecca M Boyle-Suh* Victoria L P Brown Alison B Browning* Joanne L Cannon Philip T Clark Catherine S A Clarke* Peter D Cole* Michael J Connolly* Simon P Costar* Spencer J Cozens* Ann Dace* Paul R Dart* Clare F Deniz Mark J R Derkacz* Carmine De Rosa Carmela J DiClemente Christopher I Dixon Valerie A Docksey* Derek F Duchemin* Anthony D Dulake Chloe T Edwards* Revd David B Evans Andrea J Fairweather* Nicholas J Forde* Susan Garcia Geoffrey S Griffiths* Robert Harper Jones Lindsay Haverson* Edward R Heaton* Manda Helal Annie Hershkowitz Anne P Hill Jeremy Hill* Joy Holmes* Katherine A Hunter* Jenny Jenks* Amey and Raymond Johnson Stephanie J Kelly Paul S Kemp Robertson* Dean A Kenning Reena Lal* Virginia K Litton Laura L Lloyd Darcia N Martin Tim J Matthews* Joan P McCluskey Dr Peter McCulloch Karen McDonnell Alice A Melbourne Scott A Monks* Linda E Muir* Katherine H Muller Ponniah S Nathan Idell Nugent* Jonathan L M Patient Goldlink

31 Hilary P Phelps* Isabelle J Phillips* Tina L Price-Johnson* Dr Geoffrey C Rayner Anne C Rennie James S Reveley Alison J Richards* Margaret Saunders Katherine A Semler* Yumiko Shuto Dr Ewa Sidorenko Bartholomew J Smith Nigel Spencer Alexandra H A Sterck Despina Tapaki Emma Taverner* Dennis J Taylor Dr Cathirithamby P Thiagarajah Gary D Thomas Rosalind M Tucker* Nick Watkiss Pamela J Westall Graham Whitehouse Dorothee Williams* Charles E Woodin Douglas V Zegers and five anonymous donors 2000 to 2009 Nikky Aderanti* Adijatu A Ajala Jacquelyn Aldrich Clara Ampah-Korsah Teresa Amprako Appiah* Claudia Asgill Stephanie Bailey Hani Baluch* Dr Gillian Barber* Valerie S Barraclough* Shazia Begum Gillian R J Bentley Caroline Bernard-Moxey Alisdair D Bevan* John Box Lucinda Boylan Paul Brazil* Jennifer Breen* Janet S L Brown* Adriano Bulla* Bryonie Carter Munazzah Choudhary Anne S Cox* Angela Cutts Edward T Davie* Lewis R Davies

Heather Davis* Gunay Demirci and Alex Robertson Carla L A Diego-Franceskides Conor Doherty* Daniel E Fairfax Saam M Farahmand Albert W Fielder* Helen Finch Sachin Fing Elizabeth S Francis Josephine Gallagher* Miles Garratt Dr Margaret Ghilchik Carol Gigg* Andrea Gillie Anna M Giuffria* Jennifer C Gordon* Genevieve Grant Daniel Grint* Masumi Hanaoka Andrea Head* Sylvia A Hejda-Forde* Norman R Holmes Dr Robert A Howard* Nechamah Inbar-Bonanos* Dr Elizabeth Jackson Kazue Kamiuchi Jasbinder Kaur Grainne Kedves-Constantinides Richard S Kemp William Kiang* Sofie L Kilburn Ian M LaRiviere Jessica T Lay Kathryn S Leach Kwok H Li* Sian Lucas Edith M Macgill* Daniela Maestri Karen Males* Cecelia D Marshall* Beryl McCorkle Tom McLoughlin* Bindy Mellor* Stewart J Munn* David M Neat* Gemma Novis* Gabrielle F A Oliver Ryoji Okuda Matthew Okyere Fiona M O’Neill* Donna Palumbi* Christopher W Peacock* Jean Pennant Dr Andrew G Pink* Patricia Poulton*

Fay K Potter Maureen Prince* Ruth G Pringle* Matthew Reay* Saul N Reid* Janet Rennie* Dr Anthony F Riddle* Kristyan Robinson Neil Rogers* Claire L Rowley* Amardeep Sahota Yuh Saito* Philip Scott* Michael Scott-Kline David G Shailer Virendra Singh* Carolyn M Smith Thelma Smith Katie Stone* Helen K Suggitt* Dorothy E Thomas* Liam J Thompson* Philip A Thompson* Dr Joan B Simon Michael Waddilove Kate Welsh* Michael E Wendling* Julia D Wheeler Benjamin J Whitehouse* Andrew Wills* Angela Wolfson* Gillian L Woods* Stephanie Wright* Verna T Yeh and seven anonymous donors

GOLDSMITHS’ STAFF

PLEDGED LEGACIES

Current Staff

The College would like to thank all those who have informed us that they have decided to make the exceptional commitment of remembering the College in their Will. We gratefully acknowledge the support of Elizabeth J Craigen, Anthony D F Davies, Patricia Hutchinson, Brian Lymbery OBE, Anthony C Powell, Karina M Tomkins, Ruth Webb and six people who wish to remain anonymous.

£1,000 to £9,999

PERSON’S NAME PERSON’S NAME PERSON’S NAME Michael J Griffiths* Degree subject & year of Grad.

2010 to 2013 Robert Berry Rabhi Chakrapeesirisuk Lucinda Charman Beth Farrow Emily R Fordham Thomas E Garside Simeera Hassan Safayet Hossain* Shu-Hsing Huang Sarah E Jones Mohammed A Kadir Rebecca A Latimer Jaimes Nel* Dr Jonathan M Poon Richard P Stevens-Katona Lucy H Wilson Hanna Woodside

Degree Patrick Loughrey* subject & year of Grad.

Up to £1,000 Dr Jorella Andrews* Vicky Annand* Dr Herbert Blumberg Liz Bromley Annette Bullen* Antoinette Carey* Angela Elderton* Graham Gaskell Andrew Lantry* Gerald Lidstone* James MacGregor* Professor Simon McVeigh* David Mungall* Dr Barley Norton* Professor Jane Powell* Former Staff £1,000 to £9,999 Catherine M Golding Hugh Jones*

Degree subject & year of Grad.

NOTES # Donor is sadly deceased * Donor has given more than once within the year Individuals in bold have kindly continued their support throughout the last three or more years.

Decade of graduation refers to the decade in which the last course of study was completed.

We have done our utmost to ensure the information listed here is accurate. If there is anything you would like us to update please email development@gold.ac.uk or call 0207 919 7612

Up to £1,000 Colin Aggett* Dr Andrew Barry* Dr Colin and Sue Boswell* Dr Aileen M Carpenter* Dr Robert Colquhoun* Professor Geoffrey Crossick* Professor Peter Dunwoodie Professor Kenneth Gregory CBE Jennifer E Lane* Christopher J Meehan Michael Metelits* Genevieve Kantoch* Mary C Nixon* Christopher J Pearson* Dame Janet E Ritterman DBE Professor Diane Waller*

Winter 2013 No.40

30 Thank you Joan M Blake* Rebecca M Boyle-Suh* Victoria L P Brown Alison B Browning* Joanne L Cannon Philip T Clark Catherine S A Clarke* Peter D Cole* Michael J Connolly* Simon P Costar* Spencer J Cozens* Ann Dace* Paul R Dart* Clare F Deniz Mark J R Derkacz* Carmine De Rosa Carmela J DiClemente Christopher I Dixon Valerie A Docksey* Derek F Duchemin* Anthony D Dulake Chloe T Edwards* Revd David B Evans Andrea J Fairweather* Nicholas J Forde* Susan Garcia Geoffrey S Griffiths* Robert Harper Jones Lindsay Haverson* Edward R Heaton* Manda Helal Annie Hershkowitz Anne P Hill Jeremy Hill* Joy Holmes* Katherine A Hunter* Jenny Jenks* Amey and Raymond Johnson Stephanie J Kelly Paul S Kemp Robertson* Dean A Kenning Reena Lal* Virginia K Litton Laura L Lloyd Darcia N Martin Tim J Matthews* Joan P McCluskey Dr Peter McCulloch Karen McDonnell Alice A Melbourne Scott A Monks* Linda E Muir* Katherine H Muller Ponniah S Nathan Idell Nugent* Jonathan L M Patient Goldlink

31 Hilary P Phelps* Isabelle J Phillips* Tina L Price-Johnson* Dr Geoffrey C Rayner Anne C Rennie James S Reveley Alison J Richards* Margaret Saunders Katherine A Semler* Yumiko Shuto Dr Ewa Sidorenko Bartholomew J Smith Nigel Spencer Alexandra H A Sterck Despina Tapaki Emma Taverner* Dennis J Taylor Dr Cathirithamby P Thiagarajah Gary D Thomas Rosalind M Tucker* Nick Watkiss Pamela J Westall Graham Whitehouse Dorothee Williams* Charles E Woodin Douglas V Zegers and five anonymous donors 2000 to 2009 Nikky Aderanti* Adijatu A Ajala Jacquelyn Aldrich Clara Ampah-Korsah Teresa Amprako Appiah* Claudia Asgill Stephanie Bailey Hani Baluch* Dr Gillian Barber* Valerie S Barraclough* Shazia Begum Gillian R J Bentley Caroline Bernard-Moxey Alisdair D Bevan* John Box Lucinda Boylan Paul Brazil* Jennifer Breen* Janet S L Brown* Adriano Bulla* Bryonie Carter Munazzah Choudhary Anne S Cox* Angela Cutts Edward T Davie* Lewis R Davies

Heather Davis* Gunay Demirci and Alex Robertson Carla L A Diego-Franceskides Conor Doherty* Daniel E Fairfax Saam M Farahmand Albert W Fielder* Helen Finch Sachin Fing Elizabeth S Francis Josephine Gallagher* Miles Garratt Dr Margaret Ghilchik Carol Gigg* Andrea Gillie Anna M Giuffria* Jennifer C Gordon* Genevieve Grant Daniel Grint* Masumi Hanaoka Andrea Head* Sylvia A Hejda-Forde* Norman R Holmes Dr Robert A Howard* Nechamah Inbar-Bonanos* Dr Elizabeth Jackson Kazue Kamiuchi Jasbinder Kaur Grainne Kedves-Constantinides Richard S Kemp William Kiang* Sofie L Kilburn Ian M LaRiviere Jessica T Lay Kathryn S Leach Kwok H Li* Sian Lucas Edith M Macgill* Daniela Maestri Karen Males* Cecelia D Marshall* Beryl McCorkle Tom McLoughlin* Bindy Mellor* Stewart J Munn* David M Neat* Gemma Novis* Gabrielle F A Oliver Ryoji Okuda Matthew Okyere Fiona M O’Neill* Donna Palumbi* Christopher W Peacock* Jean Pennant Dr Andrew G Pink* Patricia Poulton*

Fay K Potter Maureen Prince* Ruth G Pringle* Matthew Reay* Saul N Reid* Janet Rennie* Dr Anthony F Riddle* Kristyan Robinson Neil Rogers* Claire L Rowley* Amardeep Sahota Yuh Saito* Philip Scott* Michael Scott-Kline David G Shailer Virendra Singh* Carolyn M Smith Thelma Smith Katie Stone* Helen K Suggitt* Dorothy E Thomas* Liam J Thompson* Philip A Thompson* Dr Joan B Simon Michael Waddilove Kate Welsh* Michael E Wendling* Julia D Wheeler Benjamin J Whitehouse* Andrew Wills* Angela Wolfson* Gillian L Woods* Stephanie Wright* Verna T Yeh and seven anonymous donors

GOLDSMITHS’ STAFF

PLEDGED LEGACIES

Current Staff

The College would like to thank all those who have informed us that they have decided to make the exceptional commitment of remembering the College in their Will. We gratefully acknowledge the support of Elizabeth J Craigen, Anthony D F Davies, Patricia Hutchinson, Brian Lymbery OBE, Anthony C Powell, Karina M Tomkins, Ruth Webb and six people who wish to remain anonymous.

£1,000 to £9,999

PERSON’S NAME PERSON’S NAME PERSON’S NAME Michael J Griffiths* Degree subject & year of Grad.

2010 to 2013 Robert Berry Rabhi Chakrapeesirisuk Lucinda Charman Beth Farrow Emily R Fordham Thomas E Garside Simeera Hassan Safayet Hossain* Shu-Hsing Huang Sarah E Jones Mohammed A Kadir Rebecca A Latimer Jaimes Nel* Dr Jonathan M Poon Richard P Stevens-Katona Lucy H Wilson Hanna Woodside

Degree Patrick Loughrey* subject & year of Grad.

Up to £1,000 Dr Jorella Andrews* Vicky Annand* Dr Herbert Blumberg Liz Bromley Annette Bullen* Antoinette Carey* Angela Elderton* Graham Gaskell Andrew Lantry* Gerald Lidstone* James MacGregor* Professor Simon McVeigh* David Mungall* Dr Barley Norton* Professor Jane Powell* Former Staff £1,000 to £9,999 Catherine M Golding Hugh Jones*

Degree subject & year of Grad.

NOTES # Donor is sadly deceased * Donor has given more than once within the year Individuals in bold have kindly continued their support throughout the last three or more years.

Decade of graduation refers to the decade in which the last course of study was completed.

We have done our utmost to ensure the information listed here is accurate. If there is anything you would like us to update please email development@gold.ac.uk or call 0207 919 7612

Up to £1,000 Colin Aggett* Dr Andrew Barry* Dr Colin and Sue Boswell* Dr Aileen M Carpenter* Dr Robert Colquhoun* Professor Geoffrey Crossick* Professor Peter Dunwoodie Professor Kenneth Gregory CBE Jennifer E Lane* Christopher J Meehan Michael Metelits* Genevieve Kantoch* Mary C Nixon* Christopher J Pearson* Dame Janet E Ritterman DBE Professor Diane Waller*

Winter 2013 No.40

32 Parting Shot

Stay in touch with Goldsmiths alumni

• Online alumni directory • Subscription to Goldlink Magazine • Discount on postgraduate study • Networking events and reunions • Library and Gym membership

www.facebook.com/GoldsmithsAlumni

twitter.com/GoldAlumni

Goldsmiths Alumni

FROM THE ARMED FORCES TO SCHOOLMASTERING 1944 Goldlink

Two of the 28 ex-servicemen training to be teachers at Goldsmiths (based at Nottingham University since the outbreak of war) are training to have art as their main subject. Here they can be seen taking part in an art class at Nottingham University.

The original caption makes much of the fact that most of the Nottingham art students are women: “as the photographer clicks the shutter one [of the men] says ‘This’ll make the boys jealous’”.

Ministry of Information Photo Division Photographer © IWM (D 22754)

www.gold.ac.uk/alumni

32 Parting Shot

Stay in touch with Goldsmiths alumni

• Online alumni directory • Subscription to Goldlink Magazine • Discount on postgraduate study • Networking events and reunions • Library and Gym membership

www.facebook.com/GoldsmithsAlumni

twitter.com/GoldAlumni

Goldsmiths Alumni

FROM THE ARMED FORCES TO SCHOOLMASTERING 1944 Goldlink

Two of the 28 ex-servicemen training to be teachers at Goldsmiths (based at Nottingham University since the outbreak of war) are training to have art as their main subject. Here they can be seen taking part in an art class at Nottingham University.

The original caption makes much of the fact that most of the Nottingham art students are women: “as the photographer clicks the shutter one [of the men] says ‘This’ll make the boys jealous’”.

Ministry of Information Photo Division Photographer © IWM (D 22754)

www.gold.ac.uk/alumni