Postgraduate study

MPhil/PhD
MFA Fine Art
MFA Art Writing
MFA Curating

Art
Soheila Sokhanvari
Contents

Introducing the Department of Art 2

Introducing the degrees 8
MPhil and PhD 11
MFA in Fine Art 15
MFA in Art Writing 19
MFA in Curating 20
Department of Art postgraduate academic staff 23
Contact us 24
Disclaimer 25

We can supply information in alternative

formats for people with a visual impairment
and dyslexia. Please contact the Course
Enquiry Team on +44 (0)20 7078 5300
or e-mail course-info@gold.ac.uk.
1
Introducing the
Department of Art
Postgraduate Art programmes at Goldsmiths reflect
a broad range of contemporary art practices and
critical discourses. The Department of Art has an
international reputation, which attracts students
from all over the world, and thrives on the diversity
of cultures working within the field.
Why choose Art at Goldsmiths?
The Department of Art at Goldsmiths is a centre
of excellence for teaching and researching
contemporary art. We specialise in making, curating
and writing about contemporary art in a dynamic,
critical and interdisciplinary environment. We work
with a network of artists, curators, galleries and
museums both in London and internationally to
provide an inspiring place in which to study and work.
We are committed to the idea that contemporary
art is best taught by direct contact with artists,
curators and writers. Our graduates develop careers
shaped by their critical engagement with cutting
edge research and researchers in each of these
areas. The departments international reputation
enables it to establish and maintain links with many
of the worlds most prestigious institutions. Staff
in the Department of Art are highly motivated and
innovative teachers, whose work is exhibited and
published internationally on a regular basis.
2
Facilities
Following rapid expansion in the Department of Art
over the last two decades, a spectacular building
designed by Alsop & Partners for Goldsmiths opened
its doors to students in January 2005 (see opposite).
The Ben Pimlott Building provides purpose-built
teaching space on campus, including art studios,
lecture theatres, and digital media labs.
The large north elevation of the building is entirely
glazed, flooding the building with natural daylight
and revealing the unique mix of studios and digital
media research laboratories within. The studios are
naturally ventilated and benefit from generous floor
to ceiling windows. A two-storey chunk of the box
space has been removed at high level to leave a
roof terrace; this is wrapped with a metal structural
scribble making the building an unmistakable
landmark on the south London skyline. The result
is a structure visible from a considerable distance.
The department provides space for art studios,
performance work, installations, temporary projects
and exhibitions as well as a range of research
laboratories. You are allocated a tutor and a studio
space appropriate to your needs. You also have
access to the Rutherford Building, which integrates
library, computing and language learning facilities.
It allows access to information for learning,
scholarship and research at a single point, breaking
down the boundaries between traditional and
electronic resources.
Ben Pimlott Building
Eun Hye Shim
Research laboratories include:
Casting: facilities include waste moulding, piece
moulding, plaster casting, running and turning,
plaster fabrication, flexible moulding (Vinamould),
wax casting, stone sawing.
Constructed Textiles: AVL and Jacquard
computerised weaving, table loom weaving,
computerised double bed knitting, flat bed machine
knit, gun tufting/carpet carver, tapestry.
Digital Media Research Laboratory: open-access
facility employing Macintosh systems equipped with
various DTP and image-manipulation packages, as
well as web-authoring and special-effects software
for video, DVD and audio, scanning and high quality
ink-jet printing. Video facilities include support for
analogue and digital formats, editing suites with
FinalCut Studio Pro, Avid and After Effects, and an
audio station supporting audio cassette, mini disc
and employing Pro-Tools.
Metalwork: facilities include gas, Tig, Mig, spot
welding, plasma cutting, shot blasting, cutting,
rolling, folding.
Photography: fully-equipped photographic studio,
black and white, and colour darkrooms, a range of
traditional and digital cameras available on loan,
as well as lights and tripods. The laboratory also
supports digital image production.
Print and Dye: silkscreen, devor and discharge
printing, heat transfer, digital printing, fabric and
yarn dyeing, Mimaki large format digital printer.
Printmaking: facilities include etching/photo-
etching, silkscreen/photo-silkscreen, blockprint,
large format inkjet printing (24, 44 and 60 inches),
laser printing, scanning, CD burning.
Stitch and Fabric: computerised machine
embroidery, industrial and portable sewing
machines, some portable Bernina sewing machines
available for student loans, hand embroidery, pattern
cutting/garment construction, fabric manipulation
and soft sculpture.
Woodwork: facilities include pillar drills, stretcher
making machine, wood and metal lathe, milling
machine, circular, radial, jig and band saws.
Textiles Materials
Haberdashery items and fabrics suitable for
garment make-up, printing and dying as well as
painters canvas are available to buy throughout the
Textile Laboratories. Please consult with the Textile
Laboratory Managers (Constructed Textiles, Print
and Dye, Stitch and Fabric).
For detailed information on the Research Laboratories
please refer to www.gold.ac.uk/art/facilities.
Employability, careers and alumni
Our Art programmes aim to equip you with the
necessary skills to develop independent thought
and confidence in your practice. Many elements
of the programmes require a high degree of
self-motivation and initiative in planning and
implementing tasks, and managing of a personal
schedule of learning. You develop your capacity to
organise, articulate and present ideas in a systematic
and professional manner, communicating to both
specialist and non-specialist audiences. Students
critically analyse the work of others, and undertake
self-evaluation, identifying and solving complex
technical and interpretative problems with flexibility
and resourcefulness. The programmes offer many
opportunities for students to work cooperatively
and to collaborate within professional environments
outside of College. The programmes enable
students to work effectively together, and with other
professionals, in order to employ social skills in the
conduct of research when appropriate, and develop
effective skills of communication and persuasion.
Our students have been successful in many fields
including media, museums, galleries, education, the
music business and academia. Many have continued
to be successful, practising artists long after
graduating, and have won major prizes and exhibited
around the world.
5
Alumni of the MA Fine Art programme have gone
on to become some of the most successful artists
in Britain. They include Goshka Macuga, Yinka
Shonibare, Fiona Banner, Catherine Yass, Glenn
Brown, Michael Raedecker, Jane and Louise Wilson
and Mark Wallinger.
Alumni of the Curating programme work in some
of the great museums of the world, from Tate to
the Guggenheim, and also form an international
network of curators for independent spaces,
biennials and foundations.
Art Writing students have published work with a
range of national and international publications, and
have been invited to work as Writers-in-Residence
with prestigious institutions including Art on
the Underground, Chisenhale Gallery and South
London Gallery, as well as hosting a weekly radio
show in collaboration with Resonance FM. A recent
graduate, whose work was selected for Bloomberg
New Contemporaries 2010 at ICA in London, was
selected as one of five Art-World Stars of Tomorrow,
whilst other graduates have gone on to work at
Chelsea College of Art & Design, Spike Island and
Tate Britain.
Postgraduate Art open day
We hold a departmental open day, which all
prospective applicants are encouraged to attend.
These give you the opportunity to explore
Goldsmiths and its facilities, to meet staff and
students, and to see the studio and research
laboratory provision available.
The Postgraduate Art open day will be held at 2.00
on Wednesday 26 October 2011 in the Ian Gulland
Lecture Theatre. You do not need to register in
advance. If you have queries about the departmental
open day, please contact the Department of Art on
+44 (0)20 7919 7671, or e-mail art@gold.ac.uk.
Goldsmiths open days
Goldsmiths also holds general open days
in November, February and June. For the
dates and times, and to book a place, visit
www.gold.ac.uk/opendays.

Postgraduate degree shows

The postgraduate degree shows are held at
Goldsmiths. They are open to the public and
admission is free. Catalogues are on sale at the shows.

Friday 6 July 2012 10.00-7.00

Saturday 7 July 2012 10.00-7.00
Sunday 8 July 2012 10.00-4.00
Monday 9 July 2012 10.00-7.00

Further information together with examples of

student work is available at www.gold.ac.uk/art.

6
Hans Diernberger
Introducing
the degrees
We welcome applications from students with
a diverse range of interests, experiences and
capabilities. Our programmes aim to equip you with
creative, interpretative, critical and analytical skills.
As a student in the Department of Art at Goldsmiths
you will benefit from coming into contact with
students from other disciplines within a thriving and
multi-faceted university, enabling you to benefit from
the relationships that art may have with other fields
of work and study.
We offer postgraduate programmes in:
MPhil and PhD Art
MPhil and PhD Curating
MFA Fine Art
MFA Art Writing
MFA Curating
MFA programme pathways
The MFA programmes are divided into two parts
Year One (Diploma stage) and Year Two (MFA stage)
Year One (Diploma Stage) can be taken full-time
for one year (until late July). Please note: for
Fine Art and Art Writing only it may be taken part-
time for two years (until late July in both years).
It enables you to establish a professional practice
by achieving a firm sense of direction for your work
and its concerns.
Year Two (MFA Stage) can be taken either full-time
for one year (until late August) or part-time for
two years (until late July and until late August in
the final year). This stage of the programme
enables you to bring your practice to a level of
professional excellence.
Students who have already established a
professional practice in their field and wish to
develop it to the level of professional excellence
are able to enter directly into Year Two of the
programme on either a full-time or part-time basis.
You may also take advantage of an exit point at the
end of Year One of the programme and graduate
with the Postgraduate Diploma in Fine Art/Art
Writing/Curating.
8
Application and admission
For information about making an application visit
www.gold.ac.uk/apply/pg.
Returning your work
It may be necessary to supply samples of your work
with your application. If youd like us to return your
work, please enclose a suitable self-addressed
return envelope, together with the appropriate
reply-paid coupon or postage stamps. We cannot
return your work if you do not do so; in such cases,
you must arrange collection of your work no later
than the end of the first week of October the
College will arrange automatic disposal after this
date. Goldsmiths accepts no responsibility for loss
of or damage to any item (artwork, transparencies,
audio or videocassettes, CD-ROMs, or written work,
for example) submitted in support of an application.
Please do not send originals or items of any
monetary value.
Entrance requirements
Please see individual programme entries.
English language requirement
If English is not your first language, you need
to obtain evidence of your English language
competence. Tests considered appropriate include:
International English Language Testing System*
[IELTS] pass with at least 7.0 overall and a
minimum of 7.0 in the written element
TOEFL* score of at least 600 including 5 in the
Test of Written English [TWE], or 250 in the
Computerised test [CT] including 5 in the essay
component, or 100 in the Internet-based test
[IBT] with a minimum of 25 in the written element
International GCSE (IGCSE) English as a second
language at Grade B
Cambridge Certificate of Proficiency of English
[CPE] at Grade B or above
Cambridge Certificate in Advanced English
[CAE] at Grade A or above
Pearson Test of English (Academic), with a score
of 76 overall, including 76 in the written element
and 68 in all other elements.
* In line with the validity period for IELTS & TOEFL
qualifications, English proficiency qualifications
must be less than two years old at the time of
starting the course to be accepted by us.

For further information, please see the Postgraduate

Prospectus. International candidates may be
accepted without an interview.

Interviews by telephone
If you are an applicant from outside the UK, we
encourage you to attend interview if at all possible.
We are flexible with interview dates to allow you to
arrange other college visits/interviews while you
are in the UK. If it is not possible for you to attend
in person we will conduct a telephone interview
to determine whether you are best suited to this
programme of study.

Fees and funding

For information about fees and funding visit
www.gold.ac.uk/pg/costs.

Hyojin Park

9
Jeong Jihyun
MPhil and PhD
We offer MPhil/PhD in both Art and Curating.
We welcome students whose work crosses these
categories, as well as those who are interested in
our new research area, Art Writing. The research
programmes are led by students individual
and collaborative interests. As well as meetings
with individually allocated supervisors, students
participate in research symposia, reading groups,
seminars and research training workshops.
You may either: a) register for practice-led research;
b) register to undertake research leading to a thesis
submitted in accordance with the normal provisions
of the university. A practice-based research degree
allows you to submit both your own practice
artistic, written, curatorial and a parallel contextual
text for the final PhD exam.
The production of and reflection on contemporary
art practice is central to the departments research
culture, with studio-based research integral to our
academic strengths. For studio-based research
your thesis will include a portfolio, exhibition or
other audio-visual display. This must be original
work exemplifying and locating the ideas developed
in conjunction with the written part of the thesis.
However presented, this work must be accompanied
by an adequate and approved form of retainable
documentation, such as slides, photographs, video
and other appropriate visual material.
As a research student in Art you will be expected
to contextualise your practice in relation to other
forms of cultural production. Practice is seen as a
primary site for critical and analytical thought, which
enhances and directs the development of the text
element of the thesis.
Staff
Director of Postgraduate Research
Dr Andrea Phillips
Lecturer in Postgraduate Research Studies
Dr John Chilver
Our team of supervisors offers a wide range
of expertise to draw on. For information about
the interests of our research staff visit
www.gold.ac.uk/art/staff.
Entrance requirements
You should normally have an MA in an appropriate
subject. In exceptional circumstances other
qualifications or professional experience may
be considered as equivalent.
With your application you need to include a
statement of your research project outlining your
research proposal and methodology, together with
a short bibliography. If you are applying for practice-
based research please provide examples of your
recent work in an appropriately documented form.
You should explain how the written component
of your thesis will exemplify and locate the ideas
you hope to develop in conjunction with your
practice. Please make sure that your slides and
other supporting material are clearly labelled with
your name and address; Goldsmiths cannot accept
responsibility for any loss or damage. For details
on returning your work see page 8.
Registration and study
Initially, you register for a Master of Philosophy
(MPhil) programme to train you in the research
methods you will need to complete a PhD. You can
apply to upgrade to PhD registration when you
have satisfactorily completed an agreed part of
the research and training programme this usually
happens before 18 months if you are studying full-
time, or before 36 months if part-time. You should
aim to complete and submit your PhD thesis within
an agreed period, usually three to four years for full-
time students, and four to six years for part-time.
If you decide not to upgrade to PhD registration, you
can submit your thesis for an MPhil after two years
if you are studying full-time, or after three years if
part-time. With the agreement of your supervisor,
you can change your registration from full to part-
time or vice versa.
North American applicants especially should note
that the British system does not include preparatory
taught classes or examinations as part of the MPhil/
PhD programme, except for an initial course in
research methods.
11
Transfer of registration
To upgrade to PhD registration you will need to
submit various elements of text to the examiners
as follows:
A synopsis of your thesis
A chapter outline of the written element of the
whole thesis
A chapter of written research (two chapters
if registered as a written-only PhD)
An exhibtion or portfolio of your practice
(if registered for a practice-based PhD)
A timetable for completion
Examination will be by viva voce. Before submission
you discuss with your supervisors how what you
propose to submit conforms to this checklist.
Timescale
You should normally expect to complete your
supervised studies within three years (full-time) or
five years (part-time). However, additional time may
be required for the preparation and submission of
the thesis: in this event the period of study would
extend to a maximum of four years full-time and six
years part-time. The final examination normally takes
place within three months of submitting the thesis.
Research training
A college-wide programme of research training is
provided by Goldsmiths Graduate School, which
involves an induction course, introduction to
information technologies and the use of library and
bibliographic resources, basic training in qualitative
and quantitative research methods, and sessions on
research planning, presentation skills and ethics. In
addition we run our own subject-specific training.
Assessment
PhDs are examined by two external examiners
who are recommended by your supervisors in
consultation with you. In the practice-based mode
of research the target for the text element for the
MPhil is 20,000 words and the target for the PhD
is 40,000 words. This target is neither a maximum
nor a minimum but is offered as an indicative guide.
The maximum word length for a solely written thesis
under University of London regulations is 100,000
words. In practice-based research it is expected
that you will present a substantial body of artistic,
curatorial or published work in the form of an
exhibition or documentation at the final exam.

Research supervision
All students in the Department of Art are team
supervised (usually by two supervisors). Supervision
is supplemented by research symposia, reading
groups, seminars, as well as access to visiting tutors
and other topic-specific experts as necessary. We
consider this to be an important structural element
in supervision that encourages you to triangulate
your own position in relation to at least two engaged,
but independent, supervisory voices. Supervisors
are required to have regular meetings with you and
agree a written report on progress, additional tutorial
support and make critical evaluations of all elements
of your work. Generally speaking, your supervisors
will see you separately, unless required for reports
meetings, to achieve consensus or resolve more
specific matters.

12
Tom Crawford
Daniel Lichtman
MFA in Fine Art
Year One: 1 year full-time or 2 years part-time
Year Two: 1 year full-time or 2 years part-time
This two-stage programme is designed to instigate
professional excellence by subjecting the making of
work, the ideas and concepts involved, and the works
of art themselves, to artistic and critical scrutiny.
This will include individually directed research to
review, consolidate and strengthen your individual
position as an artist. Students accepted onto the
programme work in media areas including painting,
sculpture, printmaking, installation, performance,
text, textiles, fibre arts, digital media and video.
The programme places a strong emphasis on
student-centred learning especially on your
individual response to the divergent views you will
experience in relation to your practice.
Among other qualities, you are expected to:
contribute actively in tutorial and seminar
discussions; to welcome and encourage sustained
analysis of your practice by tutors and fellow
students; to understand that the production of
contemporary art takes place in a demanding and
testing environment; and to take an independent
path in developing your practice and its concerns.
Entrance requirements
Applicants for Year One (Diploma stage):
undergraduate degree of at least second class
standard (or international equivalent) plus
experience as an artist. Applicants for entry directly
onto Year Two of the programme for either full-time
or part-time (home/EU only) routes must show
through interview and, where appropriate, portfolio
that they have established a professional practice
in the field and have already fulfilled the criteria
demanded at the end of Year One of the programme
through professional experience.
Requirement for part-time study: you need to
have your own studio space in which to work over
the two part-time years of the programme. As a
condition of admission to the part-time programme,
applicants from outside London will normally be
expected to maintain a studio in the city for the
duration of the programme.
Please enclose with your application appropriate
documentation showing your current work.
We strongly advise you to send up to 20 images
only (on CD [Mac compatible] saved as jpegs), or
a PAL video showreel of no longer than 10 minutes
(on DVD; please do not send Quicktime movies, only
DVD format). Please make sure that all supporting
materials are securely packaged and clearly labelled
with your name and address; Goldsmiths cannot
accept responsibility for any loss or damage. Please
see page 8 for information about returning your
work. We examine all applications, and may then
invite you to attend an interview.
15
What do you study?
Learning on the programme is primarily achieved
through an appropriate combination of self-initiated
and directed work in studio-practice and Critical
Studies. Individual tutorials, seminars, lectures, and
research laboratories support this work. All parts of
the programme are mandatory for all students. There
are no optional courses on the programme. Courses
and assessments are structured similarly on both
parts of the programme.
Studio seminars
Seminars help you develop the confidence and
ability to discuss your own work and the work of
others, and to use the combined knowledge and
experience of the group to assist in understanding
and developing your own practice. This element of
the programme is student-led with tutors responding
to the needs and concerns of the participants. Studio
seminars are organised by groups and take place
weekly. Each student presents work for a seminar
once in each term.
Tutorials
These develop your work as professional practice
within contemporary art and current debate. You
receive scheduled one-to-one tutorials with your
Group Tutors and other staff from the study area.
Two tutorials a term are scheduled with the core
studio staff. In addition, you are expected to select
a number of visiting professionals relevant to your
practice for tutorials. These professionals are chosen
in consultation with your Group Tutor, and cover a
wide range of specialisms discussion with them
should further your understanding of your work in
terms of professional practice. You are expected
to write a report immediately after each tutorial,
summarising what took place and recording your
considered responses to it.
16
Critical Studies
You are expected to identify and initiate the
discussion of the critical concerns and interests
of your practice. These concerns are developed
through studio-based teaching and in discussions
with your Critical Studies tutors, and developed
further through the Critical Studies seminar and
essay. For this reason, and in contrast to many
other programmes, Critical Studies for the MFA
Fine Art at Goldsmiths does not offer a series of
subjects taught and learnt through seminars, group
reading and discussion, but bases the teaching and
learning of Critical Studies primarily in relation to
your own practice.
Lectures
These introduce and develop issues of critical
significance in contemporary culture and fine art by
presenting arguments and discursive frameworks
for contemporary practice. Lectures run through
the first two terms on a weekly basis. They provide
an opportunity for you to critically engage with
your own practice in terms of wider cultural debates
with which they may be unfamiliar. The lectures
also provide an occasion for all members of the
postgraduate programmes to meet on a regular basis.
Assessment
The three examination elements for both Year
One and Year Two are: Studio Practice Reports,
Exhibition, and Critical Studies Essay. All three
elements must be passed to successfully complete
each part of the programme. Each element of
examination has both progression and final points
of assessment.
Niklas Laustiola
Kathryn Elkin
MFA Art Writing
Year One: 1 year full-time or 2 years part-time
Year Two: 1 year full-time or 2 years part-time
MFA Art Writing intends to develop excellence in the
field of contemporary art writing. This programme
will help you develop writing as art, writing about
art, and writing with art, with the aim of encouraging
and debating diverse potentials in this new field.
Supported by three Art Writing Professors
Yve Lomax, Michael Newman and Adrian Rifkin
together with the Director of Art Writing, Maria Fusco.
The programme draws on the international scope
of contemporary art practice at Goldsmiths and in
London, extending, through practical exploration,
the interstices of artistic, critical and theoretical
writing in original and interdisciplinary ways.
Innovative writing modalities are supported through
critical and analytical workshops and seminars
in which art writing, as an intrinsic element of
contemporary art production and its distribution
is debated.
Entrance requirements
Applicants for Year One (Diploma stage):
undergraduate degree of at least second class
standard (or international equivalent) plus an
element of professional experience (such as,
developing self-generated projects, publication,
organising shows or printed matters).
Applicants for entry directly onto Year Two of
the programme for either full-time or part-time
routes must show through interview and, where
appropriate, portfolio that they have established a
professional practice in the field and have already
fulfilled the criteria demanded at the end of Year One
of the programme through professional experience.
Please enclose with your application your recent
work in an appropriately documented form. Please
supply publications or CDs/DVDs (these must be
Mac compatible) as appropriate to your work. All
materials must be clearly labelled with a covering
inventory of contents. Please ensure that all materials
are securely packaged and clearly labelled with
your name and address. Goldsmiths cannot accept
responsibility for any loss or damage. Please see
page 8 for more information about returning your
work. Admission is normally by interview and
portfolio inspection. We may ask international (non-
EU) students who cannot attend for interview to
supply additional examples of their work.
What do you study?
Learning on the programme is built around your
ongoing practice in art writing. Practical workshops,
tutor and student-led group seminars, reading
groups, critical studies lectures, study visits,
independent practice and research and individual
tutorials, inform and support the development
of your work. All elements of the programme are
mandatory for all students.
Year One
Year One of MFA in Art Writing is designed
to provide a comprehensive and in depth
understanding of the practical and critical concerns
of art writing; to support original and innovative
student-directed work; to guide its development
and implementation through staff and visiting tutor
lectures and seminars, student-led seminars and
individual tutorials. The combination of Writing
Practice together with Critical Studies leads towards
the establishment of your own specialist area of
professional practice. Assessment is by portfolio.
Year Two
Year Two of MFA in Art Writing situates you within
an advanced learning environment. Focus is placed
on the intensive progression of your own practice
to a professional level of excellence. A sophisticated
approach to the practical development, presentation
and critical examination of art writing is honed in
Year Two, supported by staff and visiting tutor-led
seminars and tutorials, with particular emphasis on
your own specific professional pathway. Assessment
is by portfolio.
19
MFA Curating
2 years full-time or
1 year full-time and 2 years part-time
This two-part programme is designed to develop
professional and academic excellence in the field of
contemporary curatorial practice. The programme
is designed for students who wish to take up the
challenge of contemporary curating as an artistic,
social and critical undertaking, and who wish to
develop their professional practice in this area.
The programme draws on the international scope
of contemporary arts practice at Goldsmiths and in
London, and instigates debate about the relationship
between that practice, current critical discourse
and concepts of curating. It is designed for curators
and those with related academic and practical
experience who wish to achieve professional
excellence in their practice, to innovate in the
expanding field of curatorial practice.
MFA Curating at Goldsmiths focuses in-depth
on aesthetic, social, political and philosophical
questions that are brought to bear in any place
or at any event in which contemporary art is
situated. The programme is designed to provide a
practice-led research context for students at any
stage of their professional practice. It also enables
you to experiment and innovate in the expanded
field of curatorial pedagogy, to collaborate on an
interdisciplinary basis and extend your and other
students knowledge through this process.
20
Entrance requirements
There Is no preference for art or art history and
students from a non-art background are welcome to
apply. However, the course is run by the Department
of Art, and students should consider themselves to
be curating practitioners.
Applicants for Year One (Diploma stage):
undergraduate degree of at least second-class
standard (or international equivalent) plus an
element of professional experience (interning in a
gallery or equivalent institution, curating own shows
or degree shows etc). Applicants for entry directly
onto Year Two of the programme for either full-time
or part-time routes must show through interview
and, where appropriate, portfolio that they have
established a professional practice and have already
fulfilled the criteria demanded at the end of Year One
of the programme through professional curatorial,
academic or artistic experience.
If appropriate, your application can be accompanied
by images showing examples of previous curatorial
projects (not to showcase your own art work, which
is not relevant). Please make sure that you clearly
label any supporting material with your name and
address. Goldsmiths cannot accept responsibility
for any loss or damage. Please see page 8 for
information about returning your work.
Work experience is absolutely essential to
demonstrate that you have a clear sense of current
trends and activities in contemporary art. This
should be demonstrated through your experience,
and expanded upon in your personal statement.
If you have completed an internship, please be
specific about what this entailed and how it is
relevant to the programme. Also mention which
curators/practioners have influenced you we are
looking for individuals with specific passions. It
may be relevant to mention specific exhibitions or
artworks that you have seen in person that were
meaningful to you, and explain why, or discuss the
art-specialist magazines or books that you have
read. In summary, be prepared to discuss the specific
elements (whether artworks, artists, art writing,
philosophy, exhibitions, or more) that brought you to
take a special interest in contemporary art curating.
As this programme is driven by student-led seminars,
it is essential that you are confident of your language
skills. Please see page 8 for general English language
requirements.
What do you study?
In Year One, you are introduced to a series of
curatorial concepts and practices through group
analysis and guided research. There are also
group seminars that look into significant ideas in
philosophy and cultural theory to help you think
broadly about your own practice. In Year Two,
intensive workshops look in depth at a set of artistic
and cultural themes chosen by the students. In Year
Two you further develop independent curatorial
research and practice, working either on your own
ideas or with a London-based gallery or institution.
The summer term of Year One acts as a transition
to Year Two.
Year One
Curatorial Practice
This course is designed to provide support for,
give guidance to, and encourage innovation of
student-initiated curatorial ideas, their planning
and implementation by staff and visiting tutor
seminars, student-led seminars and tutorials.
The student-directed work on this course leads
towards the establishment of your own specific
professional practice. Assessment is by Independent
Research Project A (IRP-A).
Critical Studies
At this stage of the programme, Critical Studies
is designed to develop your critical awareness
of critical and conceptual issues in and around
contemporary art through lectures and seminars,
and to foster your original and innovative
contribution of ideas. The course consists of
lectures, seminars and review sessions. The lectures
and seminars are designed to firstly develop
your evaluation skills and secondly your skills for
communicating ideas. Assessment is by Critical
Studies essay.
Year Two
Curatorial Practice
This course provides you with an advanced learning
environment in which to progress your professional
practice to a level of excellence. Staff and visiting
tutors work with individual students to encourage
originality and innovation in the field of curating
through the critical examination of your and others
practice. On occasion, practising international curators
and critics give guest lectures to the students.
In Year Two, presentation of the Independent
Research Project B is expected to be of an
advanced standard in keeping with the professional
presentation of a project in public. In this way,
Curatorial Practice in Year Two differs from Year
One as you are now expected to achieve advanced
standards of learning and are encouraged to take
responsibility for your ideas with a sophisticated
understanding of your professional pathway.
Assessment is by Independent Research Project B
(IRP-B).
Critical Studies
The curriculum for Critical Studies at this stage of
the programme is much the same as for Year One.
However, all elements of the Critical Studies course
in Year Two are designed to be more demanding
on your practical and critical understanding of
advanced concepts of contemporary curating. In
Year Two of the programme, you are expected to
work more independently and, where appropriate,
to integrate the skills you attained in Year One
more fully in your written work. Assessment is by
Catalogue Essay.
Year One and Year Two
Review sessions
You are expected to produce a written review of
exhibitions or events that you have attended each
month in a format suitable to the content of the work
(for instance, a summary of a number of different
exhibitions or a text that focuses on a particular
theme). These are discussed in a group review
session with a tutor. These sessions aim to produce
publishable material.
21
Alicja Rogalska
Department of Art
postgraduate
academic staff

MPhil/PhD
Dr Andrea Phillips (Director)
Dr John Chilver

MFA Fine Art

Andy Harper
David Mabb Programme Leader (Studio Practice)
Dr Suhail Malik Programme Leader (Critical Studies)
Simon Martin
Dr Elizabeth Price
Lindsay Seers
Ben Seymour
Kate Smith
Jemima Stehli
Milly Thompson

MFA Art Writing

Maria Fusco (Director)
Professor Yve Lomax
Professor Michael Newman
Professor Adrian Rifkin

MFA Curating
Dr Ele Carpenter Programme Leader Year 1
Chris Hammond
Kirsty Ogg
Helena Reckitt
Dr Andrew Renton
Gilda Williams Programme Leader Year 2

The research interests of the academic staff

of the Department of Art are detailed at
www.gold.ac.uk/art/staff.

23
Contact us

If you have any specific queries about the

department please contact us on
+44 (0)20 7919 7671, or e-mail art@gold.ac.uk.

For a copy of our prospectus please visit:

http://www.gold.ac.uk/request-prospectus

For queries relating to admissions please

contact the Course Enquiries team,
telephone +44 (0)20 7919 7060
fax +44 (0)20 7919 7509
or e-mail course-info@gold.ac.uk

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Please e-mail ext-comms@gold.ac.uk, or write
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24
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