goldlink 40
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The free biannual magazine for alumni of Goldsmiths, University of London.TRANSCRIPT
WINTER 2013 NO. 40Keeping you in touch with Goldsmiths
Reflections of a Young British Artist In conversation with Damien Hirst
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Vigilante archetypesThe phenomenon of ‘real life superheroes’
Music and Protest in 1968The role music played in the Vietnam War
Winter 2013 No.40
I N T H I S I S S U E
02 GenderGap Studysparksmediadebate03 News06 Globalchangemaker OliviaOwen,student andcharityCEO08 Interview Inconversationwith DamienHirst
14 Reallifesuperheroes Wherefictionand vigilantismmeet16 Showcase HefinJones18 MadeinGoldsmiths Music,Protestandthe VietnamWar
21 Books22 3x323 LifeAfter24 GoldStories26 ThankYou DonorstoGoldsmiths32 PartingShot
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PrudenceCumingAssociatesLtd (pages12-13&backcover).©Damien HirstandScienceLtd.Allrights reserved,DACS2013SurianSoosayviaFlickr:ssoosay(page14)www.mikiphotography.info(page23)
Back cover: DamienHirst,Sinner,1988Glass,facedparticleboard,ramin,plastic,aluminium,anatomicalmodel,scalpelsandpharmaceuticalpackaging1371.6x1016x228.6mm
Editor: MaryIvers
Design: zoebather.co.uk
Photography: PatricioForrester(sunflowers,page3)RichardMasonerviaFlickr:Cyclelicious(handdryer,page5)IvanColeman(frontcover&pages8-11)RogerWooldridge(AThousandYears, 1990,page12).©DamienHirstand ScienceLtd.Allrightsreserved, DACS2013
Development&AlumniOfficeGoldsmiths, University of LondonNew Cross, LondonSE14 [email protected]+44 (0)20 7919 7253
TheopinionsexpressedinthemagazinearethoseofthewritersconcernedandnotnecessarilyofGoldsmiths.
GoldlinkisprintedonpaperaccreditedbytheForestryStewardshipCouncil.
G O L D L I N K 4 0
On the first cover Her Royal Highness The Princess Royal, Chancellor of the University of London—Fromthefirstissue,published20yearsagoinNovember1993
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Winter 2013 No.40
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N E W S
WorktotheRichardHoggartBuildingcontinuesas
themainreception,frontforecourtandquadrangleareasaretransformedinordertoshapethebuildingtomeettheneedsoftheGoldsmithscommunity.Theworkshavethrownupsomeinterestingsurprises,suchasatunnelunderneaththemainreceptionarealeadingtoanareabelievedtobeformerdungeonsdatingbacktothebuilding’sdaysastheRoyalNavalSchool(1843-1890).Sofar,over350donorshavegiventowardsatotalof£85,000fortherenewalofthebuilding.AlumniJulianClary,LintonKwesiJohnsonandMaryQuanthavegenerouslysupportedtheappeal,ashavethefamilyofformerWarden,RichardHoggart,afterwhomthebuildingisnamed.Alldonorsgiving£100ormorewillfeatureonadonorboardgoingupinaprominentplaceinthenewfoyer.
NewCrossreceivedablastofcolourthissummerasone
thousandsunflowerswereplantedonNewCrossRoadandlocally.The‘1,000sunflowersforNewCross’project,acollaborationbetweenlocalcommunitygroupsGrowWild,NEWX-INGandGoldsmiths,aimstogivelifetourbanspacesandhighlighttheimportanceofbees.TheseedingbeganatEdmundWallerPrimaryschoolinJune,andplantingtookplacearoundNewCrosswiththehelpoflocalschoolsandvolunteers.RichardGroves,EnergyandEnvironmentalManageratGoldsmithssaid:“Theprojectisnotonlyhelpingtobrightenupthelocalareabutisalsoprovidingmuchneededextrafoodforbees.Thereisasurprisinglyhighbeepopulationintheareaandtheextrafoodfromthisgreatinitiativewillhelplocalbee-keeperstosustaintheirbeepopulations.”
1,000 SUNFLOWERS FOR NEW CROSS
INVESTING IN OUR CAMPUS
HONORARY APPOINTMENTS
Throughout the world women know less about politics than men, and this is as true for people in Norway as it is in Colombia.
AresearchstudyfromGoldsmithsreleasedthissummerrevealed
thatwomenlivingintheworld’smostadvanceddemocraciesandunderthemostprogressivegenderequalityregimesstillknowlessaboutpoliticsthanmen.Theten-nationstudyofmediasystemsandnationalpoliticalknowledgeconcludedthatagendergapinpoliticalknowledgeseemstobeaglobalphenomenon.
ProfessorJamesCurran,DirectoroftheLeverhulmeMediaResearchCentre,ledthestudywhichalsofoundthatgendergapsinpoliticalknowledgeareevenwiderinso-called‘advanced’economiessuchastheUnitedKingdomandUnitedStatesthaninlessadvancedeconomiessuchasColombia.
Inthestudy,researcherssurveyedmenandwomen’sknowledgeofdomesticandinternationalnewsaswellas
currentaffairsinAustralia,Canada,Colombia,Greece,Italy,Japan,Korea,Norway,theUKandtheUS.Exploringthereasonsforthegendergap,researchersexaminedboththecontentofnewsandthesupplyofnewsinalltennations.Itfoundthat,overall,womenareonlyinterviewedorcitedin30%ofTVnewsstories,andinalltencountriesfemale
Goldsmiths research study receives global news coverage and sparks debate about gender representation in news media
PoetWendyCopewasoneofseveralleadingfiguresfrom
theartsandmediawhoreceivedanHonoraryFellowshipfromGoldsmithsinSeptember.RememberinghertimeatGoldsmiths,Copecommented:“Iattendedeveningclassesforseveralyearsfromaround1976.TheseclasseswereveryhelpfulatatimewhenIwaskeentopursuemyinterestinpoetry.IamdelightedGoldsmithshasdecidedtohonourmewithafellowship.”
OtherswhoreceivedhonorarydegreesandfellowshipsincludedBBCjournalistandformerGoldsmithsstudentHelenFawkes,formerChairofGoldsmiths’governingCouncil,ChristopherJonas,andspokenwordartistDavidJPugilist.MarionNorth,formerDirectorofDeptford’sLabanCentre,receivedaposthumousfellowship.
sourcestendonlytoappearinlongernewsitemsorarticlesandarepreferredfor‘softnews’topicssuchasfamily,lifestyleandculture.
ProfessorCurrancommented:“Ourfindingsthatthegapbetweenmenandwomen’sknowledgeofpoliticsisgreaterinNorway–acountryrankedgloballyasoneoftheveryhighestintermsofgenderequality–thaninSouthKorea–acountrywithamuchlowerequalityrating–isparticularlystriking.Thefactthatthroughoutthewholeworldwomenknowlessaboutpoliticsthanmen,andthatthisisastrueforpeopleinNorwayasitisinColombia,isreallyverysurprising.”
STUDY IDENTIFIES GENDER GAP IN POLITICAL KNOWLEDGE
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ThepartnershipbetweenGoldsmithsandLASALLE
CollegeoftheArtshasseenitsfirstgraduates,as441Goldsmiths-validateddegreeswereawardedinSingaporethisSeptember.ThepartnershipofficiallystartedinAugust2012,andalsosupportsacademicdevelopmentactivitiesbetweenthetwoinstitutions.DonningbespokegownsdesignedbyEdeandRavenscroft,graduatesfrom18programmesacrossArt,MediaandCommunications,CreativeandCulturalEntrepreneurship,MusicandDesignwereawardeddegreesvalidatedbyGoldsmiths.PatrickLoughrey,WardenofGoldsmiths,said:“Goldsmithshasbuiltaglobalreputationfortheartssinceourbeginningsover100yearsagosowearedelightedtobeinpartnershipwithaCollegethatisfollowingthesamepath,havingestablisheditselfinarelativelyshortspaceoftimeasoneoftheforemostartsinstitutionsinSouthEastAsia.”
StudentsatisfactionatGoldsmithsisbetterthanithas
everbeen,accordingtostatisticsreleasedinAugust.Resultsfromthe2013NationalStudentSurvey(NSS)revealed88%offinalyearstudentsweresatisfiedwiththeircourse.TheresultisthebesteverforGoldsmiths,andseesitrankedinthetop40non-specialistuniversitiesforoverallstudentsatisfactionintheUK.Thestatisticsalsoshowedthat91%ofstudentsatGoldsmithswerehappywiththeteachingontheircourse–5%higherthanthenationalaverage–and92%ofstudentsfoundtheircourseintellectuallystimulating.DrMichaelYoung,Pro-WardenforStudentsandLearningDevelopment,said:“MorestudentsthaneveraresatisfiedwiththeireducationatGoldsmithsandresultsinthissurveyhaveoutshoneanumberofotherhighlyrevereduniversities.Thisisanimpressiveachievement,anddemonstratestheexcellenceofourinstitution.”
N E W SN E W S
PODCAST SERIES LAUNCHED
IMPACT OF SUPER-FAST HAND DRYERS
LASALLE STUDENTS GRADUATE
TRINITY & GOLDSMITHS LAUNCH MPHIL
RENDEZVOUS GOLDSMITHS
NEW STUDENT SATISFACTION RECORD
ArecentexhibitionattheRuthinCraftCentrecelebrated
theworkoftheGoldsmithsTextileDepartmentbetween1975and1988,dedicatingaroomtotheworkofAudreyWalker,whowasheadofthedepartmentduringthistime.Audreyisrecognisedforherabilitytocapturetheatmosphereofafleetingmomentorencounterbybuildinguplayersoffabricandstitch.ThisuseoftextilesasamediumforartisticexpressionischaracteristicofpiecesoriginatingfromGoldsmiths.AudreybuiltontheachievementsofConstanceHoward,whofoundedwhatwasthencalledtheEmbroideryDepartmentin1953.Continuingtofosteraphilosophyofencouragingindividualityandinnovation,Audreybroadenedthedepartmenttoincludealltextilemedia,strengtheningtextilesasacriticalpractice–thisinterdisciplinaryapproachcontinuesatGoldsmithstoday.
AnewMastersprogrammeaimingtodrivethecreative
economyhasbeenlaunchedbyGoldsmithsandTrinityCollegeDublin.Theprogramme,whichisthefirstofitskindglobally,willintegrateentrepreneurshipwithcreativepractice,developingnewbusinessandcreativeenterpriseswithinthecreativesector.TrinityCollegeandGoldsmithssignedastrategicpartnershipthissummer,buildingoncomplementarystrengthsinthearts,humanitiesandsocialsciencesatbothinstitutions.Thenewinterdisciplinaryprogramme,whichstartedthisautumn,willoffercoursesinEntrepreneurship,CreativeTechnologies,Drama,Film,Music,Animation,CreativePractice,ArtTheoryandCuration,andGamesDesignandDevelopment.Studentswillhavetheopportunitytoworkoncreativeentrepreneurialideasunderspecialistsupervisionateitherinstitution.
Thefirstpodcastinaseriesexploringthe‘University
oftheFuture’hasbeenlaunchedatGoldsmithsinpartnershipwithTimesHigherEducation.CoveringtopicssuchasMOOCs,OpenAccess,andhowtobestequipstudentsforthedigitalage,theserieswillfeaturearangeofindividualsfromGoldsmiths,thesectorandbeyondinanengagingconversationformat.Thepodcastlaunchtookplaceinfrontofaliveaudienceon1OctoberandfeaturedProfessorSirAdrianSmith,Vice-ChancelloroftheUniversityofLondon,inconversationwithJohnGill,EditorofTimesHigherEducation.Thetitleofthepodcastwas‘TechnologyvTradition:Universitiesmeetingthechallengeofchange’.TheserieswillbehostedontheGoldsmithsiTunesUchannelandatwww.gold.ac.uk/podcasts.
SoundresearchersatGoldsmithshaverevealedthenoisefrom
high-speedhanddryershasthesameimpactonthehumanearasthatofaroaddrillatcloserange.Theresearchproject,ledbyDrJohnLevackDrever,SeniorLecturerinCompositionandHeadoftheUnitforSoundPracticeResearch,foundthedryerscauseddiscomfortforelderlydementiasufferers,affectedthenavigationofvisually-impairedpeopleandevenforcedhearingaiduserstoturntheirdevicesoffwhenenteringpublictoilets.Theresearchteamfoundthatthedecibelsreachedbyhanddryersintoiletscouldreach11timesmorethanthatrecordedintheultra-absorbentacousticlaboratoriesmanufacturerstendtotestin.Thenextphaseoftheprojectwillseethecommissioningofawiderangeofuserstocomposeandinturnproposenewfavourablesounddesignpossibilities.
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worldactuallyis:diverse.Forme,aclassroomatGoldsmithsreflectstimespentinthefieldinHaiti.
My course has ensured I do not lose my passion for humanitarian work. IthasgivenmetheconfidenceinmyabilityandensuredthatIdon’tlosesightoftheobjectivesofmycharitywork.MypeershavebeenverykeentogetinvolvedandIlovebeingsurroundedbyyoung,passionatepeople.ItreallyinspiresmetocarryonwhatI’vebeendoing.
The more I learn at Goldsmiths, the more I realise what I do not know.MycoursehashelpedmeunderstandthecreationofthemodernworldinsomanywaysIdidn’tunderstandbefore.AskillIfoundhardesttoadoptwasthinkingcriticallywhenunderstandingacademictopicsbutIhavereallyimprovedinthisareaduringmyfirstyear.StudyingherehasalsoensuredthatIalwaysappreciatestrengthsandskillsinothers.Ihavelearntsomuchfromengagingwithmypeers.
Following my degree, I would like to ensure EduHaitian is the biggest success it can be. IwouldliketotakeayearouttomasterspeakingFrenchfluently,preferablyresidinginaFrenchspeakingnation.I’mverypassionateaboutchildren’s/women’srightsandwouldliketoadvocatetheserightsthrougheducation.
Read more about the work of EduHaitian at www.eduhaitian.org.
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.
In2010,OliviatravelledtoHaititocontributetoreliefefforts
inthewakeofthecountry’sdevastatingearthquake.Havingfalleninlovewiththecountry,shefoundedEduHaitian,acharitythatmatcheschildrenwithsponsorswhopayfortheireducation.
Shewasrecentlynamedoneof25fellowsintheLondonhubofSandbox–aglobalorganisationwhichsupportsextraordinaryyoungachieversundertheageof30.TheSandboxcommunityincludes23publishedauthorsandfiveofForbes’‘30under30’(2011).WespoketohertofindoutmoreaboutSandboxandhervolunteeringwork....
In order to get through to the first round of Sandbox, you need to be recommended by someone who is already a member. TaraYip-BannicqissomeoneIhavelivedandworkedalongsideinHaiti.SheisnowamemberorEduHaitian’sadvisoryboardandresidesinHaitiworkingfull-timeforUNICEF.TararecommendedmetoSandboxand,alongsidemyoriginalwrittenapplication,thisgotmethroughtothefinalround.Followingthis,Ihadtomakea‘WOW’videoaboutmyself.Thankfullythiswas‘WOW’enoughforSandbox;theysawmeritinmyworkandImadeitthroughtotheFinal25Classof2013LondonHub.
My fundraising work has been a huge highlight of the last few years. Someeventsinclude:blacktieballs,cyclingthelengthoftheUK,speakingtoursofprimaryschools,privatelyhostedeventsandarmyassaultcourses.I’vedoneallsortstoenablethechildreninourprogrammetoreceivethegift
Working in the field for two years taught me a lot, but I needed to understand how the world works. AftercomingtovisitGoldsmiths,IknewthiswastheplaceIwantedtostudy.IcouldseetheyvaluedmyexperienceandappreciatedIhadbeenonadifferentpathtoothersandwasn’tyourtypicalacademic.Itwasagooddecisionandstudyingherehasbeenabsolutelywonderful.Thebestthingisthewaytheacademicteachingstaffencourageyoutothinkforyourselfaboutissuesandvalueallopinions.AnotherhugebenefitIfeelisthemulti-diversityamongthestudents,itbringsawholeotherdimensiontopoliticaldebates.Tome,thisisatruerepresentationofhowthe
Olivia Jones is the Chief Executive Officer for EduHaitian and is currently studying a BA International Studies at Goldsmiths.
AN EXTRAORDINARY YOUNG ACHIEVER
ofaneducationandIlovefindingnewandchallengingwaystoinspirepeopletoraisemoney.IntotalIhaveraisedsomethingintheregionof£25,000andthatissettoincreasedramaticallyaswearere-launchingourprogramme.
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Morethan463,000peoplevisitedtheDamienHirstexhibition
lastyearatTateModern;itwasthemostsuccessfulsoloshowthegalleryhaseverexhibited.TheworksondisplayshowcasedthesometimescontroversialcareerofBritain’smostsuccessfulartist,withseveralpiecesdatingbacktoDamien’stimeatGoldsmiths.DrRichardNoble,currentHeadoftheDepartmentofArt,recentlymetwithDamientotalkabouthistimeatGoldsmiths,hisfellowartistsandtheirroleinredefiningtheBritishartsceneatthetime.
Damien’s Timeline:1983: completesafoundation courseatJacobKramer CollegeinLeeds1984: movestoLondonandworks asalabourer1986: beginshisFineArtdegree atGoldsmiths1988: conceivesandcuratesthe artexhibitionFreeze,which becomesthelaunching pointforagenerationof youngBritishartists(widely referredtoastheYBAs)1992: exhibitshisfamousshark informaldehydepiece (ThePhysicalImpossibility ofDeathintheMindof SomeoneLiving)atthe SaatchiGallery1995: awardedtheTurnerPrize2007: exhibitsFortheLoveofGod, aplatinumcastofaskullset with8,601flawlessdiamonds, attheWhiteCubeexhibition BeyondBelief2012: mostsuccessfulsoloexhibition inTateModern’shistory
Why did you choose to come to Goldsmiths?ImoveddowntoLondonwithsomefriends,andthatwaswhenIworkedoutthatreallyIonlywantedtogotoGoldsmiths.Iwasdoinglittlecollagesof[Kurt]Schwitters-typestuffthatIthenpainted,andGoldsmiths’FineArtcoursewastheonlyplacewhereyoudidn’t
Damien Hirst (BA Fine Art, 1989) looks back on his time at Goldsmiths and the importance of treating art students as artists.
REFLECTIONS OF A YOUNG BRITISH ARTIST
havetochoosebetweenpaintingandsculpture.Ijustthought,“Iwanttodoboth”.
And when you got to Goldsmiths, what were your initial impressions of the place?Wellitwasreallydifferenttoanywhereelse–theytreatedyoulikeartists.Michael[Craig-Martin]wasthere,JonThompsonwasmytutor;hewasgreat.Theyjustsaid“you’reartists,you’renotstudents–getonwithit”.Theydidn’tpushyouaround;ifyouwantedatutorial,youhadtoaskforone.
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”.
Itwasuptoyou.IgotintoaloadoftroubleonmyFoundationcourse[atLeeds],likeIdidatschool.OnceIgottoGoldsmithsIwastakenmuchmoreseriously.
Theyweregreattimes.OnmyfirstdayImetAngusFairhurst,MatCollishaw,SimonPattison–allinmyyear.GaryHumewastheretoo,andSarahLucaswasintheyearaboveme.IrememberSarahwasthelinktoeverythingbecauseshewasgoingoutwithGrenvilleDavey.Sohewascomingintothebar,thisartistthathadbeenattheCollegeandwhohadrecentlygotfamous.Andthenyou’dbumpintoJulianOpieandLisaMilroythroughMichael[Craig-Martin].Youthought,“OhmyGod,it’sarealconnectiontotheartworld”.
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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.
Right:DamienHirstandtheHeadoftheDepartmentofArtatGoldsmiths,RichardNoble
Below and opposite:DetailsfromDamienHirst’soffice
How did your work evolve while you were here?Ididn’treallyknowwhatIwasdoingatfirst.IrememberinmyfirstyearIsaw[tutor]BasilBeattie.IwasdoingthesecollagesandhesaidIshouldn’treallybehereifthat’swhatIwasdoing.Irealisedthattheywereabitnostalgicandretro,soIendedupbreakingthemallupandsweepingthemintoapileandhavingafewtutorialstalkingaboutthepile.Ithinkmy‘spot’paintingscameoutofthat.Ijustsortofridmyselfofitallandstartedagain.
Iwasintothatreallyromantic1950s’feelingofabstractpaintings:ifyou’refeelingmoodyyoudoapurplepainting;ifyou’refeelinghappyyoudoanorangeone.Ireallybelievedinthat.Butthensuddenly,beingatGoldsmiths,itslowlystartedtodawnonmethatitwasbollocks.Ibasicallyfellinlovewithminimalism.Irealiseditcanbe
“Youcoulddothat,youjusthavetogetabuilding.”
Did the other students immediately think it was a great idea, or did you have to talk them into it?Myyearweregood,butthepeopleintheyearaboveweren’tquitesure.IrememberIgotatutorialwithMichaelCraig-Martin;hedidn’twanttotalkaboutmywork,hejustaskedabouttheexhibition.Hesaid:“It’sgottobegood”.Isaid:“It’sgoingtobegood”.
It must have been a tremendously exciting thing to do at the time.Itjustseemedtohappennaturally.ThefirstpeopleIaskedformoneygavemeit.ThefirstpeopleIaskedforthebuildinggaveittome.HaditbeenharderthanthatImighthavegivenup.WhenIdid[groupexhibition]Modern
emotionalifit’sdonewell.Iwenttotallyawayfromthat50sstuffto60sminimalism.
ImademyfirstcabinetatGoldsmiths.Mick[Roberts]inthewoodworkshopusedtomakethem.ImeanhethoughtIwasnuts!Thespotpaintingswerelikeacolour,andthenthecabinetswerereallyfoundobjects.Itwasjustanorangesquarereally.Iwasintorepetition:itwasartwithoutangst.Thatwassortofadiscoveryforme.
And the Pop thing? One often hears you in connection to Jeff Koons.AtGoldsmithsIthoughtthetutorswereabsolutelysocoolandbrilliantandamazing,andthentheshowNewYorkArtNowattheSaatchiGalleryopened.Iwentthereanditblewmeaway–Itotallylovedit.AndthenallthetutorsatGoldsmithssaiditwasshit.ThatwasthefirsttimeIdisagreedwith
thetutors.AndoncethathappenedIwasoff–Irealisedtheywerejustanothersetofparents.
So what inspired you to organise Freeze? It must have been a hugely ambitious thing for a second year student.WellIhadafriendwhowantedtodosomethinglikethatinLeedsandIkepttellinghimhowtoorganiseit,thinking“Wellyoujustdothis”,andheneverdidit.
WhenIgottoGoldsmithsIworkedatAnthonyd’OffayGallery.IwashangingandwrappingupCarlAndre’swork,andwatchingAnthonysellworkthroughthelittleviewfinder.Iwasdoingtwoandahalfdaysaweekatd’OffayandthengoingbacktoGoldsmiths.
Ithought:“MyGod,theworkgoingonhereisbetterthanoratleastasgoodasalotoftheworkatd’Offay”.Youknow,itwasfinished,itwascomplete.SothenIthought:
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Above:DamienHirst,SpotPainting,1986Householdglossonboard2438x3658mm
Above:DamienHirst,ThePhysicalImpossibilityofDeathintheMindofSomeoneLiving,1991(Sideview)Glass,painted
steel,silicone,monofilament,sharkandformaldehydesolution2170x5420x1800mm
Top:DamienHirst,AThousandYears,1990Glass,steel,siliconerubber,paintedMDF,insect-o-cutor,
cow’shead,blood,flies,maggots,metaldishes,cottonwool,sugarandwater2075x4000x2150mm
You recently visited the campus, didn’t you? YouknowwhenIwentin[tothemainbuilding]Icouldn’tbelieveit.Ihadn’tbeenbackforabout23years.Iwentintothecanteenanditwasidentical.Imean,obviouslythetableshadchangedbuteverythingwasinthesameplace.Akidinthecorridorcameuptomeandsaid,“I’vejustbeenstudyingyou”.AndIwaslike(gulps).Itwassofreaky.Soweird.
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? BeforeIwenttoGoldsmithsIusedtothinkthatIwasaJackofalltrades:somanyideasandsomanydifferentdirections.
Medicineafterwardsitwasamassivestruggleandeverybodyweaskedsaid‘no’.Weonlyjustmanagedtodothat.
Freeze was so important to the British art world – it was a landmark moment because your whole generation came out of it.Ithinktherewereotherthingshappening.Ithinktherewasabitoffrustration.We’dseenwhathadhappenedwithJulianOpie.We’dseenwhathadhappenedwithGrenvilleDavey.Withtheartworldthewayitwastherewerelikelytobeonlythreeartists,ifthat,‘makingit’eachyear.TherewasalsothatpressurefromtheCollege–goodpressure–saying‘youneedanaudience’,basically.Don’twaitforone;don’tputyourpaintingsinthecornerofthestudioandwaitforsomeonetobuythemwhenyou’redead.Sowewerereallythinkinglikethatandyoujustwantedthattocarryon.
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.
IthinkwhatreallyhelpedmewasdoinggroupshowslikeFreeze.OnceIstartedarrangingotherpeople’sworkinawhiteroom,Icouldjustdothatwithmyownwork.Icouldseparateeachindividualpiecesotheydidn’tspilloverintoeachother.
IfI’mmakingapaintingandI’mnotsureifitisanygoodornot,Ialwaysimagineleavingitoutsidethepubandthinkingifnoonetakesithomeit’scrap.ThatwaswhatIwasthinkingwiththespotpainting;youcouldn’tleavethatintheskipifyouwalkedpastit,you’dhavetogetitoutandtakeithome.
Beinginartschoolempowersyoutodoyourownthing.WhenIleftmyFoundationcourseIdidn’tknowwhatIwantedtodoandthenassoonasIarrivedatGoldsmithsIknewitwaswhereIneededtobe.Itwasabsolutelytherightplace;therewasnowhereelseIcouldhavegonewhereIcouldhavedonewhatIwantedtodo.
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(RLSH)seethesedistinctionscollapsefurtherstill.
ThroughresearchonGuatemalanlynchingsIbecameintriguedbythewayinwhichvigilantismspreads.Whentheprovisionofjusticeisseenasseverelydeficientpeopletakejusticeintotheirownhands,doingsoinawaythatcorrespondswithexistingblueprintsforsuchactions.Rolemodelsaregenerallydrawnfromtherealworld,butsometimestheycomefromfiction.ThestarkestexampleofthiscanbeseeninthewayinwhichDWGriffith’s1915silentfilmTheBirthofaNationleddirectlytoWilliamJSimmonsre-foundingtheKuKluxKlan:fictionalvigilantesdirectlyinspiringrealvigilantes.Throughoutcomicbooks,filmsandTVprogrammescostumedvigilantearchetypesabound.TheeponymousheroinKick-Assasks“Whydoyouthinknobody’striedtobeasuperherobefore?”,leadingtohimdonningacostumetopatrolthestreets.
PhoenixJones,themostprominentamongthegrowingnumberofreallifesuperheroes,recentlycametotheUKgainingattentionacrossTV,newspapers
Kick-Ass is itself an exploration of the blurring between the imagined world of superheroes and real life vigilantism.
Theexponentialriseofsuperheroesthroughout
popularcultureisseeingacorrespondingincreaseinrelatednewsstories:theBurkaAvenger’srolemodelstatusinthebattleagainstIslamicfundamentalism,aportlygentlemandressedasBatmanhandingoverawantedcriminaltothepoliceinBradford,orthegallingdetailsoftheAuroratheatrekillingsarejustthetipoftheiceberg.ThisattentioncontinuedinarecentnewsstorywhenJimCarreyrefusedtopublicisehisroleinthesuperherofilmKick-Ass2duetodiscomfortwiththefilminthewakeoftheSandyHookshootings–hetweeted“IdidKickassamonthb4SandyHookandnowinallgoodconscienceIcannotsupportthatlevelofviolence[sic]”.InaninterviewinTheTimeshis16-year-oldco-starChloeGraceMoretzclarified“It’sfake.It’snotreallife.I’veknownthedifferencesinceIwasachild.”ButKick-Assisitselfanexplorationoftheblurringbetweentheimaginedworldofsuperheroesandreallifevigilantism.Recentnewsstoriesregarding‘reallifesuperheroes’
increasingpacewithatleast200activeRLSHs.Butthisisnotbestunderstoodasavigilantemovement,despitetheiractionsoftenbeingdescribedasvigilantisminthepress.Thisissomethingmoresubtle,morecharitableandpro-state.
ThereallifesuperheroesthatKick-Assandothersuperheromediaoutputshaveinspiredareactinginsocietieswheresatisfactionwithjusticeisrelativelyhighandpoliceauthorityrelativelystrong.Whilethisremainstrue,RLSHswillrarelystrayintovigilanteterritory.
andonline.DuringhisstayIhadthepleasureofsharingthestagewithJones,hiswifePurpleReign,andPeterTangen,thefounderofTheRealLifeSuperheroProject,todiscussideasofvigilantismandjustice.ItbecameclearthatwhileJonesandReignpatrolandoftenuseviolentforce,hisbrandofpolicinghasbecomeincreasinglyintertwinedwiththestate,movinghimawayfromvigilantism.
Hisinvolvementin250arrestsdemonstrateshisinherentpro-policestance,althoughheisnevershortofcriticismsoftheirflaws.JonesandhisRainCity
Dr Gavin Weston, Department of Anthropology, explores the phenomenon of ‘real life superheroes’ and the influence fictional characters have on real life vigilantism.
VIGILANTE ARCHETYPES & ‘REAL LIFE SUPERHEROES’
SuperheroMovementrefertothemselvesasa‘citizenpreventioneyewitnessgroup’.OtherpatrollingRLSHssuchasTheNewYorkInitiativeconductthemselvesinasimilarmanner.Theabilityofthepolicetoclampdownhardonover-exuberant‘superheroism’isfundamentaltotheshapethisnewmovementistaking.AlookatTangen’sRLSHProjectwebsiteshowsthatyou’remorelikelytofindcostumedheroeshandingoutfoodtothehomelessorraisingawarenessofsocialissuesthanpatrolling.Thisnewmovementappearstobespreadingat
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Winter 2013 No.40
Hefin JonesBA Design, 2013
DesigngraduateHefin,fromCardiganinWales,createdaspacesuitmadebyWelshcraftsmenfrommaterialssourcedinWales.
Hefinexplains:“TheWelshSpaceCampaign(WSC)launchesordinaryWelshpeopleintoouterspace,byfindingacosmiccontextforWelshculture,skillsandtraditions.IaimtorevealthatWaleshasthecapacitytoexplorespace,andtoshowthatoff-worldculturalisationcanbeachievedthroughacollectivecommunitarianeffort;asawaytoallowthepeopleinvolvedtoreconsidertheirroleandskillinrelationtothesecosmiccontexts.”www.hefinjones.co.uk
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Goldlink Winter 2013 No.40
1918 Made in Goldsmiths
Opposite: USAMiami,RepublicanConvention,August1972.Younghippiesserenadearmedpolicemen,behindafence,protectingtheconventionhall.©Abbas/MagnumPhotos.
forcesoftheNorthVietnamesePeople’sArmy,andtheNationalLiberationFront,theguerrillaforcesfightingintheSouth.ThetragedyofwarinVietnamfuelledwidespreadunrestandhelpedgalvanisediverseprotestmovementsaroundapotentsymbolofstruggle.Jean-PaulSartre’scommentabouttheeffectofVietnam‘extendingthefieldofthepossible’highlightedhowtheseeminglyimpossiblestruggleoftheNorthVietnameseagainstthemightoftheAmericanmilitarybecameasymbolofhopeforadiversecollectionofoppressedgroupswhosawcapitalistimperialismastheirenemy.Whilethecounterculturalmovementsthatembodiedthe‘spiritof1968’ultimatelyfailedtobringaboutthecollapseofthecapitalistsystem,theyhadafar-reachingimpactonsocialandculturallifeandgaverisetonewformsofpolitically-engagedartisticexpression.
Protestsongsaretypicallyunderstoodasconveyingexplicitpoliticalstatementsofopposition.Suchovertformsofprotestcanbecontrastedwithmoremetaphorical,codedoropaqueformsofmusical
Over30,000bookshavebeenwrittenabouttheVietnamWar,butmuchofthisliteratureis
extremelyone-sidedasitfocusesoverwhelminglyontheAmericanexperience.VietnamhasoftenbeenportrayedasapawnoftheColdWar,asaplacewherethesuperpowersofthecapitalistandcommunistworldplayedoutglobalpowerstruggles.ToooftentheVietnamesehavebeenrepresentedasmerefoilsorpuppetsofoutsideforces. Withaviewtocounteringsuchgrossrepresentations,inarecentlectureatGoldsmithsIreflectedonVietnameseresponsestothewar,focusingonhowmusicalprotestfiguredinthefractiouspoliticsofwar.MuchhasbeenwrittenabouttheimpactoftheVietnamWaronmusicoutsideofVietnam,especiallyonrockandfolkmusicintheUnitedStates.YetthemusicalrevolutionthatunfoldedinVietnamduringthe1960sand1970shaslargelygoneunnoticed.Inarecentfieldwork-basedresearchproject,IaimedtoaddressthisimbalancebyexploringVietnameseperspectivesonmusic,warandprotest.
MytalkatGoldsmithsmarkedthepublicationofabookthatIco-edited,MusicandProtestin1968.Acentralpremiseisthatmusicwasintegraltotheprofoundcultural,socialandpoliticalchangesthatswepttheglobearound1968.GoingbeyondanarrowfocusonprotestsonginAmericaandWesternEurope,the15chaptersinthebookexplorehowpoliticsandsocialprotestplayedoutinawiderangeofmusicalgenresindifferentpartsoftheworld.Thebookenvisagesthephenomenonof‘1968’–notjusttheyearitselfbutthebroaderperiodofsocio-politicalchangethatspannedfromthelate1950stotheearly1970s–asaglobaleventcharacterisedbyintensivetransnationalinteractionandcross-genremusicalinfluence.
InadditiontosuchmajorupheavalsasthePragueSpring,theMayriotsinFrance,andtheassassinationofMartinLutherKing,theyear1968sawwidespreadanti-wardemonstrations.ThesedemonstrationsweresparkedbytheTetOffensive,theseriesofcoordinatedattackslaunchedon30January1968againstnumeroussitesinSouthVietnamby
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.
MUSIC, PROTEST & THE VIETNAM WAR
Goldlink
20 Made in Goldsmiths
Winter 2013 No.40
WEAVEOFTHERIDE Andy Welch
Afterayearofpreparation,withnoexperienceoftravellingoranyideaofwhattoexpect,AndyWelch(MA
Design:CriticalPractice,2012)embarkedonacyclejourneyfromEnglandtoGeorgia.Weaveofthe
Rideisataleoffriendship,disaster,love,andself-transformation,bybicycle,setagainstthebackdropofaworldoffriendlystrangers,
strangeweather,wilddogattacks,andatapestryofrichlocalculture
andhospitality.
TALESOFTHESUBURBS Justin David
TalesoftheSuburbsisatrilogyofcoming-of-ageshortstories,
previouslypublishedindividually:Unicorn,MirrorBallandTrifle.AnostalgicfamilydramasetintheWestMidlands,thetrilogy
exploresgenderandclassduringthe80sand90s,augmented
withasprinkleofcampanddarkhumour.WrittenbyJustinDavid(MACreativeandLifeWriting,
2008)itprovidesawarm,wittyandthought-provokingtaleofworking
classgaylife.
THECURRENCYOFPAPERAlex Kovacs
AlexKovacs’(MAComparativeLiteraryStudies–Modern
Literature,2012)debutnovelisaboutasculptor,filmmaker,soundartist,mystic,andterminalrecluse
who,overthecourseof50years,makinguseofavaststockpileof
illegitimatecurrency,fundsagreatrangeofsecret,large-scaleart
projectsthroughoutLondon.Thisisastrikinglyoriginalsatireaboutthewaysinwhichartandcurrency
conspiretofavourcertainvoicesandformsoverothers.
DEARBOYEmily Berry
DearBoyisthedebutpoetrycollectionbyGoldsmithsalumna
EmilyBerry(MACreativeandLifeWriting,2007)andwinnerofthe2013ForwardPrizeforBestFirstCollection.Thebook’sconfiding,conversationalvoicestellstories
recognisableandrefracted,carriedalongbytheundercurrentonwhich
thecollectionebbsandrides:theanguishandenergybroughtabout
byalong-distanceloveaffair,whichpropels,terrorisesandultimately
unitesthework.
ALLTHEBEGGARSRIDING Lucy Caldwell
Thisisthemostrecentnovelbyaward-winningauthorand
GoldsmithsalumnaLucyCaldwell(MACreativeandLifeWriting,2004).Narratedbyprotagonist
Lara,AlltheBeggarsRidingistheheartbreakingportraitofawoman
confrontingherpast.Movingbackwardsandforwardsfromthe
1970stothepresentdaywelearnoftheliesanddeceptionspresentinLara’spast,andthelastingeffectstheyhavehadonLaraasanadult.
B O O K S
21
resistance.Thinkingaboutthenatureofmusicalprotestandresistanceinevitablyraisesbroaderquestionsaboutmusicalmeaningandhowmusicintersectswithpolitics,ideologyandpower.Musicmaybeusedtoconfirmornaturaliseadominantideologyoritmayaccruemeaningsthatcontestestablishedpowerrelations.Adistinctivecharacteristicofmusicisthatitissemanticallyambiguousanditevenhasthepotentialtosimultaneouslyconveydifferentmeanings.Whileaparticularmusicperformanceorpiecemayostensiblyservetoconfirmthestatusquo,itmayalsocontainhiddenmeanings.Musicisalsoconnectedtootherdomainsofhumanexperienceandaction:itisoftenimplicatedinprotestbyvirtueofitsperformancecontext,thediscursiveformationsinwhichitisembedded,andtheformalandinformalstructuresthroughwhichitisshaped.
Aspartofthe‘affectiveturn’inthearts,humanitiesandsocialsciences,overthelastdecadetherehasbeenagrowinginterestinhowpoliticsandemotionsareinterconnected.Workingagainstthedismissiveviewofprotestorsasirrational,emotionaldeviants,theburgeoningresearchontheemotionaldimensionsofsocialmovementshasbroughtattentiontotheunbridledpotentialofaffectivestatesasamotivationalforceforpoliticalaction(andinaction).Throughitscapacitytoengagepeople’semotions,musiccanserveasapowerfulagentinsocio-politicalmovements.
Theemotionalappealofmusicmakesitapotentmediumforarticulatingprotest.IntheVietnamesecase,popularsongbecameaninstrumentofpoliticsandprotestindifferentwaysintheNorthandtheSouth.IntheNorth,therulingVietnameseCommunistPartysawmusicasan‘ideologicalweapon’tostrengthenpeople’scommitmenttothewarandtoconveyloveforthenationandtheParty.Thisideologicalstanceisevidentintheyouthsongmovementcalled‘Oursongscandrownoutthebombs’,whichemergedinresponsetoUSbombingraidsthatbeganin1965.Theaimofthe‘Oursongs...’movementwastoharnessthepowerofsongtocombattheUSmilitaryoffensivebybolsteringunityandmoraleandbystrengtheningresolveforthearmedstruggle.Oneofthemainsongwritersinthemovement,PhamTuyen,explainedtomeinaninterviewinHanoiin2010howhewrotesongswhilelivinginanair-raidshelter.Soldierswhomannedanti-aircraftgunssungthesesongsinordertohelpthemovercometheirfearandgaincouragetofighttothedeath.Interestingly,suchpro-warsongsinthestyleofmarcheswereperformedasprotestsongsbyfolkmusiciansintheanti-warmovementintheUSlikePeteSeegerandBarbaraDane.Incontrasttorevolutionary‘redmusic’inNorthVietnam,SouthVietnamesesongwritersfavouredsentimentalsongs,or‘yellowmusic’,whichhadadifferentemotional
theCorpses’(‘HatTrenNhungXacNguoi’)–writteninresponsetothehorrificlossoflifethatTrinhCongSonhimselfwitnessedduringtheTetOffensive–darklyricsaboutdeatharesungtoareassuring,dreamy,folk-likemelody.Thesongisamelancholiclullabythatmarksoutacompassionatemusicalspaceforsharingintimatefeelingsofloveandloss,sufferingandsadness.
ThecontrastbetweenthesentimentalismofTrinhCongSong’santi-warsongsandthestridentpro-warsongsofNorthVietnamisstriking,yetbothconstitutedformsofmusicalprotest.Listeningattentivelytomusicondifferentsidesofconflictprovidesopportunitiesnotonlyforinvestigatingwhymusicissuchavitalmediumofprotest,butalsoforstudyingmultipleinterpretationsofwarandforinterrogatingthedynamicsofsocio-politicalchange.
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.
A distinctive characteristic of music is that it is semantically ambiguous and it even has the potential to simultaneously convey different meanings.
appeal.ThemostfamoussongwriterintheSouth,TrinhCongSon,wrotesentimentalsongsaboutlostloveandhumanfate,aboutthepainandsufferingofwarandaboutthedesireforpeaceandnationalreconciliation.VietnamesecommentatorsoftenremarkonhowTrinhCongSong’smusic‘enterspeople’sguts’,aphrasethatencapsulateshowdeeplyhissongstouchhislisteners.TheemotionalpowerofTrinhCongSon’ssongspartlyliesintheimaginativewaysthathesetslyricstomelody.Inmanyofhisanti-warsongs,thereisatensionbetweenthemeaningofthelyricsandtheexpressivityofthemusic.Forinstance,in‘Singingon
TAMINGTHEPOUND:MakingMoneyYourServant,
NotYourMasterKim Stephenson
KimStephenson(MScOccupationalPsychology,1997)useshisconsultancyexperience
tohelppeoplebanishtheirmoneyworries.Usingstraightforwardlanguage,humourandmixing
currentresearchwithexperienceandanecdote,TamingthePound
providesa‘whatyouneedtoknow’guideforanyonelackingexisting
knowledgeofcomplexfinance.
Goldlink Winter 2013 No.40
2322 Retrospectives
SANDRA:WeweresetupbyamutualfriendandmetonadrunkennightatTheAmershamArmsin2009.IwasanoverseasstudentfromSingaporelivinginDeanHouseanddoinganMAinPoliticalCommunications.WedatedforawhilebeforeIreturnedhomeaftergraduation.WesurvivedthedistanceandmadeahomeclosetoGoldsmithsbeforeourweddinginnearbyGreenwichinJune2013.I’mnowworkinginaPRevaluationandplanningagency,andbeingbasedinamajormediahublikeLondonhasgivenmetheopportunitytoworkwithlotsofbig-nameclients.Webothcontinuetolovetheareaalthoughthesedays,youaremorelikelytofindusinNewCrossHousethanyouareTheAmersham!SIMON:IdidnotcomequiteasfarasSandratostudymyMAinScriptwriting.BornandbredinBromley,Iwasverymuchthelocalboy.WhenSandraleft,neitherofusknewhowthelongdistancethingwouldworkoutbuteverythingfellintoplaceandwewerereunitedin2011.OurfirsthometogetherwasofcourseinNewCrossGate.Sincethen,I’vefoundajobinadvertisingbutI’mstillverymuchinvolvedinscriptwriting.I’mcurrentlyworkingonsettingupalittletheatrecompany,PapergangTheatre,thathopestorepresentBritish-bornEastAsianwriters.WeremainregularsofseveralsouthLondonhaunts,includingtheGreenwichPicturehouse,andrecentlymadeanofferonanewhomethatisjustashortwalkingdistancefromtheCollege.
LIFE AFTER GOLDSMITHSSandra Leong & Simon Ly
BG:ThefriendsImet,stilldrinkwith,andhopetoalwaysknow.ThatandthefirstplayIeverwrotereceivinggreatlaughsandapplauseonitsopeningnightintheDramaDepartment’sStudio1butdeafening,gut–wrenchingsilenceonitssecond(andfortunatelyclosing)night.
KC:Walkingalongthechequered-flooredhallwayoftheRichardHoggartBuilding;crossingthegreentogettothemedialabs;thehourswe’dspendperfectinganillustrationorfilmprojectthere;cominghometomidnightpartiesatLoringHallafteralateshiftatwork.
PG:Withinacompositeimageofdufflecoats,stripedscarvesandLondonsmogsliesacentralmemoryofexcitement,ofapositive,creativeclimate.Educationmattered;thekeytoabetterandmoreequitablesociety.Thestaffthemselveswerecharacters,exudingoptimismandcreativity,aheadymixture.
BG:WearingaredAspire[Aimhigher]t-shirt,helpingoutwitheventsandworkshopsoncampusandoff.Ifitwaswarm,andsometimesevenwhenitwasn’t,onthebackfieldplayingwiththeUltimateFrisbeeteam.Ifitwascold,thepoetrysection.
KC:Killingtimebetweenlecturesandseminarsatlocalpubsandcafés;campedoutinthelibrary,enjoyingthepeaceandsilenceforachange;behindtheboxoffice,barorusheringattheGreenwichPicturehousedowntheroad(bestpart-timejobever!).
PG:Threeplacesweremy‘home’.Therefectory:longconversationsagainstabackdropofnoiseandoutrageouslydressedartstudents;thestudentcommonroom:soundsofDankworthandearnestdiscussions;thebighall:withitsimpressivearchitectureandGoldsmiths’orchestrarehearsing(IplayedD/Bass).
BG:Goldsmithswassuchadiverseenvironmentfilledwithbrilliantpeopledoingfascinatingthingsthatwerealwaysaninspiration,Icouldn’tsayjustonememberofstafforjustoneofmypeers.I’mgratefultoeveryoneIworkedwith.
KC:I’dliketothinkItookalittlebitfromeverypersonImet–theinternationalgroupoffriendsImadewhileIwasthere,thehousemates,peopleonmycourseandoutsideofit.AngelaMcRobbiewasalwaysengaging.IreallyrespectedTracyBass(Film)andJaneStobbart(Illustration)andspentalotoftimeundertheirguidance.
PG:OnepersonstoodoutformeandIwrotetohimthroughoutmycareer:NormanKirby.NormanhadbeenAidetoFieldMarshalMontgomeryduringthewar.Agentlermoreinsightfulmanwouldbehardtofind.Hewasverymuch‘onthechild’sside’andinspiredustobethesame.
One person who truly inspired me was…
The place you would be most likely to find me was…
My abiding memory from my time at Goldsmiths is...
PHILIPGAMMAGE(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.
KRISSACURRAN(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.
BENGWALCHMAI(BA English and Drama, 2008) Actor, producer, writer and former staff member, Ben’s debut novel Purefinder will be published on 13 December.
3 X 3
Goldlink Winter 2013 No.40
2524 People
ofus.ItwasthenthatIrealisedIwaswitnessinghistoryinthemaking–watchingaprotestturnintoarevolution.Ineverexpectedtohavethoseexperiencesinmycareer.”ShealsoreportedontheaftermathofKosovo’sdeclarationofindependencefromSerbia,andtheconflictbetweenRussiaandGeorgiain2008.
HelenwasawardedaGoldsmithsHonoraryFellowshipattheSeptemberpresentationceremonies.“AfterhavingthecareerI’vehadit’samazingcomingbacktoGoldsmiths20yearsafteroriginallygraduatingandthinking‘thisiswhereitallstarted’.I’veachievedsomuch–andsomuchmorethanIeverexpectedto.”
Helenisgratefulfortheradioandjournalismtrainingshereceivedduringherdegree.“ItwasachancetoexperimentandworkoutwhatIlikeddoing.It’ssoimportantinthemedia–beingabletohavelotsofideas,and
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.
“WhenIwashavingchemoandveryillIthought‘WhatarethethingsI’llregretnotdoing?’”,sheexplains.“AfewweeksafterchemofinishedIwasinRussia.Thecancergavemethecouragetoleaveagoodjobandstepintotheunknown.”
ThehighlightofHelen’scareerhasbeenwitnessinghistorybeingmade.ShewasattheforefrontoftheBBC’scoverageoftheUkrainianOrangeRevolutionin2004-5,whereshewasreportingonthedemonstrationsprotestingagainstelectoralfraud.“Bymid-afternoonthereweretensofthousandsofpeopleinfront
comingupwithstuffthat’salittlebitdifferent,abitunconventional.”
GoldsmithslecturerTimCrook,whotaughtHelenatthetime,remembersherbeingfulloftheseideas.“NobodycouldforgetHelen,”heexplains.“Shewascreative,professional,disciplined,charismatic,original,andinspiredherfellowstudentsinthesamewaysheinspirespeoplenow.Helenwouldsurpriseyouwithideasandproductionplansthatchallengedourownthinkingaswellasherowncourageandspiritofadventure.”
Helenwasdiagnosedwithovariancancerforthesecondtimein2012.Sheblogsregularlyonherexperienceoflivingwiththedisease,andonworkingthroughanewlistforliving(helenfawkes.wordpress.com).“It’sweirdhavingalikelyexpirationdate,”shehassaid.“Butyouknowit’snottheyearsinyourlifethatmatter,butthelifeinyouryears.”
HELEN FAWKES BA Media & Communications, 1993
GERRYJUDAHArtist & DesignerGerryJudahstudiedFineArtatGoldsmithsinthe1970s.HehascreatedsettingsfortheBBC,BritishMuseum,ImperialWarMuseum,andtheRoyalShakespeareCompanyamongstothers,andhasworkedwithmusiciansincludingLedZeppelin,MichaelJacksonandPaulMcCartney.“IenjoyedmytimeatGoldsmithsenormously.Itwasn’tjustartweengagedwith,butphilosophy,psychology,theatre,andmanyotherinterests.Weallfedoffeachother.Itreallyfeltlikewewerepartofacommunityofartists.”
CELEBRATINGYOURSTORIES
For over a century, Goldsmiths has nurtured
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change it. Our Gold Stories celebrate the achievements
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gold-stories
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G O L D S T O R I E SG O L D S T O R I E S
ERROLLYNWALLENMBEComposerDescribedas“therenaissancewomanofcontemporaryBritishmusic”,ErrollynWallen(BMusMusic)wasthefirstblackwomantohaveherworkperformedattheProms.ThisyearshewasawardedanIvorNovelloAwardforClassicalMusic,butsherefusestorestonherlaurels.“Winninganyawardembarrassesmeatfirst,thenIthink,wellI’dbetterliveuptothisawardaseveryone’smadesuchafuss–andImustworkevenharder!”shesays.
HENNYBRAUNDChief Executive of Anthony NolanSince2009,HistoryalumnaHennyBraundhasworkedtosecurethefutureofAnthonyNolan,thepioneeringcharitythatsavesthelivesofpeoplewithbloodcancer.“AnthonyNolanistheworld’sfirstbonemarrowregister,setupin1974byShirleyNolan,whowaslookingforachancetosavethelifeofhersonAnthony,”explainsHenny.“Beingpartofacharitythatliterallysavesliveseverydayisfantastic.It’sarealprivilegetoleadsuchanorganisation.”
SARNATHBANERJEEGraphic NovelistSarnathBanerjee(MAImageandCommunication)istheauthorofoneofIndia’sfirstgraphicnovels,thesemi-autobiographicalCorridor(2004),whichlayershistory,mythologyandpopularculture.He’salsoanartist,filmmakerandco-founderofthecomicspublishinghousePhantomville.“BeingaGoldsmithsgraduateundeniablyhasacertainculturalcache,”explainsSarnath,“butthat’sjustacosmeticreasontogotoaninstitution.Forme,itwastheinnerGoldsmithslifethatwasmoreimportantintermsofwhatIendedupdoing.”
ALTHEAEFUNSHILEChief Operating Officer at Arts Council EnglandAfterherPGCE,AltheataughtandworkedwithyoungpeoplebeforejoiningtheLondonBoroughofLewishamandthentakingonvariousdirector-levelrolesintheDepartmentforEducationandSkills.In2007shejoinedtheArtsCouncil,wheresheisresponsibleforoperationaldeliveryacrosstheorganisation.“Goldsmithstaughtmetobeboldandfearlessbutatthesametimedisciplined,structuredandorganised.”
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HabibAllyboccusVicky Annand*DianaMAustinEileenLAveryDrMargaretBBarrowmanRupertBondDavid A Brenton*Lesley BricknellKateBuchanan*Madeleine Carrington*SusanTCChessellAngelaChillingworthNicola Christie*CarolAClarkJulianPClaryColinCoatesCarol CrowdyMichael I Davies*BericDavisDrUrsulaRKDommett
ProfessorChristopherHainesTerenceandValerieHallMoiraLHammondRoger W Hardaker*KevinJHartJanet HatcherJennyHeadlam-WellsAngelaHiggsJacqueline and James HuntMichaelWHurstChristopherMJacksonPaulaJordanSavvasIKarayiannisRevdCliveKnightJenniferELane*DrBarrySCLeadbeaterRichard H R Lewis*Patience E Light*MargeryKLordCatherineMJLoveFrankJLuce*Anna Mason*ColinMastersChristopherJMeehanPatriciaGMilesCatherineMoorePhilipBMunsonCarole Myers*Joyce R Newton*ErnestNorris#GraftonWAOatesElizabethPeaceIreneMPennington*MarjorieJPiddockJohnBPolley*Susan H Poole*Diana F Pordham*RosemaryPrattChristopherJRedman*Rosemary Ross*Rosemary L Shippard*JoanEShuttleworthMyraSlaterValerieSmithRichardISpittleDianaSpringallPeter G Starling*CarolKStrattonMarilynTaylorJamesEThomasJoan ThomasSusanCAThomasFlorence M Wallace*CynthiaWarrenPeterRWatsonJohnRWoodward
MerielDowneyDrDorotheeEberhardt-LutzAlthea Efunshile*Diane Emery*HelenMFlackPiers E C Ford*SimonGalesPeterWGoldsmithDerek L Gooch*Simon B Hale*NickHalkesNicolaCHamill-StewartIreneHeasmanJeremyHowesandJanetJamiesonJuliaandNicholasJamesGlynisMMacdonaldCatherine J Mann*Jill M Marshall*Paul C Martin*SusanMasonRichardJMayoMark J C Mitchell*SarahNelsonDr Nici Nelson-MattinglyStellaandDrJohnNewberyNicholas G Parkes*MargaretParryAnthony C Powell*DerekRatcliffeDrBarbaraRinnAndrewPRobinson*LeeRFRobsonRichardJRoyleJohnESmithChristopher E SpearCaroline L Speller*RossEStraughanAndrew C M Taylor*ProfessorHelenThomas*Rebecca N TurnerCatherineJTwistPeterRWiltonand two anonymous donors
1990to1999
GabrielKAjeigbe*JacquelineRAndrewsLynneAndrewsPaulDAndrewsModupeAwolola*ClaireBarnes*ZoniaMBatemanElizabethCBennett*Josephine M BenstedSallyABlackmore
PERSON’S NAMEDegree subject & year of Grad.
PERSON’S NAMEDegree subject & year of Grad.
PERSON’S NAMEDegree subject & year of Grad.
Goldlink Winter 2013 No.40
3130 Thank you
Joan M Blake*RebeccaMBoyle-Suh*VictoriaLPBrownAlison B Browning*JoanneLCannonPhilipTClarkCatherineSAClarke*Peter D Cole*Michael J Connolly*Simon P Costar*Spencer J Cozens*Ann Dace*Paul R Dart*ClareFDenizMarkJRDerkacz*Carmine De RosaCarmelaJDiClementeChristopherIDixonValerie A Docksey*Derek F Duchemin*AnthonyDDulakeChloe T Edwards*RevdDavidBEvansAndrea J Fairweather*NicholasJForde*SusanGarciaGeoffrey S Griffiths*RobertHarperJonesLindsay Haverson*Edward R Heaton*MandaHelalAnnieHershkowitzAnnePHillJeremyHill*Joy Holmes*Katherine A Hunter*Jenny Jenks*AmeyandRaymondJohnsonStephanieJKellyPaul S Kemp Robertson*DeanAKenningReena Lal*Virginia K LittonLauraLLloydDarciaNMartinTim J Matthews*JoanPMcCluskeyDrPeterMcCullochKarenMcDonnellAliceAMelbourneScottAMonks*Linda E Muir*KatherineHMullerPonniahSNathanIdell Nugent*JonathanLMPatient
FayKPotterMaureen Prince*Ruth G Pringle*MatthewReay*Saul N Reid*Janet Rennie*Dr Anthony F Riddle*Kristyan RobinsonNeil Rogers*Claire L Rowley*AmardeepSahotaYuhSaito*Philip Scott*Michael Scott-KlineDavidGShailerVirendraSingh*CarolynMSmithThelmaSmithKatie Stone*Helen K Suggitt*Dorothy E Thomas*Liam J Thompson*Philip A Thompson*DrJoanBSimonMichael WaddiloveKate Welsh*Michael E Wendling*JuliaDWheelerBenjaminJWhitehouse*Andrew Wills*Angela Wolfson*Gillian L Woods*Stephanie Wright*VernaTYehand seven anonymous donors
2010to2013
RobertBerryRabhiChakrapeesirisukLucindaCharmanBethFarrowEmilyRFordhamThomasEGarsideSimeeraHassanSafayetHossain*Shu-HsingHuangSarahEJonesMohammedAKadirRebeccaALatimerJaimes Nel*DrJonathanMPoonRichardPStevens-KatonaLucyHWilsonHannaWoodside
Hilary P Phelps*Isabelle J Phillips*Tina L Price-Johnson*DrGeoffreyCRaynerAnneCRennieJamesSReveleyAlison J Richards*MargaretSaundersKatherineASemler*YumikoShutoDrEwaSidorenkoBartholomew J SmithNigel SpencerAlexandraHASterckDespinaTapakiEmma Taverner*DennisJTaylorDrCathirithambyPThiagarajahGaryDThomasRosalind M Tucker*NickWatkissPamela J WestallGrahamWhitehouseDorothee Williams*CharlesEWoodinDouglasVZegersand five anonymous donors
2000to2009
Nikky Aderanti*AdijatuAAjalaJacquelynAldrichClaraAmpah-KorsahTeresa Amprako Appiah*ClaudiaAsgillStephanie BaileyHani Baluch*Dr Gillian Barber*ValerieSBarraclough*ShaziaBegumGillian R J BentleyCarolineBernard-MoxeyAlisdair D Bevan*John BoxLucindaBoylanPaulBrazil*JenniferBreen*Janet S L Brown*Adriano Bulla*BryonieCarterMunazzah ChoudharyAnne S Cox*Angela CuttsEdwardTDavie*LewisRDavies
GOLDSMITHS’ STAFF
Current Staff
£1,000to£9,999
MichaelJGriffiths*Patrick Loughrey*
Upto£1,000
Dr Jorella Andrews*Vicky Annand*DrHerbertBlumbergLizBromleyAnnette Bullen*Antoinette Carey*AngelaElderton*GrahamGaskellAndrewLantry*Gerald Lidstone*James MacGregor*Professor Simon McVeigh*David Mungall*Dr Barley Norton*Professor Jane Powell*
Former Staff
£1,000to£9,999
CatherineMGoldingHugh Jones*
Upto£1,000
Colin Aggett*Dr Andrew Barry*DrColinandSueBoswell*DrAileenMCarpenter*Dr Robert Colquhoun*Professor Geoffrey Crossick*ProfessorPeterDunwoodieProfessorKennethGregoryCBEJenniferELane*ChristopherJMeehanMichael Metelits*Genevieve Kantoch*Mary C Nixon*Christopher J Pearson*DameJanetERittermanDBEProfessor Diane Waller*
Heather Davis*GunayDemirciandAlexRobertsonCarlaLADiego-FranceskidesConor Doherty*DanielEFairfaxSaamMFarahmandAlbert W Fielder*Helen FinchSachinFingElizabeth S FrancisJosephine Gallagher*MilesGarrattDrMargaretGhilchikCarol Gigg*Andrea GillieAnna M Giuffria*JenniferCGordon*Genevieve GrantDaniel Grint*MasumiHanaokaAndreaHead*Sylvia A Hejda-Forde*Norman R HolmesDr Robert A Howard*Nechamah Inbar-Bonanos*Dr Elizabeth JacksonKazueKamiuchiJasbinderKaurGrainneKedves-ConstantinidesRichard S KempWilliam Kiang*SofieLKilburnIanMLaRiviereJessicaTLayKathrynSLeachKwok H Li*SianLucasEdith M Macgill*DanielaMaestriKaren Males*Cecelia D Marshall*BerylMcCorkleTom McLoughlin*Bindy Mellor*StewartJMunn*David M Neat*Gemma Novis*GabrielleFAOliverRyojiOkudaMatthew OkyereFiona M O’Neill*Donna Palumbi*Christopher W Peacock*JeanPennantDr Andrew G Pink*Patricia Poulton*
PLEDGED LEGACIES
TheCollegewouldliketothankallthosewhohaveinformedusthattheyhavedecidedtomaketheexceptionalcommitmentofrememberingtheCollegeintheirWill.WegratefullyacknowledgethesupportofElizabethJCraigen,AnthonyDFDavies,PatriciaHutchinson,BrianLymberyOBE,AnthonyCPowell,KarinaMTomkins,RuthWebbandsixpeoplewhowishtoremainanonymous.
NOTES
# Donorissadlydeceased* Donorhasgivenmorethanonce withintheyearIndividuals in bold have kindly continued their support throughout the last three or more years. Decadeofgraduationreferstothedecadeinwhichthelastcourseofstudywascompleted.
Wehavedoneourutmosttoensuretheinformationlistedhereisaccurate.Ifthereisanythingyouwouldlikeustoupdatepleaseemaildevelopment@gold.ac.ukorcall0207 919 7612
Goldlink
32 Parting Shot
Twoofthe28ex-servicementrainingtobeteachersatGoldsmiths(basedatNottinghamUniversitysincetheoutbreakofwar)aretrainingtohaveartastheirmainsubject.HeretheycanbeseentakingpartinanartclassatNottinghamUniversity.
TheoriginalcaptionmakesmuchofthefactthatmostoftheNottinghamartstudentsarewomen:“asthephotographerclickstheshutterone[ofthemen]says‘This’llmaketheboysjealous’”.
Ministry of Information Photo Division Photographer © IWM (D 22754)
FROM THE ARMED FORCES TO SCHOOL-MASTERING1944
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