Goldlink 40

WINTER 2013 NO. 40Keeping you in touch with Goldsmiths

Reflections of a Young British Artist In conversation with Damien Hirst

Goldlink

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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54 News

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.


98 Interview

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:


1312 Interview

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.


1514 Feature

(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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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.


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


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

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:[email protected]

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.”

PERSON’S NAMEDegree subject & year of Grad.



Winter 2013 No.40

27

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MarkAstaire*Marlene BurstonChelsea Arts Club TrustCompassGroupThe Corinne Burton Memorial Trust*ISACharityMusic for Alice*NancyRutherford*KaluSinghSirWilliamUttingCB

Upto£1,000

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DONORS TO GOLDSMITHS 1 August 2012 to 31 July 2013

“IdecidedtogivetotheAnnualFundtosaythanksforthehugeboosttheCollegegavetoayoungladfromasmalltown,andforthelastingeducationallegacyonwhichIstillsometimesdraw.I’veflourishedbecauseofGoldsmiths.”

— Mark Mitchell BA English 1979-1982

THANK YOU

Our community of donors

Thankyoutoallofourdonorswhosegenerosityoverthepastyearhasmadesuchadifferencetothelives

ofcurrentandfutureGoldsmithsstudents.

Yourgiftshavefulfilledlongcherishedideasandprojects,includingtheongoingtransformationoftheheartoftheCollege–theRichardHoggartBuilding.

Youhavealsoprovidedvitalsupporttoourlibraryandenabledtalentedstudentstorealisetheirfull

potentialthroughscholarshipsandhardshipfunds.

If you would like to read more about the impact our donors make to Goldsmiths please visit

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2928 Thank you

Alumnigivingupto£1,000bydecadeofgraduation

1930to1939

PhilipHHarrisonArthurMooreEvelynMIPlowmanFredaETerryand one anonymous donor

1940to1949

JoanMAltmanLornaAndersonKathleenBoothbyNancyMCapeKennethCCollinsSidneyCEarlJuneandRonaldFordRuthGraterMargaretJGrindrod*John B Hobden*JoanKerridgePeterMLewisAnneSGPaisleyBrendaPickburnGeorgeAPooleJamesSnowdenJeanMSommer*FrankSpencer*ShirleyStobbs#PatriciaEStokerWalterRUsherwood

1950to1959

PaulineSAbbottValerie J AdamsKayAldridgeandMarjorieGuestMargaretBeattieHarold BeldonBettinaBirtwistleWinifredBlackburnOBEEsmeJBrittonEricandMaryBurdettDrAileenMCarpenter*PatriciaMCavillGeoffreyRChapmanEdwardMCharltonWilliamJChristmasLeonard D Clark MBE*KeithClementsMaryCrouchBarbaraJDavey*KennethDixon

Christopher J Young*Mirjana Zivanovic*and two anonymous donors

1970to1979

JoyceAdamsMervyn J Ainsworth OBE*Kay Albrecht*Robert Appleby*MonicaAAllenMaryAAlston-SengulDavidAnsteadCharlesFBakeAnnBarlowCarolBarryColin Bland*AliceBlazenaRichardsPaulDBridgewaterGeoffrey Buck*ClaireByssheDianaMCase*JonathanCauserAndyChristian*BeverleyARClementsMarinaCogmanKath CoxSusanPCoxPeterJVCoyDrSusanMCunninghamProfessorCeliaPDuffyKathleen and Revd Kenneth Dunstan*BrianEspinerJennyEspinerAlanEvansAlbertJEvansChristopherFarrowJennifer A Fletcher*StephenHFranksThe Revd Professor Peter Galloway OBERuthGarchaJohn Glockler*PatriciaMGreenBeverley Howard*Susan E HowarthJuneVKeeble*LintonKwesiJohnsonElviraJonesMarionJonesJohnandPaulaLauwerysGerald Lidstone*BrendaMLittleRichardSLloydDavidRLock*

PamelaElliottAnthonyBEllison*Alan E Fox*SybilHowieDr Barbara Hull*JohnHuntNevilleGraydonThomasHHiscockStanleyHornsbyMaryInkpen*ElizabethandHughJonesBerniceEMarshallDaphneBNewmanMarionPanzettaLeonMPotterJuneReddiex*JosephSRichardsJohn A RichardsonDenysandEirianShortJeanStoltonGillianLStringfellowCliffordandPatriciaSwindellsChrisThompson* (DorothyHartland)DrEveleenSThorneDrJohnVerseyAnnMWestmorlandMarilynWoodand two anonymous donors

1960to1969

RichardAAlderCarol Appleby*Herbert S Anderson*BobArchiboldRevdPierreAucoinRoy S Axell*Jennifer Barnett*Peter BaseleySusanBradyPeter V Brown*JentyBurrillProfessorChristine MChapmanCBEDerekRCobleyHubertColeNoreenAColeBrianHCox*RosemaryCranmerRogerBDilksDrGrahamEEldridgeRichardFeakin*SuzanneFernandoJohnGleesonPeter W Griffiths

Mary C Lockett*Susan Macartney*LindaMMacDonaldMick Martin*Andrew F Mathieson*ClareMcConkey*MargaretJMendelAshley Meyer*Janet R ParkerJuneMPunnettWilliamNBRichardsonDLHazelRickettAudrey RingroseAngelaRodgersSian RoffeWilliamESamuelSallyASelimBernardSimmonsJeanESimonsGillianSmithJudySmith*ProfessorPeterESmithMargaretMStephensSheilaStirrupJohnDSwarbrick*MargariteITheodoridesSusanCThompsonProfessor Diane Waller*DavidJWardCatherineMWebberRichard G WhitingDerekWhittakerand four anonymous donors

1980to1989

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





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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Goldlink 40

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