BA (Hons) Fine Art

This degree aims to equip you with creative, interpretive, critical and analytical skills, so that you can participate in and contribute to the expanding field of contemporary art.

UCAS
W190
Course length
3 years full-time.
Additional requirements

Successful completion of three A-levels, Baccalaureate or equivalent; portfolio of work. 

Successful completion of a Foundation, BTEC or equivalent (completed by the end of the academic year preceding entry). 

After submitting your application you'll be asked to upload a portfolio online. If selected for interview, you'll be asked to bring along a portfolio of recent work. Find out more about the electronic portfolio requirements

See entrance requirements for general and alternative qualifications.

If your first language is not English, please check our English Language requirements.

Fees and funding
Please see undergraduate tuition fees.
Contact the department
Contact the Admissions Tutor, Melissa Gordon.
Visit us
Find out about how you can visit Goldsmiths at one of our open days or come on a campus tour.

Why study BA Fine Art at Goldsmiths?

  • You'll make and study contemporary art in a dynamic, critical and interdisciplinary environment
  • We'll equip you with the skills that will help you develop independent thought and confidence in your practice, as well as transferable skills suitable for employment in the creative industries
  • You'll have your own studio space from day one, and will have access to excellent facilities including specialist research laboratories
  • All staff on the programme are practising artists, curators and writers, here to respond to the work that you make and to help you understand how it contributes to, and challenges, the critical debates that exist in the study area and beyond
  • We're a top ten university for art and design (2013 Guardian University and 2014 Complete University Guide league tables)
  • Since 1990, former Goldsmiths students have been nominated for the Turner Prize more than 30 times, and have won the prize on seven occasions

What you study

The main purpose of the degree is to teach you how to make art and to evaluate different critical approaches to your own practice, through integrated Studio Practice and Critical Studies courses. The programme aims to support your development and creativity and to help you acquire independent learning skills. This approach requires you to be committed, to thrive on constructive criticism exchanged between staff and students, and to participate in discussing your own work and that of others.

The degree structure enables you to develop your work through exploring selected media and approaches, including: drawing, painting, constructed textiles, film, installation, performance, photography, printed textiles, printmaking, sculpture, stitch, fabric and video. You can specialise in one or more media throughout the degree. Studio teaching is enhanced by technical support, which introduces you to techniques relevant to the development of your work.



Equivalent qualifications

Scottish qualifications: Successful completion
European Baccalaureate: Successful completion
Irish Leaving Certificate: Successful completion

Courses and structure

This degree is divided into three levels, each of which corresponds to a year of study. This programme consists of two interdependent elements: Studio Practice and Critical Studies. You must pass both elements to progress to the next level.

The first year is the beginning of three years of intensive studio and research laboratory practice. Each year you are allocated a studio space that forms the focal point of your activities. In the final year you mount an exhibition of your Studio Practice for assessment, which is then open to the public. 

Throughout the programme you'll be taught through individual tutorials in your studio, group tutorials, and mixed-year studio practice presentations. The parallel Critical Studies course is designed to support your practical work in the studios. The lectures and seminars introduce and develop key issues that inform diverse art practices and encourage you to extend your critical faculties and develop your ability to discuss, write about, analyse and judge contemporary art. In the third year you demonstrate your research skills and ability to pursue an argument of your own choice in a dissertation.

Assessment

Studio practice coursework is continuously assessed through individual tutorials and group seminars. This is complemented by studio presentations at Year 1, viva voce at Year 2, and a final exhibition at Year 3. Critical Studies is assessed through essays (Years 1 and 2) and a dissertation (Year 3).


Year 1

Studio Practice introduces you to the acquisition of fundamental knowledge and gives you the basic practical skills necessary to initiate your independent research. You'll gain experience of making art as a full-time activity and an awareness of the critical debates and contexts that inform Studio Practice.

Your tutors assess your Studio Practice coursework continuously and offer feedback at the end of the autumn and spring terms. Your work at Level 1 is also assessed through an end-of-year presentation at the summer term.

Critical Studies is delivered through a series of lectures and seminars that examine the key ideas and issues relevant to the ways in which contemporary art practice is made, circulated, judged and understood. You'll analyse the different contexts and the history that informs contemporary art practice, and critically explore the diversity of media, materials and ideas employed by contemporary artists. You'll also be introduced to critical approaches to study and have more opportunities for discussion in the studio. This course is assessed through essays submitted at the end of the first and second terms.

Year 2

Studio Practice in Year 2 begins to deal with more complex issues and the selective application of acquired knowledge and practical skills. It is a period of synthesis, leading to a deeper understanding of your practice.

Your tutors assess your Studio Practice coursework continuously and offer feedback at the end of the autumn and spring terms. You make a presentation of selected work for assessment as a viva voce in the summer term, where you'll be asked to discuss your work in depth.

Critical Studies deepens your understanding of the ideas and issues introduced in Year 1 through seminars and independent study. Seminar options may include: Postcolonial Identities and Representation; Art and the Everyday; The Right To The City; Utopias in Contemporary Art; Post-Criticalities; Acts of Appropriation; The Film Effect – Moving Image Art in Context. This course is assessed through essays submitted at the end of the first and second term.

Year 3

Studio Practice in Year 3 supports an independent, self-motivated practice and your potential to work as an artist. You'll demonstrate a high degree of understanding, critical awareness and independent judgement. At this level you'll consolidate your practical and critical skills in preparation for the Final Exhibition and further independent practice.

Your tutors assess your Studio Practice coursework continuously and offer you feedback at the end of the autumn and spring terms. The Final Exhibition of your Studio Practice is assessed at the end of the summer term. The final exhibitions are then open to the public as a Degree Show.

In Critical Studies you select a subject for independent research based on your understanding of your practice and the concepts explored throughout the degree. This is developed through a series of tutorials leading to a dissertation, in which you should demonstrate your research skills and ability to pursue an argument of your own choice. You present your dissertation for assessment at the start of the second term.

Learning and teaching

On this degree you'll be taught through intensive studio and research laboratory practicetutorials, and mixed-year studio practice presentations. This will enhance your academic knowledge of the subject, improve your communication skills, and develop your technical and creative skills. You'll also attend lectures and seminars where you'll hear about ideas and concepts related to specific topics, and where you'll be encouraged to discuss and debate the issues raised. 

But this is just a small proportion of what we expect you to do on the degree. For each hour of taught learning, we expect you to complete another 5-6 hours of independent study. This typically involves carrying out research and producting work. This emphasis on independent learning is very important at Goldsmiths. 

Studio teaching

Each year you'll be allocated a studio space that will be the focal point of your activities. All the studios are mixed, with students from all three levels sharing the studio spaces, providing valuable peer support. You will determine the nature of your practice and, with guidance from the tutorial staff, be encouraged to work in any medium that you choose. Studio teaching is enhanced by technical support, which introduces you to techniques relevant to the practical development of your work. You'll also be expected to research the appropriate context and debates around your chosen area of working practice.

Studio practice

In Studio Practice each year you're assigned a tutor who will be part of a group of staff with overall responsibility for supporting and assessing your progress. Throughout the programme you will be taught through individual tutorials in your studio space and mixed year group presentations and discussions. This enables a valuable exchange of ideas between all students on the programme.

Critical studies

In Critical Studies, lectures and seminars will introduce and develop key issues, which inform contemporary art practices and encourage you to extend your ability to discuss, analyse and write about contemporary art. This provides a framework for judgement so that you can develop your work in the critical context of art practice.

The programme seeks to engage and extend your critical faculties as a practising artist and to enable you to develop your ability to talk about, analyse and judge contemporary art. You'll be taught through a systematic programme of lectures, seminars and tutorials. Contemporary Critical Studies takes a distinct form in each year that allows you to work towards developing an independent research programme.


Find out more about these learning and teaching approaches.

Skills and careers

Skills

All undergraduate programmes in the Department of Art aim to equip you with the necessary skills to develop independent thought and confidence in your practice. These skills will also be of use in other career paths you may wish to follow. You'll develop the following transferable skills:

  • critical and analytical skills
  • creative and practical skills
  • ability to express ideas clearly
  • IT skills

We provide you with a series of opportunities for specialist advice and further information to complement your studies and prepare you for professional life after graduation. Our students actively seek opportunities to exhibit their work beyond Goldsmiths through external networks while they are here. 

Careers

Many graduates have continued to be successful, practising artists long after graduating, winning major prizes and exhibiting around the world. The Turner Prize shortlist has consistently included at least one of our former undergraduates, including Angela de la Cruz in 2010. Six of the prize-winners have studied here: Grenville Davey, Antony Gormley, Damien Hirst, Gillian Wearing, Steve McQueen and Mark Wallinger.

The interdisciplinary nature of the programme will enable you to work in a variety of fields (eg media, museums, education, the music business, and academia) and progress to a variety of careers, including:

  • practising artist
  • art historian
  • arts administrator
  • gallery curator
  • arts journalist
  • teacher
  • lecturer
  • writer
  • conservationist
  • designer

About the Department of Art

We specialise in making, curating and writing about contemporary art in a dynamic, critical and interdisciplinary environment. We have a world-leading reputation that brings together students and researchers from all over the world.

We work with a network of artists, curators, galleries and museums both in London and internationally to create an inspiring and dynamic place in which to study and develop an artistic practice. Many graduates of Goldsmiths Art Department are among the most recognised names working in art today.

The Turner Prize shortlist has consistently included at least one of our former undergraduates, including Angela de la Cruz in 2010. Six of the prize-winners have studied here – Grenville Davey, Antony Gormley, Damien Hirst, Gillian Wearing, Steve McQueen and Mark Wallinger. See the full list of Alumni Turner Prize winners.

The latest Research Assessment Exercise (2008) confirmed that Goldsmiths’ Department of Art has retained its position as one of the top Fine Art research departments in the country.

Goldsmiths’ Art students form an important part of the stimulating environment that is the London art scene. The Department’s international reputation enables it to establish and maintain links with many of the world’s most prestigious institutions and university Art departments. This, together with the cosmopolitan nature of the student body, provides unique opportunities to develop cross-cultural collaborative projects.

More information about the department can be found on the Department of Art's pages.

Facilities

Our spectacular Ben Pimlott Building provides purpose-built teaching space on campus, including some of the art studios, lecture theatres, and digital media labs. The studios benefit from generous floor-to-ceiling windows. The department provides space for:

  • art studios
  • performance work
  • installations
  • temporary projects and exhibitions
  • a range of research laboratories

You also have access to College-wide facilities.

Studios

All students have their own studio space. This is a place in which to work, to meet and spend time with other students, and to have tutorials. It's also a base from which to organise your work in other parts of the college – such as the various research laboratories, the workshops, and the library – as well as your research visits to galleries and exhibitions in London.

The studios are occupied by students from all three years of the course. This arrangement maximises opportunities for conversation and exchange, and helps to encourage sharing of knowledge, interest and experience between students.

Further details on our Department of Art facilities and laboratories.

Staff

The Department of Art has 47 academic staff. We also have 19 technical staff providing a service from our research laboratories. See a full list of our Art academic staff and their research interests.

Annual Degree shows

Our annual undergraduate degree shows take place in June and are held at Goldsmiths. Admission is free.

Open Days

Find out more about the Department of Art Open Days.


Find out more about Goldsmiths

Michael Craig-Martin

Emeritus Professor of Fine Art at Goldsmiths

"I can truthfully say that during the 70s there was no place in London to see more interesting art than at Goldsmiths."

In 1973 I came to teach at Goldsmiths and it was extraordinary. At the time the school had a terrible reputation for being anarchic, so my friends commiserated with me for the nightmare that I was stepping into. But Jon Thompson [then Head of Art] was totally passionate about teaching and about art education. Our idea was to completely renew the idea of art education, which was very much Jon’s agenda. We were going to re-invent British art education.

The year I arrived, there were some of the most interesting students I’d ever had. Jon was interested in the wayward students – the difficult, stroppy, slightly crazy people. We were interested in art that wasn’t just defined by painting or sculpture in the traditional sense. There were students doing performance, film or video, writing, installation. At the time this stuff was very speculative, it was a small part of the art world at that time. This was very, very close to the cutting edge of what was going on in the world outside. I can truthfully say that during the 70s there was no place in London to see more interesting art than at Goldsmiths.

My experience of teaching is that I have never been to any art school where I didn’t meet interesting students. But I became aware that I was seeing an exceptional number of very, very interesting people when the YBA's (Young British Artists) were all there at the same time. I tried to mix the students which generated a kind of dialogue amongst them. They were getting used to looking at each other’s work in depth and also being jealous of each other and being competitive in the best possible way. If I did a seminar and Sarah Lucas did something fantastic, then Gary Hume was pissed off because she got all the attention and he wanted it – it’s a normal human thing, but it had an amazing effect. When they left Goldsmiths I was excited by what they were doing and I felt like if I didn’t continue to engage with them and be supportive, it was as though I didn’t mean what I said when I was teaching them. We had so much fun and it was a very enjoyable time. It’s a source of great pleasure and happiness that there is hardly anybody from that time that I don’t think of as a friend, it’s quite extraordinary really.

One of the things that I love about the way Goldsmiths approaches things is that it is student-led and also retroactive. The whole idea is to focus the responsibility on the person themselves rather than a tutor giving a project. When I was teaching I developed a strong sense in myself and a confidence that I could feel when someone was doing work that was appropriate to their inner self. You need time with the person and to get to know them in relation to the work. I could spend unbelievable amounts of time, which I often did, hours and hours over years, getting to know people really well so I had a sense of what their potential was.

Graduate and student profiles

Steve McQueen

BA Fine Art, graduated 1993

Turner Prize-winning artist and filmmaker

Outstanding British artist Steve McQueen made his first films at Goldsmiths, graduating from the BA Fine Art course in 1993. In the same year he made Bear. Documenting an ambiguous encounter between two naked men, one of whom is McQueen himself, the film raised issues about violence, homoeroticism and race. In the years that followed he made more short films, often projecting them onto the walls of an enclosed gallery space, for heightened intimacy.

Then in 1999 he won the Turner Prize for his original and uncompromising approach to film installation and his innovative presentation of work in other media. The organisers commented on McQueen’s ability to “take a simple incident or image and evoke complex emotions and ideas from them”.

During his varied career he has also worked as an official war artist in Iraq (2006), and represented Britain at the Venice Biennale in 2009. This year he exhibited his largest ever show at the Schaulager in Switzerland to rave reviews.

In recent years McQueen has gained critical acclaim for filmmaking. In 2008 he won a BAFTA and the prestigious Camera D’Or Award at the Cannes Film Festival for Hunger, his feature film about the 1981 Irish hunger strike. He co-wrote and directed Shame (2011), “a powerful plunge into the mania of addiction affliction”.

His latest film, 12 Years a Slave, is already generating Oscars buzz. Based on the 1853 autobiography of Solomon Northup, it brings to life the true story of a free man who was forced into slavery, and has been described by the New Yorker as “easily the greatest film ever made about American slavery”.

 

Damien Hirst

Turner Prize-winning YBA

More than 463,000 people visited the Damien Hirst exhibition last year at Tate Modern, making it the most successful solo show for the gallery. The works on display included several pieces dating back to the late 1980s, when Damien was studying for his BA in Fine Art at Goldsmiths. While a student here he conceived and curated the exhibition Freeze, which became the launching point for a generation of young British artists (YBAs). 

Current Head of the Department of ArtDr Richard Noble, recently met with Hirst to talk about his time at Goldsmiths, his fellow artists and their role in redefining the British art scene at the time. You can read the full article in alumni magazine Goldlink, or extracts from the conversation on our Gold Stories tumblr.

 Image by Ivan Coleman

Phoebe

BA Fine Art, graduated 2009

"You are given a studio and from day one are expected to begin to work as an artist."

I was born in Hackney, East London, and studied BA Fine Art at Goldsmiths. I graduated in 2009. The Fine Art course at Goldsmiths is completely open. You are not given projects to do or segregated by the medium you choose to work with. Instead you are given a studio and from day one are expected to begin to work as an artist. With support from the tutors and technicians it's totally possible to prepare for a career in the arts, as an artist or curator or whatever you may want to do.

My experiences as a Goldsmiths student enhanced my employment prospects. I am now working as an artist, and just got back from a three-month residency in New York in which I produced a body of work called Pleasure Pieces. I had a studio that I made all of the work in and at the end of the three months I had my first solo show, which was really exciting. The whole point of learning is to help you grow, not necessarily change. It facilitates abilities that already exist. I definitely got a lot out of my time at Goldsmiths.

Aram, researcher at the Fine Art Department in the National Museum of Korea

BA Fine Art, graduated 2008

"The one-to-one tutorial programme and presenting my art works in front of everyone made my character more challenging, adventurous and intuitive."

During my course at Goldsmiths, I had the wonderful chance to develop social skills with tutors and classmates. The College's one-to-one tutorial programme and presenting my art works in front of everyone made my character more challenging, adventurous and intuitive.

After I graduated Goldsmiths in 2008, I came back to South Korea and began studying art history as well as attending the artist's residential program in my hometown. For two years I had group show with other artists and in December 2010 had my first private exhibition. In 2011, I enrolled in Seoul National University's MA Art History course and chose my major field of study as Korean Buddhist Art. I completed my MA thesis last year and at beginning of this year started working in the National Museum of Korea. During the MA studies, I had chance to learn other languages such as Chinese and Japanese. And to further my field of study, I gained certificate in Chinese Language Test.  

My job as researcher in the National Museum of Korea's Fine Art Department include preparing regular themed exhibitions. Most of the time I translate Korean into English so that the explanatory note on art collections can be provided to international tourists who visit the museum. Also I join the department's team who organise and stage the exhibtion, giving help in lighting the displaying space, carrying the museum collection and wrapping the artifacts when they need to be sent abroad. 

Julian Opie 

BA Fine Art, graduated 1982

An influential figure in the British arts scene and an icon of the New British Sculpture movement

Julian Opie graduated from Goldsmiths in 1982 and his first solo show opened at the Lisson Gallery the same year, as he was quickly recognised as part of “the first coherent group of British artists to have an international reputation, rather than one within the London art scene.” Subsequently, his work was bought by collector Charles Saatchi as well as Tate

Opie’s creative practice is famous for its combined elements of graphic portraiture and computer design. His work has been exhibited internationally in prestigious institutions (MoMA, New York; Art Tower Mito, Japan; MAK, Vienna; to name a few) and can been seen in the UK at the British Museum, the V&A and the National Portrait Gallery

However, Opie is perhaps more renowned for utilising public spaces for installations and altering our perception of what constitutes an artistic environment. Some examples include his Best of Blur CD sleeve, the LED display for a U2 world tour, and various installations in Heathrow’s Terminal 1 and at the Eurostar Terminal. In 2008, five animated LED installations of large figures ‘walking’ appeared in City Centre in Dublin, and later Opie’s ‘Promenade’ was installed in downtown Calgary, Canada where it is now a permanent feature.

Opie lives and works in East London and continues to work closely with Lisson Gallery.

Margaret Howell

BA Fine Art, graduated 1969

Margaret Howell has worked across men’s and women’s fashion for the last 40 years and is famed for her classically British take on tailored shirts, duffle coats and lace up shoes. She was awarded a CBE for services to the fashion industry in 2007.

"I wasn’t especially aware of Goldsmiths before my interview” she explains “We only lived in Surrey, but London seemed quite far away and my parents hadn’t visited very often! I remember being very nervous taking my portfolio on the train, and the interview being terrifying. They said something like “you’re very nearly very good” and I came away thinking, “I probably haven’t got this.” 

From that inauspicious start, Margaret started to make the most of her course and even won the first year prize, which was £26 “A lot of money in those days! I remember going to a bookshop on Charing Cross Road, and choosing these lovely books. One was to do with the old masters, one was the impressionists, and one was about the pioneers of modern design; I still have them all.” 

Life drawing classes proved especially useful “They were tremendous training for understanding proportion. Because of it I can tell when something is half a millimetre off, which is extremely useful in what I do now!” However, it was the extra curricular activities that Goldsmiths offered which proved to be life changing. “The film club, which was put on one evening a week by the Students’ Union, was fantastic– it was great seeing all those early films by people like Fritz Lang and Kurosawa, and I was really inspired by icons like Katherine Hepburn and Louise Brooks – she was so beautiful I put a picture of her on my wall. In the evenings we also used to study subsidiary subjects including architecture. One of the lecturers had just been to Japan and he showed us beautiful slides of the temples. The emptiness and the minimal quality of those buildings really appealed to me.” More...

Antony Gormley

BA Fine Art, graduated 1977

“For me, art is not about objects of high monetary exchange – it’s about reasserting our first-hand experience in present time.”

Acclaimed sculptor Antony Gormley, recently knighted in the 2014 New Year Honours list for services to the arts, studied BA Fine Art at Goldsmiths in the late 1970s, and since then has enjoyed a career as one of Britain’s most critically acclaimed artists.

Antony is probably best known for his ‘Angel of the North’ sculpture (pictured), one of the most talked about pieces of public art ever produced. The figure – which is the height of four double decker buses – dominates the Gateshead landscape on which it stands, and typifies his preoccupation with encouraging us to reconsider the elemental world we live in. “The angel has three functions,” he explained. “Firstly a historic one to remind us that below this site coal miners worked in the dark for 200 years; secondly, to grasp hold of the future, expressing our transition from the industrial to the information age; and, lastly, to be a focus for our hopes and fears.” It has won numerous awards, and was named as one of the classic designs of the 20th century by the BBC.

In 1994 Antony was awarded the prestigious Turner Prize for his sculpture ‘Field for the British Isles’, which makes him one of seven Turner Prize winners who are former Goldsmiths students. Almost a quarter of those shortlisted for the award since it began have studied at Goldsmiths. 

Speaking about his work in a 2012 TED Talk, he explained that “art is not about objects of high monetary exchange – it’s about reasserting our first-hand experience in present time.” His pieces have been exhibited throughout the world, and he has participated in major group shows like the Venice Biennale. In addition to the ‘Angel of the North’, other permanent public works include ‘Another Place’ (Crosby Beach, England), ‘Inside Australia’ (Lake Ballard, Western Australia) and ‘Exposure’ (Lelystad, The Netherlands). 

Antony spoke to Radio 4 about his experience of studying at Goldsmiths: “The most important thing was the constitution of the course and what the tutors could provoke in the students – a kind of chemistry in every year. There was an understanding that the major energy, and the source from which you learned the most, was the energy of your fellow students. There was this absolute understanding that everybody there was absolutely compelled to keep going, and keep exploring, and keep actually articulating what they were exploring – either by showing it or talking about it. The whole thing was driven by the students.”

 

Lucian Freud, artist

1942-43

Controversial and uncompromising genius known for his intense realist portraits.

Born in Berlin in 1922, Freud and his family moved to Britain to escape the Nazi regime in 1933, where he grew up and was educated. After a brief stint as a merchant seaman in 1941, he was invalidated out of service and attended Goldsmiths as an art student from 1942-43. His first solo exhibition was in 1944 at London’s Lefevre Gallery, and his career gathered pace when he was awarded a prize for his work Interior at Paddington at the Festival of Britain in 1951, where fellow Goldsmiths alumni Constance Howard was also exhibiting.   

His early work has Surrealist influences, and their thinly-painted style was in stark contrast to his mature style that emerged during 1949-54, and produced some of his most recognisable works. He adopted an impasto (thick layer of paint) style, and often devoted thousands of hours to a single work.

The grandson of famed psychoanalyst Sigmund Freud, his sitters often lay naked on a floor, sofa or bed, his portraits exposing the psychological condition of the sitter as much as the physical. One sitter described his final portrait as appearing to ‘reveal secrets – ageing, ugliness, faults – that I imagine…I am hiding from the world…’

Freud’s famous sitters include fellow artist Francis Bacon, Queen Elizabeth II, and supermodel Kate Moss. Married twice, he was rumoured to have fathered over 40 children with various women, but in reality 14 have been identified. He died in July 2011, and is buried in London’s Highgate Cemetery.

Grenville Davey

BA Fine Art, graduated 1985

Turner Prize-winning sculptor

Grenville Davey graduated from Goldsmiths in 1985, and his first solo exhibition, at the Lisson Gallery in London, followed two years later. Influenced by the work of sculptors such as Tony Cragg and Richard Deacon, his work involves producing objects that are “at once familiar but on closer inspection elusive and impossible to put in context”. He has continually explored the relationship between objects and everyday life, and that between minimalism and functionality. In 1992 Davey won the Turner Prize for his sculpture entitled HAL, a work of two abstract steel objects, exhibited at the Lisson Gallery. 

Davey’s work has been exhibited extensively both in Britain and abroad, and he is often engaged in collaborations between arts, community and science. In 2010 he was a resident artist at the physics department of Queen Mary, University of London, working in partnership with scientists in theoretical physics and string theory.

In 2012, Davey took up a residency at the Isaac Newton Institute for Mathematical Sciences. In the same year he collaborated with the Royal College of Art by hosting an art workshop with the local community as part of the London Olympic and Paralympic Games. It resulted in a permanent installation which remains in Queen Elizabeth Olympic Park in London.

Gerry Judah

Fine Art graduate Gerry Judah is an acclaimed artist and designer who has created settings for film, theatre, museums and public spaces, and has worked with musicians including Paul McCartney. 

Since studying Fine Art at Goldsmiths in the 1970s, Gerry Judah has created settings for the BBCBritish MuseumImperial War MuseumRoyal Shakespeare Company and others, and has worked with musicians including Led Zeppelin, Michael Jackson and Paul McCartney.

He has created spectacular sculptures for many car companies including Ferrari, Jaguar and Porsche at the annual Goodwood Festival of Speed and has designed bridges in London and Cambridge. He has also had a number of exhibitions of his paintings and sculptures in the UK and overseas and his work is held in many public and private collections.

“I enjoyed my time at Goldsmiths enormously. It wasn’t just art we engaged with, but philosophy, psychology, theatre, and many other interests. I was able to move quite easily between disciplines and be experimental with my work. We all fed off each other. It really felt like we were part of a community of artists.”

Luana

"The College truly develops your curiosity, your desire to make the most out of your time and to enjoy the feeling of pushing yourself to the limits of your knowledge."

I took the elevator to sign in before going to my art studio and once inside of it two students started playing the piano. It was one of those hotel elevator melodies. It made me rethink my relation to those kinds of situations - standing in a hotel elevator - that we never really reflect on. When I think about Goldsmiths it is one of the first things that come to my mind: here, everything is questioned from the biggest theories to the smallest quotidian gestures. Your position towards them becomes consciously made choices. The College truly develops your curiosity, your desire to make the most out of your time and to enjoy the feeling of pushing yourself to the limits of your knowledge. It gives you the opportunity to encounter people and ideas that might have a real impact on the way you view the world. As I grew up in different countries of South America I always lacked the feeling of belonging to somewhere. Here I found a space in which to get involved in the construction of a community that aims to learn, experiment and exchange ideas that defy the status quo.

Drew

Former BA Art Practice (now BA Fine Art) student

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Content last modified: 09 Jan 2014

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