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(Summer 2020)


(Autumn 2019)


(Spring 2020)



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(Summer 2019)

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(Spring 2019)


(Winter 2018)

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(Autumn 2018)


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Issue 14

(December 2016)

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Issue 15

(February 2017)


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Issue 1

(December 2012)


Your SU (Issue 1)

This year kicked off with a cracking Freshers’ Week with nights in venues such as Communion Bar and Drink Shop Do followed by our Autumn Ball in the University Womens’ Club. We had a great week and we hope you did too. Em and Tom did a great job at running the Halloween Pound Party whilst I was in Poland on ‘business’. We are holding another Pound Party in the café on the 11th December. Please come and join us for some Christmas themed fun! Our societies are also up and running. Law Society, CSEEAC and BoAS are all running successful sets of talks, Medieval Society and Gin Soc has been on trips all over London, JSoc, Femsoc, Debate and Christian Union are hosting busy meetings, Art Society

Desert Island Disks: Greg Wilkinson

This months castaway is the one and only, Greg Wilkinson, our Students' Union President! Top 3 Albums Johnny Cash - American III: Solitary Man Led Zeppelin - Led Zeppelin II Robbie Williams – Sing When You’re Winning “It was a hard choice not to put some Pink Floyd in there but Johnny Cash and Led Zeppelin just took the lead. And Robbie Williams for many reasons.” Number 1 song Aha – Take on Me. “Love a bit of Norwegian synth-pop.” 3 books Meryn Peake –Gormenghast Dante - Inferno Frank Herbert – Dune “Gormenghast is an amazingly hyperrealist creation that everyone should go and read now. I deliberated between Paradise Lost and Inferno but settled with the latter because it’s a bit

On the Global Art Market

The global art market is booming, with last year’s sales reaching a record £37bn, a 7pc year-on-year increase and a little above the 2007 high of £35bn, according to the most recent figures from the European Fine Art Foundation. In April 2015 The Telegraph reported that, “Investors are being warned not to rush in to investing in art, amid reports of surging returns.” This is a statement that undercuts and radically oversimplifies the current growth in the economy of the art market. This recent spike in investment interest is replicated on the other end of the financial spectrum. Morgan Stanley’s private wealth management arm recently founded the Blue Rider Group. The name is a somewhat pecul

A Courtauldian on Safari

The first thing I noticed upon logging into the iOS default web browser, Safari, is that somehow, and I have no idea how, Apple seems to have been monitoring me. Immediately accessible from the generated shortcuts are many of the websites which I regularly access, none of which I have ever looked up on Safari before because, like most people, I don’t use Safari. I don’t really know anyone who uses Safari. No one particularly cares about Safari. I don’t think anybody particularly wants to read about Safari. Anyway, writing about the things I’ve done gives me my egotistical jollies so here are some of the websites I looked at on Safari. It’s a dull list, but I think it’s worth subjecting you a

No Artists: Which artist can’t get no love from you?

1. Your lover asks to paint your portrait, you hate it because... a) He told me to pose nude for him and you couldn’t even tell it was me. I walked seductively down the stairs 200 times for that? Please. b) Okay. Firstly, my feminine curves aren’t THAT undulating. What are you trying to say? Also, you know I’ve never liked my nose in profile. c) I mean, I guess you could say it was accurate... But if I wanted everyone to see my #nomakeupselfie I wouldn’t restrict it to 1 second Snapchats. 2. Whats the most annoying thing your lovers done recently? a)He found this manky urinal on the street and is trying to set it up in our bathroom, saying its his now. Its like, fine, you can leave the seat

Paris, Texas Review

It would be fair to say that, as a viewer, I’m pretty wary of watching films that I think will push me out of my comfort zone. Preferring to sit on the sofa and doze off to one of the Harry Potter films than actually try something new that might broaden my intellectual and cinematic horizons, I often refuse point-blank to watch anything that might be considered a ‘cinematic masterpiece’ for fear of actually having to absorb information and unravel cultural references that I can’t make sense of. This being said, when I semi-reluctantly turned up at the first Film Society event of the year with the intention of having a few drinks with my friends and pretty much ignoring everything that was on

Do Not Go Gentle Into That Good Night: Claustrophobia and Human Nature in space blockbusters

The title quote for this article is taken from Dylan Thomas’ poem by the same name that is used and re-used in Christopher Nolan’s 2014 sci-fi epic, Interstellar. It is a poem that deals with man’s composure on the brink of death, and one can see - to an extent - how Thomas’s urging that one must ‘burn and rave at close of day’ has its links to the humanity facing extinction and turning to the stars that the Nolan brothers depict. It strikes me as perhaps not so coincidental that another of Thomas’s most famous works, ‘And Death Shall Have No Dominion’, can be found in the 2002 remake of Tarkovsky’s epic Solaris. As a genre, the “sci-fi [or] space epic” employs survival against all odds (and

Enter the Experience, Feel it... Instagram it too please.

During the last six months London has been the chosen destination for Hermès, Louis Vuitton and Chanel to stage temporary exhibitions. The shows all share similar purposes to market their luxury brands within gallery spaces, through immersive, multi-sensory and digitally curated experiences. In the 1950’s Andy Warhol stated that: ‘All department stores will become museums and all museums will become department stores.’ These recent exhibitions are evidence of this prophecy. Though the merging of art and fashion spaces is not a new concept, the presentation of the luxury experience nonetheless is an interesting phenomenon to consider through these recent displays. In addition to the decadentl

Anna Schaffer: The Petite Powerhouse behind the Label Bibi Bachtadze

Better known by her nickname Bibi, Anna Schaffer helms the label Bibi Bachtadze which focuses on small, beautiful collections and private commissions. A total polygot, Schaffer was born in Georgia, grew up in Berlin and divides her time between France, Germany, and Spain. Despite her gamine looks and petite stature, she is a fierce businesswoman brimming with integrity and her meticulous designs, featuring handmade lace and intricate embroidery is wearable couture. Here she openly discusses her influences, career, and couture. Illustration by Alice Lindley Was it always your dream to become a fashion designer and begin your own label? "No! Like many girls I wanted to be a ballerina, but I ha

Review: Takuya Matsumoto - Places of Colour EP

Ratings for this man just keep rising. Transported to a world of suspended beings, all cares are washed away with A1 - 'Souvenir'. The Matsumoto emotion or 'MATSUMOTION' is complimented by warm lyrics and jaunty picking. The harmony of the warm wash and rhythmic picks is extended into A2 - 'Coco'. Flipside jams 'Flio' and 'Seasons' veer off into jazzier territory retaining that spiritual marrow. A great pair to the other recently released gem Assembly EP, on Meda Fury. Give ‘em a whirl.

Review: Florist - Phenomena EP

The latest EP to come out of ‘All Caps Records’ from Glasgow’s School of Art is delivered by the mysterious Florist. It exists as an elegy to the memory of the Sunrise Midsummer Party held at the White Waltham Airport in the summer of 1989. The record channels the energy of the hundreds of jubilant dancers, sampling their audible elation whilst remoulding the sounds that have been revisited by thousands on Youtube, begging the question, is there such thing as second hand nostalgia?

Is Jeremy Corbyn electable?

In the wake of his landslide victory, many people on both wings of British politics have called into question Jeremy Corbyn's electability. Despite more people joining Labour since the election than the Conservatives have members, long-term Labour figureheads such as Lord Warner have abandoned ship for fear of an even more humiliating defeat in 2020 with Corbyn at the helm. Hannah Dixon: Yes, Jeremy Corbyn is electable. Many people, in the Labour party and elsewhere, didn’t think he would get enough votes from Labour MPs to be able to stand as a Labour leadership candidate. Even people on the left of the party, such as myself, were unsure whether he would get the 35 nominations required, but

No Colour Bar: Black British Art in Action 1960-1990

One morning in 1977, Eric Huntley was opening the Walter Rodney Bookshop for the day, which he owned with his wife, Jessica, in Ealing. The establishment was renowned for selling works printed by their publishing house ‘Bogle –L’Ouverture Publications’, which showcased the writing and artistry of Afro-Caribbean and other writers from diverse backgrounds, such as the assassinated Dr Walter Rodney. The store was also a nexus of creative activism, committed to awakening people to homeland injustices, as well as those in South Africa and the Caribbean. Eric found ‘Nigger Not Wanted Here’ emblazoned across his door, ‘Keep Britain White’ branding his windows. This, however, was not unusual – in th

Review of 'Goya: The Portraits,' at the National Gallery

I first came to love the work of Francisco de Goya (1746-1828) when I stumbled across Los Caprichos (1799) at the age of 16. This gave me an idea of Goya as the disillusioned republican, laughing at the world with which he was surrounded. This perception of the artist suited me very well at the time, fitting with my teenage angst and listening to Linkin Park albums far too frequently. While this is not a particularly accurate reflection of the character and genius of the artist that I now recognise, I would relate to anyone interested in visiting the National Gallery’s new exhibition “Goya: The Portraits” a single phrase spoken by Goya to his friend Martín Zapater in 1786, “I would do nothin

‘Frank Auerbach’, Tate Britain, London

A collaborative curation between the artist, Frank Auerbach, and his sitter, Catherine Lampert, at the Tate Britain, allows for a thoroughly unique and insightful retrospective exhibition of Auerbach’s work. The show celebrates the artist’s confidence in continuity of theme, yet also his copious variety and versatility. The first six rooms progress by decade in an arrangement chosen by Auerbach. He hoped for viewers to contemplate six distinct groups of diverse images - each as an absolute - rather than fixate on a strictly chronological or contextual pattern. The last room is an assembly of paintings chosen by Lampert from across all decades – immediately disrupting any notions of a coheren

Not Yours! WHAT? A report on Frieze and the Contemporary Art Auctions

The Gagosian Gallery kicked off the week on Saturday October 10th at its new white box in sleepy Grosvenor Hill, inaugurated with a powerful, collector-friendly exhibition of works by Cy Twombly. The artist’s visually strong, but slightly redundant, Bacchus paintings were overshadowed in my opinion by his exciting Bolsena pictures, crisp and meticulously executed. An engineer friend spent a good hour staring at them, repeatedly readjusting his glasses. Later at the Savile Club, Larry’s striking large white head presided over a luscious banquet that brought together a highbrow crowd, from the curator of the Museum Brandhorst’s recent exhibition CY TWOMBLY IN CONVERSATION WITH FRANZ WEST to th

Why Formalism is a Valid Art Historical Methodology

Before I start this article, I must confess a personal bias; I am a Formalist by nature and see it as the most valid art historical methodology. I shall however, for the purposes of fairness, restrain myself to the best of my ability in using superlatives. I don’t wish to write a polemic. What I will attempt to do in this small allocation of words is to justify Formalism as a methodology that still holds as true today as it did in the time of Semper, Goller, Riegl, and Wolfflin and shouldn’t be discarded as antediluvian or redundant as was done by the generation who came after it. Firstly, though, let us distinguish between valuable Formalism and Greenberg. Clement Greenberg was a didactic m

Holler at me, bro. Carsten Holler - Decision

Although by the time this goes to press, the exhibition will have run its course, and this article thus embarrassingly late to the proverbial party, I couldn’t pass up the opportunity to write about Carsten Holler’s Decision. The summer’s blockbuster had been divisive to say the least. The fairground gimmickry of giant slides and flying machines has ensured that the show fell foul of a somewhat exhausted reception by critics searching for ‘real, serious art’ on the Southbank. Apparently galled by the queues of people reaching round the side of the Hayward Gallery in search of some fun, Holler’s appealing interactive works have been the hot ticket for the public last summer, but also attracte

Make feminist art history chic again

Illustration by Josephine Glover The Courtauld’s feminist art historian, Mignon Nixon, is leaving to join the feminist powerhouse created at UCL under Tamar Garb and Briony Fer. This is a massive loss to the Courtauld; Professor Nixon ran the only programmes here exclusively concerned with feminist theory. I for one applied to the Courtauld with the hope of studying under Mignon and was devastated to see her masters programme, Sex and Violence in American art, cut after this year. The fact that she is leaving leads me to believe there is a fundamental issue concerning the future of feminist art history at the Courtauld; is there a place for it here? If yes, then why is it merely addressed wi

Introducing: East Wing Biennial

Since its inception in 1991, the East Wing Biennial has exhibited works of contemporary artists at one of the most prestigious centres of art historical study – The Courtauld Institute. The first collection was single-handedly organised by Courtauld undergraduate, Joshua Compston. Having studied Fine Art at Camberwell before coming to the Courtauld, Compston was well-placed between the world of practical art and art criticism. Equipped with the skills to organise an exhibition, he did so in a manner which would demonstrate the importance of contemporary art in the study of the past. He displayed artworks, many provided by close friends, in the seminar rooms of the Institute for two years. In

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