The first lecture was the introduction..........all about becoming an artist, and measures of professionalism necessary.

Throughout the year we will be having working artists, gallery people and others in the art industry talking to us. So that we can find out first hand what make the industry tick.

A very exciting programme was given to us with people and dates.

We will liase with local galleries such as our visit to MK Gallery and planned liason with the Ikon Gallery.

It was up to us as individuals to seriously consider "how we represent ourselves"

We should become familiar with professional bodies such as the ABSA (Association of Business Sponsership for the Arts); ACA (Arts Council of England); EMA (East Midlands Arts); LAB (London Arts Board); AXIS (National artists data base- Leeds Uni- info on web)

A good monthly to read was AN Magazine.

We were recommended to arrange to visit and talk to our prior Colleges.

Second Lecture: Tracy Clarke, Arts Development Manager, Northampton Borough Council

Tracy gave a very interesting talk on the positive strategy now going forward in the "arts" for the local Council. Many things were happening, and it was up to us, as progressive students, to participate.

An exhibition was organised for June and entries were needed by Novemember/December. This was not just about flat art in galleries but site specific art would be considered in many venues within Northampton town centre.

But it was imperitave students proposals were professionally presented to be considered. Make them interesting, show how the art is new, different, and think about it's impact.

January through to March there will be specific one day art workshops in Northampton and the concession price of £8 is very reasonable.

A lively discussion followed the talk with aspects of art education in Germany and Italy.

Third Lecture: Our time this week was split into three talks

1st a short talk from Julia Preston about the Community Projects taking place in Northampton. She explained how entering into these programmes could be an excellent start for students to begin to aquire some business acumen. The work was unpaid but could be very rewarding. Julia had just attained her BAFA at Northampton. (click her name to see her work)

2nd, a longer talk from Andrea Duncan, the Careers Officer on campus.

She explained also how being an artist was one thing, but you need many other skills to survive in the outside world. You need to commence now, contacting organisations, looking at career opportunities. She showed us statistics of how fine art students had fared after their degrees.

She also showed us sample encouraging statements from graduates well after their degree. It illustrated her earlier statement that you cannot start thinking about this early enough. Try and join in projects immediately and start making a name for yourself. You must be proactive.

Careers information was becoming web based also. Some handy addresses are already noted from 1st lecture. Others are: British Council, Design Council, National Society for Education in Art & Design (NSEAD), Skillset, TEC National Council, London Institute-Virtual Careers, Association of Art Historians, Royal Acadamy of Arts, MAD online information service for design, media, marketing.

3rd, Christine Midgeley, our course leader, talked to us about a proposed 2nd year Spring Show in Northampton, (20 March - 2 April)

Basically we were told "you are on your own". UCN would be overviewing things as their name, reputation & responsibilty was at stake.

So there was much to think about and organise amongst ourselves. The venue had to be booked, the space available asessed, the group subdivided as a team on tasks; PR media, PR publicity, Jury selection, Hanging comittee, internal re-decoration as necessary, transport, additional lighting, catalogues, sales to public, a private view - wine and nibbles if thought appropriate. In fact everything necessary to have a sucessful exhibition.

It was also stressed this was the whole of year 2. Everyone had to participate and marks would be deducted from anyone who did not enter into the spirit of the event and pull their weight.

This week we had Sadie Green from Northampton County Council. Sadie is responsible for Visual Arts & Crafts. Her colleagues take care of other art forms, Dance, Music, Poetry, Literature, etc. We were given a back copy of Artyfacts, their magazine focusing on the arts in Northamptonshire.

She explained how they function and the opportunities for young upcoming artists.

Next we had Clare Barber and Fay Rook give us a talk on their experiences in the design and making of the Diana Plaque...........the press release is below. Clare and Fay showed us photos of the making process and their meeting with Earl Spencer.

The Council enlisted the support of University College Northampton to arrange a competition for students to enter designs for a plaque. The winning students, Clare Barber and Fay Rook, worked for weeks on the design and concept for the plaque, which was cast in bronze at a specialist fine art foundry. Councillor Terry Wire, cabinet member with responsibility for planning, regeneration and transportation who is steering the scheme said, "I’m extremely pleased that the Earl Spencer is unveiling Northampton’s tribute to his sister. The plaque is highly imaginative, striking and captures Princess Diana’s vibrant nature. It will be a permanent reminder of Diana’s connections with Northampton. "The abstract design chosen for the plaque allows everyone their own interpretation which is appropriate, as everyone had their own personal memories and experiences of Diana." Students Clare and Fay worked closely with the Council and the foundry in the production process helping to determine the details of the casting. The plaque, which weighs over seven stone, took three weeks solid work for the foundry to produce. The Earl will unveil the plaque at 2pm on Thursday 7th November. In a letter to the Borough Council Earl Spencer said, "I greatly look forward to seeing the University College Northampton design on the day, and to thanking all those who have chosen to remember my sister’s life in this way."

15th November. A great reception at Barnfield College with my "Life after Barnfield" talk. Everyone was so interested, well I think so !!! hehe.

I was on the life study plinth, fully dressed I might add. Here's a 360 degree pan, 9 photos, made into these two. Deborah Barnes (centre, top) came along to help me and was very good. It was great to meet old and new friends. I showed a 65 picture slide show on my notebook of art and facilities at UCN.

20 November - Talk by Kirsten Gibbs - Education Coordinator for Milton Keynes Gallery

Kirsten gave us an in depth talk about her 31/2 year rôle with MK Gallery and why education was so important.

The old belief that art enriches our lives, makes us more rounded and educated people remains true. The Gallery works in many ways, it helps us to participate.

The education programme is identified with the following ideas.

1. It allows people to engage with the work. Not all works speak for themselves so the Gallery gives information to enhance the works understanding.

2. New audiences. The Gallery is always identifying new audiences.........called audience development. It sets its sights on groups of people, be it children, community groups or "funders" like the business community.

3. Education. Children need a special vocabulary in order to discuss art. Art has been identified as being squeezed out of primary education with emphasis on the three "R's". The Gallery targets schoolchildren with many visits, talks, lectures and weekend workshops.

4. Focus. Education is a special focus of MK Gallery. Kirsten said they are always stressing to people that this is "their" Gallery, why not use it more?

Kirsten related to us many ways people with a fine art degree could work in the art world. There was even a further MA on curating for those wishing to go further. MK Gallery did not benefit from a permanent collection which enhances any galleries opportunity.

Planning and continual evaluation are the key to a sucessful gallery, "funders" will demand it. And if there is an educational slant with any project, so much the better to enable grants to be secured.

Debbie gave us a very interesting talk about the workings of the Icon Gallery in Birmngham.

The actual galley is 40 years old but used to be a school, the upstairs space has some delightful iron trusses running through it. It is now a registered charity which assists in it's fundraising. They are proud it remains a gallery with free admission. Their marketing strategy is very strong and they work with many overseas artists. Debbie herself has been particulary taken with Japanese work.

We had a great slide show showing the work done in alternative spaces, around the city of Birmingham. One completed by a Dutch woman, Janssen, who made an interesting transluscent greenhouse structure with a smoke machine inside. Also Catherina Crosse, who sprayed huge vibrant colours on large buildings. And Julian Opie, his work was put up in vinyl in shop windows. And Kawanata, a Japanese visitor who did a commission on a canal barge.........Quiet Space. Also Margaret Barron who made oil paintings, 2"x1" on carpet tape, and deposited them on lamposts, etc. around the city. They were transient, but some lasted quite a while.

They also get good support from Gillian Waring and Richard Billingham who are both Birmingham residents and both have been shortlisted for the Turner Prize.

They also has some fun asking for inventions (celebrating everyday) made from skip material from the locals. They got entries like a greenhouse made from 'pop' bottles, bird table oriental style and one 80 y/o gentleman had made a telescope.

We also saw some interesting art made by Japanese guests; Ueda...........made wind drawings, pens suspended from trees, plants and paper placed underneath to trace the path, Yoshida..........made rainbows, a prism in a bowl of water projection and Opirmoto..........walking around the market with a "bread head" and Kayn Do..........A Vienatmese artist making shadows with chalk all around, car parks, etc.

Nancy's subject was PUBLIC ART - and all it's ramifications.

The role of the art could be many things; Reveals, Illuminates, Challenges, Provokes, Landmark, Monument, Hidden Gem, Intimate in scale, Urban design, Enlivens, Engages, Craft design, Integral to Architecture and it's Agenda could be many more things; Commemoration, Memorial, Civic Splendour, Prestige, Status Symbol, Image improvement, Functional Art, Community participating, Catalyst, Problem solving, Celebration.

All these things are involved together with many people. It involves planning permission, community liason, fund managers, site managers, etc. The artist might only participate in being an "ideas" person. Very often Public Art is less self referential but more concerned with context and the audience. It's all about the enlivenment of space.

Many other considerations have to be taken into account. Weatherablity (durability) and vandalism being two.

Nancy continued with a slide show of typical works:

Anthony Gormley's very famous work Angel of the North
David Nash's work Usually in nature trails
Morecome Stone Jetty The new restored pier

Bruce McLean gave a very lively talk and slide show of some of his past work dating back to his time at St Martins.

Some of his conceptual work related to other sculptures at the time, such as "Fallen Warrior" after Henry Moore. Others were so new at the time, questioning and challenging art in its time. He reminded us that this early work was concurrent with Punk and the Goon Shows, as well as being in the middle of students riots.

His talk certainly went down well and gave us all contemplation to "Free our Minds"

Bruce currently has a new show, along with friend and architect, Will Alsop, at the Milton Keynes Gallery. We will be attending this show early in the new year.

Below work by Bruce and Will in Spain

Bill gave us an extremely interesting and amusing talk on his life, how he gave up painting and never returned to representational art. His career thus far, how he leaves his art behind in public places. How he plans to paint "thou shalt not kill" as graffiti art 16000 times in a matrix through central London and leave the large painting of the words within sight of Downing Street. He also has made a pack of "Silent Protest" cards, to amuse and get you through a day of silent protest against war, any war.

He also works in Ireland, at Curfew Tower, a few miles from Belfast. Vising artist are welcome, providing they leave one piece of their work made there behind. The local villagers are allowed to see and vote on the work on an open day once a year.

Simon gave us a very interesting illustrated talk on his career as an artist.

About his early beginnings at Art College and how evolution had changed the art scene dramatically during his practicing years. The spin off from Conceptualism changed art into a Commodity. Art had also become Tourism and with Arts Council backing it had also become a Therapy.

He started his career in 1979 in a warehouse in London which was unfortunately burned out. He lost everything and it led him to purchase a Dutch Barge in Rotterdam which still today serves as his family home moored in Suffolk. The "Jacoba", 100 feet long, it gives him a 40 foot studio and is ideal for working with lots of his work which embraces the sea, the control of water and one current project is a consultancy to renovate and reopen the canal between Grantham and Nottingham. He has much collaboration with Environment Agencies.

He then explained a small area of his work, involving specialist cameras he had labourously and beautifully constructed. The first one was a hand operated 115 degrees panoramic camera which he had used to photo and illustrate the tide rip as you approach Denen river from sea. The images commenced with Woodbridge Haven Buoy and the images were panoramised by showing two slides simultaneously side by side. The camera caught the movement of the sea in a ripple effect and the movement of the hand operating the panoramic sweep, the ripple effect increasing as you passed over the tide rip. This was all about time and space and the images were framed as his body of artwork covering this subject.

Simon then showed us slides of research work he had done in relation to work of artists prior to the camera in recording coast lines for Naval intelligence. Beautiful works in their own right recording the coastlines and no ship sailed without engravings of these works along with admiraalty charts.

He was interested in Radar, where a spinning detector creates and erases an image every cycle. He then built another camera to record time with a rotating disk with a slot in between the lens and the 10" x 8" plate holding the negative. He used this in a commission exhibition in Bethnal Green. A negative image was wall drawn, scaled and skewed so that when captured by the camera scan would be adjusted back to normal. It was a coastline of the Falklands, far from Bethnal Green. This was working with time, time becomes order when the camera captures it back.

He then experimented with a different circular disk which would record the whole image but at different times as the disk was rotated. This was a disc with holes like a collender. The works produced from the negatives were 50" square with the image as a circle all laminated in plastic.

He showed us other pictures taken in this way, a flapping flag, the sky and pictures taken of the river estuary bed with the tide out.

In Greece, his sky picture got labelled "the Eye of God", another he called "Scaffolders cant Fly", a reference that he lived on a boat and could not swim.

He culminated with some Flemish Bruegel etchings which followed the path of nature the last being "the Blind leading the Blind"