• CollegeCSM
  • Start dateSeptember 2018
  • Course length3 years
  • UCAS codeW100

BA (Hons) Fine Art

Artists create the cultural resources of our shared future. We recognise the breadth and diversity of social, political, cultural, economic and technological contexts of contemporary art. BA Fine Art will challenge you to develop an experimental practice within the context of an internationally renowned course. You will work within one of 4 pathways, 2D, 3D, 4D and XD, offering you a practice-based approach to technical, conceptual, historical and critical contexts. This will provide you with the skills and knowledge to define and innovate within your chosen cultural and artistic field.

This course is part of the Art Programme. 

Great reasons to apply

  • The dimensional pathway structure is unique to CSM. The course offers students an interdisciplinary context whilst the pathways give a perspective to explore specific practices
  • You’ll get the chance to go on international exchanges, in countries around the world. The course has an international outlook with a diverse multicultural community of practice
  • Take part in external projects that provide experience of art practice outside Central Saint Martins. Recent external projects include work with the Camden Art Centre, The Freud Museum, Tate Modern, The Wellcome Foundation, British Library and the British Museum
  • At the end of your second year you can take a one year Diploma in Professional Studies as part of your BA Fine Art course. You will get the opportunity to do a range of work placements that relate to your professional interests and aspirations. You could be working in a gallery, museum, theatre, in education or an artist's studio both in this country and internationally
  • Recent high-profile graduate success include Laure Prouvost (Turner Prize winner 2013 and winner of the Max Mara Prize for Women 2011), Ed Atkins (Paul Hamlyn Foundation Award winner 2012) and Emily Wardill (Winner of the Jarman Award 2010).

Course Patron for BA Fine Art:

hollyport-capital-thumb

Meet the Course Leader, Mick Finch

<b>Conall McAteer, alum</b>

CSM is a hugely renowned institution for a variety of creative subjects. I had always wanted to pursue art after A-Level and there was no other place I even contemplated going to.

Conall McAteer, alum

Fine Art on Instagram

  • Central Saint Martins at @tateExchange #tateexchange  Group knitting Lolita Stegmar and Honour Greenwood. BAFINE ART students @tateexchange #tateexchange
  • Neon life drawing with CSM student JYLLE NAVARRO @tateexchange.  TUESDAY from STUDIO COMPLEX - The Art Programme at Central Saint Martins is at TATE EXCHANGE  Blavatnik Building, Level 5 TATE MODERN, all this week  Monday 15 January to Sunday 21 January 12pm – 6pm daily.  280 students with 200 projects across 7 days.  Join the conversation: @TateExchange  #TateExchange

We do hope that you can come along and view all the studios/ workshops and events
Blavatnik Building, Level 5, Tate Modern, Bankside 
How to survive as an artist in the metropolis

Join and help us remake the studio of the future.

London, once a city with overlooked spaces open to occupation and experimentation, has become an increasingly difficult environment for emerging artists. Those graduating from art school now find fewer spaces in which to work, with affordable studios a thing of the past. In the five-year period between 2014 and 2019, it is predicted that 30 per cent of artists’ studios in London will be lost (see GLA’s Artists’ Workshop Study). In response, artists are challenging and re-inventing the studio. Could it be a park bench, an online space or a public building? As artists, can we resist the tide and find new ways of reinstating art practice within the heart of the city?

Students from Central Saint Martins will construct fully functioning studios in Tate Exchange. Drop in and select a studio (or a series of studios) and join in a wide range of practical activities incorporating the many and diverse ways which art is made today @tateexchange  #studiocomplex #performanceart. #tateexchange @csm_news @csminnovation
  • Gordon Berger. BAFA 2D. third year  TATE EXCHANGE. today open to the public. @tateexchange #tateexchange  @csm_news
  • Priya Odedra and Caglar Tahiroglu MA Art and Science  performance on Monday at CSM  TATE EXCHANGE 
STUDIO COMPLEX

Good morning TUESDAY from STUDIO COMPLEX - The Art Programme at Central Saint Martins is at TATE EXCHANGE  Blavatnik Building, Level 5 TATE MODERN, all this week  Monday 15 January to Sunday 21 January 12pm – 6pm daily.  280 students with 200 projects across 7 days.  Join the conversation: @TateExchange  #TateExchange

We do hope that you can come along and view all the studios/ workshops and events
Blavatnik Building, Level 5, Tate Modern, Bankside 
How to survive as an artist in the metropolis

Join and help us remake the studio of the future.

London, once a city with overlooked spaces open to occupation and experimentation, has become an increasingly difficult environment for emerging artists. Those graduating from art school now find fewer spaces in which to work, with affordable studios a thing of the past. In the five-year period between 2014 and 2019, it is predicted that 30 per cent of artists’ studios in London will be lost (see GLA’s Artists’ Workshop Study). In response, artists are challenging and re-inventing the studio. Could it be a park bench, an online space or a public building? As artists, can we resist the tide and find new ways of reinstating art practice within the heart of the city?

Students from Central Saint Martins will construct fully functioning studios in Tate Exchange. Drop in and select a studio (or a series of studios) and join in a wide range of practical activities incorporating the many and diverse ways which art is made today @tateexchange  #studiocomplex #performanceart
  • Grant Legassick  Augmented reality  MA Contemporary Photography;Practices and Philosophies.  at TATE Exchange  Good afternoon from TATE The Art Programme at Central Saint Martins is at TATE EXCHANGE  Blavatnik Building, Level 5 TATE MODERN, all next week  Monday 15 January to Sunday 21 January 12pm – 6pm daily.  280 students with 200 projects across 7 days.  Join the conversation: @TateExchange  #TateExchange
We do hope that you can come along and view all the studios/ workshops and events
STUDIO COMPLEX  WITH CENTRAL SAINT MARTINS

Blavatnik Building, Level 5, Tate Modern, Bankside 
How to survive as an artist in the metropolis
Join and help us remake the studio of the future.
London, once a city with overlooked spaces open to occupation and experimentation, has become an increasingly difficult environment for emerging artists. Those graduating from art school now find fewer spaces in which to work, with affordable studios a thing of the past. In the five-year period between 2014 and 2019, it is predicted that 30 per cent of artists’ studios in London will be lost (see GLA’s Artists’ Workshop Study). In response, artists are challenging and re-inventing the studio. Could it be a park bench, an online space or a public building? As artists, can we resist the tide and find new ways of reinstating art practice within the heart of the city?

Students from Central Saint Martins will construct fully functioning studios in Tate Exchange. Drop in and select a studio (or a series of studios) and join in a wide range of practical activities incorporating the many and diverse ways which art is made today @tateexchange @grantlegassick @marinetanguyart @csm_news
  • Good morning from TATE 'Please take a pencil and checklist, make yourself at home'. The Art Programme is at TATE EXCHANGE  Blavatnik Building, Level 5 TATE MODERN, all next week  Monday 15 January to Sunday 21 January 12pm – 6pm daily.  280 students with 200 projects across 7 days.  Join the conversation: @TateExchange  #TateExchange
We do hope that you can come along and view all the studios/ workshops and events
STUDIO COMPLEX  WITH CENTRAL SAINT MARTINS

Blavatnik Building, Level 5, Tate Modern, Bankside 
How to survive as an artist in the metropolis
Join and help us remake the studio of the future.
London, once a city with overlooked spaces open to occupation and experimentation, has become an increasingly difficult environment for emerging artists. Those graduating from art school now find fewer spaces in which to work, with affordable studios a thing of the past. In the five-year period between 2014 and 2019, it is predicted that 30 per cent of artists’ studios in London will be lost (see GLA’s Artists’ Workshop Study). In response, artists are challenging and re-inventing the studio. Could it be a park bench, an online space or a public building? As artists, can we resist the tide and find new ways of reinstating art practice within the heart of the city?

Students from Central Saint Martins will construct fully functioning studios in Tate Exchange. Drop in and select a studio (or a series of studios) and join in a wide range of practical activities incorporating the many and diverse ways which art is made today @tateexchange
  • At Tate Exchange this week
Zongxiu Xie; YEXUAN Wang; YIWEI Shi  MA Fine Art Year 1
'We call this installation the “zoo-studio
  • Monday Guest Lecture

In addition to all the student studio events and workshops we have the
Monday 15 January 2018, 4.00pm
 A discussion about the contemporary ideas of the studio in the urban metropolis
Sonia Boyce in conversation with Graham Ellard chaired by Alex Schady Art Programme Director, Central Saint Martins.  Join the conversation: @TateExchange  #TateExchange
We do hope that you can come along and view all the studios/ workshops and events
STUDIO COMPLEX  WITH CENTRAL SAINT MARTINS

Blavatnik Building, Level 5, Tate Modern, Bankside 
How to survive as an artist in the metropolis
Join and help us remake the studio of the future.
London, once a city with overlooked spaces open to occupation and experimentation, has become an increasingly difficult environment for emerging artists. Those graduating from art school now find fewer spaces in which to work, with affordable studios a thing of the past. In the five-year period between 2014 and 2019, it is predicted that 30 per cent of artists’ studios in London will be lost  #soniaboyce @csm_news #studiospace
  • Remember last year at Tate Exchange?? We are delighted to be back!
The Art Programme is at TATE EXCHANGE  Blavatnik Building, Level 5 TATE MODERN, all next week  Monday 15 January to Sunday 21 January 12pm – 6pm daily.  280 students with 200 projects across 7 days.  Join the conversation: @TateExchange  #TateExchange
We do hope that you can come along and view all the studios/ workshops and events
STUDIO COMPLEX  WITH CENTRAL SAINT MARTINS

Blavatnik Building, Level 5, Tate Modern, Bankside 
How to survive as an artist in the metropolis
Join and help us remake the studio of the future.
London, once a city with overlooked spaces open to occupation and experimentation, has become an increasingly difficult environment for emerging artists. Those graduating from art school now find fewer spaces in which to work, with affordable studios a thing of the past. In the five-year period between 2014 and 2019, it is predicted that 30 per cent of artists’ studios in London will be lost (see GLA’s Artists’ Workshop Study). In response, artists are challenging and re-inventing the studio. Could it be a park bench, an online space or a public building? As artists, can we resist the tide and find new ways of reinstating art practice within the heart of the city?

Students from Central Saint Martins will construct fully functioning studios in Tate Exchange. Drop in and select a studio (or a series of studios) and join in a wide range of practical activities incorporating the many and diverse ways which art is made today
  • The Art Programme is at TATE EXCHANGE  Blavatnik Building, Level 5 TATE MODERN, all next week  Monday 15 January to Sunday 21 January 12pm – 6pm daily.  280 students with 200 projects across 7 days.  Join the conversation: @TateExchange  #TateExchange
We do hope that you can come along and view all the studios/ workshops and events
STUDIO COMPLEX  WITH CENTRAL SAINT MARTINS

Blavatnik Building, Level 5, Tate Modern, Bankside 
How to survive as an artist in the metropolis
Join and help us remake the studio of the future.
London, once a city with overlooked spaces open to occupation and experimentation, has become an increasingly difficult environment for emerging artists. Those graduating from art school now find fewer spaces in which to work, with affordable studios a thing of the past. In the five-year period between 2014 and 2019, it is predicted that 30 per cent of artists’ studios in London will be lost (see GLA’s Artists’ Workshop Study). In response, artists are challenging and re-inventing the studio. Could it be a park bench, an online space or a public building? As artists, can we resist the tide and find new ways of reinstating art practice within the heart of the city?

Students from Central Saint Martins will construct fully functioning studios in Tate Exchange. Drop in and select a studio (or a series of studios) and join in a wide range of practical activities incorporating the many and diverse ways in which
  • Lauren Jetty : 'Suspended Animation'. 'The Ambassadors#2'. In Metadata exhibition. On now in the Lethaby Gallery CSM  Jetty converts images of old-master paintings to stitched, quasi-Metadata: how we relate to images – Open Wednesday 10 January – Lethaby Gallery at CSM
10 JANUARY - 3 FEBRUARY |  LETHABY GALLERY 
We encounter the world through metadata – data that provides information about other data. Maps, calendars, the location and time of a text message, all describe and classify information. Images carry their own metadata that affects how we relate to them, whether engaging with history and the passage of time or as beholders cupixelated canvases.  @lethabygallery @csm_news #metadata
  • We are installing MA Contemporary Photography Practices and Philosophies in the Windows gallery at CSM. 'The death of the image and the birth of photography'. Re evaluating the role of the digital image in contemporary art.  The triumph of the digital image as the universal unit of communication compels us to re-evaluate its role in contemporary art. The ubiquity of 3D printed objects, Augmented and virtual reality and visual media places photography (on all its hybridized forms) at the heart of contemporary art. This show will solidify the role of photography in contemporary art practice and its place in the innovative art programme provision of CSM.
 #macontemporaryphotography @csm_news
  • Jean Pierre Muller: 
The Long March (a prelude)

13-27 January 2018
open: Sat-Sun 1-6pm
preview: 12 January 6-9pm 
closing event: 28 January 4-7pm 
FIVE YEARS
Unit 2B1 | Boothby Road | Archway, London | N19 4AJ 
7x7project.com | info@fiveyears.org.uk | www.fiveyears.org.uk | twitter | Facebook 
Jean Pierre  with performance by Sean O'Hagan (High Lla The Long March chronicles the journey of two children on the run. We don’t know what and why they are fleeing, but their voyage sees them cross paths with many other people on the move. They witness the ancestors’ long marches and interact with each of the seven gods of the week; they hear speeches pronounced and secrets whispered; they read the signs on the walls and even find time to play.

The Long March has been conceived under the aegis of Jean Pierre Muller’s ongoing 7x7 series in which seven leading musicians – Archie Shepp, Terry Riley, Robert Wyatt, Sean O’Hagan, Kassin, Nile Rodgers and Mulatu Astatke – have each collaborated individually with Muller on themes inspired by the mythical associations of the seven days of the week, the seven notes of the scale and the seven colours of the rainbow. The Long March emerged from conversations both personal and artistic between Muller and Archie Shepp, the celebrated jazz giant. Originally conceived for a stage show, the large prints on fabric, with their subtle transparencies and supple combinations, proved so rich a language that Muller began working with them as compelling installation materials in their own right. Wandering amongst them, the viewer embarks on a perilous journey.  @fiveyearslondon @Alexschady  #fiveyearsart
  • Célia Hay graduate  of Central Saint Martins MA Photography (2016) has upcoming screening at ICA.
'And the River walked with us’, commissioned by ICA, Channel 4 and DAZED and which Celia co-directed with Anne Vimeux, is in the official selection of BAFTA qualifying festival London Short Film Festival 2018. It will be screened at ICA on the 14th of January 2018 at 1pm. Here is a link to the screening:  https://www.ica.art/whats-on/lsff-new-shorts-experiments-celluloid-traces-2018. You can see the whole programme of London Short Film Festival 2018 here: http://shortfilms.org.uk/lsff2018/events
Image:  And the River walked with us (2017), Célia Hay & Anne Vimeux @csm_news  #celiahay @icalondon
  • STUDIO COMPLEX - the Art Programme at CENTRAL SAINT MARTINS AT TATE MODERN
15 JANUARY 2018 AT 12,00-18.00
16 JANUARY 2018 AT 12.00–18.00
17 JANUARY 2018 AT 12.00–18.00
18 JANUARY 2018 AT 12.00–18.00
19 JANUARY 2018 AT 12.00–18.00
20 JANUARY 2018 AT 12.00–18.00
21 JANUARY 2018 AT 12.00–18.00

How to survive as an artist in the metropolis
Join and help us remake the studio of the future.

London, once a city with overlooked spaces open to occupation and experimentation, has become an increasingly difficult environment for emerging artists. Those graduating from art school now find fewer spaces in which to work, with affordable studios a thing of the past. In the five-year period between 2014 and 2019, it is predicted that 30 per cent of artists’ studios in London will be lost (see GLA’s Artists’ Workshop Study). In response, artists are challenging and re-inventing the studio. Could it be a park bench, an online space or a public building? As artists, can we resist the tide and find new ways of reinstating art practice within the heart of the city?

Around 200 students from Central Saint Martins will construct fully functioning studios in Tate Exchange. Drop in and select a studio (or a series of studios) and join in a wide range of practical activities incorporating the many and diverse ways in which art is made today.

TATE MODERN
Tate Exchange  Blavatnik Building, Level 5 Bankside
London SE1 9TG  @tate  #tateexchange  @TateEchange @alexschady
  • Next Week: Metadata: how we relate to images
10 Jan - 03 Feb 2018

Tuesday to Friday: 11am - 6pm
Saturday: 12 noon - 5pm
Exciting new exhibition

We encounter the world through metadata – data that provides information about other data. Maps, calendars, the location and time of a text message, all describe and classify information. Images carry their own metadata that affects how we relate to them, whether engaging with history and the passage of time or as beholders curating our own visual experience. 
Focusing on the role of metadata in art and art history, this exhibition shares contemporary reflections on the status of data, extending beyond the digital. Works range from interventions, such as Nora Al-Badri and Nikolai Nelles’ Nefertiti Hack Project, to the Arts & Crafts movement’s engagement with medieval ornament. Where there is information there is metadata. 
This exhibition arises out of a longstanding collaboration between artists and academics from Central Saint Martins and the research project Bilderfahrzeuge (a phrase coined by art historian Aby Warburg that translates as ‘image vehicles’). Featuring works by: 
Nora Al-Badri and Nikolai Nelles | Alexander Burgess | Hussein Chalayan | Matthew Clarke | Joyce Clissold | Carole Collet | Sarah Craske, Dr Simon Park and Dr Charlotte Sleigh | Matthew Darbyshire | Rosemary House | Lauren Jetty | Edward Johnston and Violet E. Hawkes | Owen Jones | Lottin de Laval | Richard Long | Nicola Lorini | Alfred Maudslay | Louisa Minkin | William Morris and John Henry Dearle | Noel Rooke | Henrietta Simson | Jeremy Wood

Event series:
The exhibition is accompanied by a series of panel discussions in which curators, artists and academics will discuss some of the overarching themes of Metadata: how we relate to images. All events are free, follow the links below for further details and to book. §  Technologies of Recording | Thursday 11 January, 5pm
§  Methodologies of Description | Thursday 18 January, 5pm
§  Practices of Production | Thursday 25 January, 5pm
§  Policies of Ownership | Saturday 3 February, 2pm  #metadata @lethabygallery #lethabygallery @csm_museum
  • Metadata: how we relate to images. Exhibition. Supported by Art Programme staff and students. Lethaby Gallery CSM .  10 Jan - 03 Feb 2018
Opening times:
Tuesday to Friday: 11am - Opening times:
Tuesday to Friday: 11am - 6pm
Saturday: 12 noon - 5pm.  Image: Detail of DISENTANGLED No.1 (2017) by Nora Al-Badri and Nikolai Nelles (Courtesy: Nora Al-Badri, Nikolai Nelles | NOME Gallery Berlin). We encounter the world through metadata – data that provides information about other data. Maps, calendars, the location and time of a text message, all describe and classify information. Images carry their own metadata that affects how we relate to them, whether engaging with history and the passage of time or as beholders curating our own visual experience. 
Focusing on the role of metadata in art and art history, this exhibition shares contemporary reflections on the status of data, extending beyond the digital. Works range from interventions, such as Nora Al-Badri and Nikolai Nelles’ Nefertiti Hack Project, to the Arts & Crafts movement’s engagement with medieval ornament. Where there is information there is metadata

Event series:
The exhibition is accompanied by a series of panel discussions in which curators, artists and academics will discuss some of the overarching themes of Metadata: how we relate to images. All events are free, follow the links below for further details and to book. 
Technologies of Recording | Thursday 11 January, 5pm
Methodologies of Description | Thursday 18 January, 5pm
Practices of Production | Thursday 25 January, 5pm
Policies of Ownership | Saturday 3 February,  #metadata @lethabygallery #lethabygallery
  • UPCOMING EXHIBITION: : METADATA - HOW WE RELATE TO IMAGES
A constellation of silver stars on a navy background which form the outline of an eye
10 January - 3 February 2018
An exhibition and event series at the Lethaby Gallery.

We encounter the world through metadata – data that provides information about other data. Maps, calendars, the location and time of a text message, all describe and classify information. Images carry their own metadata that affects how we relate to them, whether engaging with history and the passage of time or as beholders curating our own visual experience. 
Focusing on the role of metadata in art and art history, this exhibition shares contemporary reflections on the status of data, extending beyond the digital. Works range from interventions, such as Nora Al-Badri and Nikolai Nelles’ Nefertiti Hack Project, to the Arts & Crafts movement’s engagement with medieval ornament. Where there is information there is metadata. 
This exhibition arises out of a longstanding collaboration between artists and academics from Central Saint Martins and the research project Bilderfahrzeuge (a phrase coined by art historian Aby Warburg that translates as ‘image vehicles’). Featuring works by: 
Nora Al-Badri and Nikolai Nelles | Alexander Burgess | Hussein Chalayan | Matthew Clarke | Joyce Clissold | Carole Collet | Sarah Craske, Dr Simon Park and Dr Charlotte Sleigh | Matthew Darbyshire | Rosemary House | Lauren Jetty | Edward Johnston and Violet E. Hawkes | Owen Jones | Lottin de Laval | Richard Long | Nicola Lorini | Alfred Maudslay | Louisa Minkin | William Morris and John Henry Dearle | Noel Rooke | Henrietta Simson | Jeremy Woodcurating our own visual experience. .  @csm_news @lethabygallery @mick.finch #metadata
  • We are installing !  Exhibition:  Metadata: how we relate to images.  10 January 2018 – 3 February 2018
Lethaby Gallery, Central Saint Martins, Granary Square, London

@csm_news @mick.finch #metadata #csm @lethabygallery
  • Our BA Fine Art Open studios  students who are graduating this year welcomed visitors to their studios  @csm_news #csm #openstudios
         

Course detail

BA Fine Art is part of the Fine Art programme. It provides broad pathway options in 2D, 3D, 4D and XD practice. These create a focus for sustained critical engagement, enabling both specialisation and interdisciplinary communities of practice.

The degree course:

  • Offers the opportunity to take a one year Diploma in Professional Studies between Stages 2 and 3 of the BA programme, involving a 20 week work placement
  • Promotes experimental, investigative and historically, theoretically and critically informed approaches to art making
  • Develops negotiation, management and team skills through external projects, alternative spaces and site-specific opportunities
  • Is proactively taught through a wide range of events, led by a highly research-active staff team practising professionally across diverse media, supported by guest speakers and expert technicians
  • Develops a wide range of specialist and transferable skills including research, planning, documentation, evaluative writing, visual and verbal presentation
  • Offers a richly diverse international and multicultural community of practice, with opportunities for international exchanges 
  • Connects with numerous galleries, museums and cultural centres in London, providing a wide range of resources and opportunities
  • Progressively increases individual responsibility for learning and development of professional identity, offering choices of perspectives in final year to support theoretical research and practice-based directions.

The BA Fine Art programme runs for 90 weeks full time over three years. It is divided into three Levels (or Stages).

Each Stage is 30 weeks. The programme is credit-rated at 360 credits, with 120 credits at each Level (Stage).

Under the Framework for Higher Education Qualifications the Levels for a BA are: Level 4 (Stage 1 of the programme), Level 5 (Stage 2) and Level 6 (Stage 3).

There's a progression point at the end of each Level and, in order to progress, all Units of the preceding Level must normally have been passed.

If you're unable to continue on the programme, a Certificate of Higher Education (Cert HE) will normally be offered following the successful completion of Level 4, or a Diploma in Higher Education following the successful completion of Level 5.

To gain a BA (Honours), students must successfully complete 360 credits. The final award consists of marks from Level 6 units only, weighted according to their credits.

Course outline

As well as studio practice, the BA Fine Art programme takes the form of lectures, seminars and assignments undertaken in a sequence of distinct Units. Your study of fine art follows one of four broad pathways, described below. All pathways involve studio practice, critical and theoretical studies, and personal and professional development. For all pathways and practice, students develop appropriate levels of research, initiative and responsibility in order to propose and implement their own programme of study.

The BA Fine Art programme is practice-based and focuses on making and the development of ideas that constitute your artistic production. 'Production' takes place in many ways and places, including studios, workshops and off-site locations. In participating you benefit not only from the formal input of tutors but also from an informal interaction with peers, and an awareness of their development, within a shared environment. 'Studio practice' can mean site-specific work, film and video, live performance or installation as well as work actually made in 'a studio'.

2D pathway (art practice in two dimensions, for example - painting, printmaking and photography)

2D explores how making is informed by contemporary culture, politics and social forms as much as by questions of the image and abstraction. It considers the screen, the picture plane and surface as fundamental aspects of visual production. Technical inductions are positioned in terms of these questions. In the studio we discuss how diverse disciplines, practices and forms of thought can be mixed.

3D pathway (art practice in three dimensions, for example - sculpture, installation and performance)

3D explores matter, scale, production, material and immaterial form in relation to place and
 audience. Students are inducted into a range of traditional and new 3D technologies, and to the debates surrounding hybrid production processes. The studio is a place where the reading and writing of space can take place and be questioned. 3D challenges a conventional understanding of the studio, the exhibition and institutional spaces.

4D pathway (art practice in four dimensions, for example - film, video, art writing, performance and sound)

4D explores time-based, durational performative, and interdisciplinary practices. Critical and philosophical positions are explored in relation to practice and current ideas such as the post-medium condition, the apparatus of technology and temporality are considered. The Pathway has an experimental approach to the studio and explores how this might challenge conventions of practice. In this context, the ‘open work’ is engaged as a site where collaboration and production take place.

XD (art practice across dimensions, practices, locations and situations)

XD explores the possibilities of not only ‘what does art mean?’ but also ‘what can art do?’ and ‘where can art be?’ The implications of working across different platforms and placing art in particular situations and communities throws into question the rights and responsibilities of the artist in relation to the audience and the environment. The studio is considered as a laboratory where ideas for interventions in the practice of everyday life can be generated.

Critical studies

The Critical studies tutors are fundamental in the delivery of theory within the course. Writing and presentation skills and the ability to articulate practice.

Critical studies supports a student’s theoretical exploration and provides the methodologies and a conceptual framework for developing practice. This takes the form of lectures, seminars tutorials and presentations. The Critical Studies tutors are fundamental in the delivery of Theory within the course. Writing and presentation skills and the ability to articulate practice.

Through stage one and two there are a number of different forms of written submission leading up to the dissertation in stage 3. Teams of critical studies and studio tutors jointly supervise this. The final degree classification is based on the assessment of the stage three units (unit eight dissertation 40 credits and unit nine continuing practice and degree show 80 credits).

Introductory reading suggestions:

Education for Socially Engaged Art: A Materials and Techniques Handbook byPablo Helguera, Jorge Pinto Books 2011

Situation by Clare Doherty, Whitechapel Art Gallery 2009

Out of the Box: The Reinvention of Art 1965-1975 by Carter Ratcliff, Allworth Press 2001

Programme stages

Stage one (level four) provides an introduction from the perspective of your pathway. From the beginning you are introduced to practical skills and processes, research and study skills, critical and discursive approaches. It is diagnostic and exploratory.

Stage two (level five) is a pivotal period of development in which you begin to take increased responsibility for your learning and for self-directed work. There's more emphasis on experiment and risk in developing your ideas, conceptual strategies, research and means of production. This stage also sees a honing of technical skills.

Between stage two and stage three of the BA Fine Art programme there's an option to take a Diploma in Professional Studies. This separate qualification (rated at 120 credits) involves researching, undertaking and reflecting on a 20-week (minimum) placement related to your professional interests and aspirations (e.g. in gallery or educational contexts or working as an artist's assistant). The Diploma provides a valuable opportunity to make professional contacts and to develop your personal employability skills.

Stage three (level six) is a period of realisation that brings together your learning during the degree course as a whole. As well as reflecting your development as a contemporary practitioner it engages you as far as possible with the challenges of personal responsibility and development that a career in the creative professions or further study at Masters level involves.

Critical Studies are embedded into the Units with studio practice and involve investigations into historical and contemporary critical theory through lectures, seminars, tutorials and independent research. You consider the historical and contemporary contexts of art and a broad range of critical debates relating to the form, content, value and meaning of art practices, and produce written assignments, leading to a dissertation in stage three. Balanced with your studio practice, your dissertation focuses on an individual chosen topic and field of research that relates to your practice and locates it within a theoretical framework. It involves the development of a piece of documented research.

Personal and Professional Development is also embedded into the units with studio practice and critical and theoretical studies, helping you focus on generic study skills and orientation and becoming more closely related to your professional direction.

Developing your skills - external activities

Active collaborations involving staff and students embrace key cultural institutions, venues, commercial enterprises and alternative spaces to introduce you to London's varied networks of creative practice. Teaching frequently targets major and specialist galleries and museums in London as research bases.

External projects bring students into collaborative relationships with outside agencies and provide experience and awareness of art practice beyond the college. Recent external projects include work with the Camden Art Centre, The Freud Museum, Tate Modern, The Welcome Foundation, British Library and the British Museum.

There are many collaborative exhibition and project opportunities across the Pathways, within the College and the University and a well-established international study exchange.

BA Fine Art Programme Specification 2018/19 (PDF, 453KB)

Industry collaborations

Working with paying clients on live briefs will give you valuable commercial experience which may mean your work being taken forward for production or, if so desired, in the purchase of your intellectual property. All paid projects are conducted within a carefully developed legal framework, which includes student agreements to protect your work and help you realise its commercial value. 

Recent client projects in the Art programme include: Red Mansion Foundation. 

Once you’ve graduated, you may be picked as part of a small team to work on a live creative brief, organised by our Business and Innovation department, under the supervision of an experienced tutor. This can be a valuable first step in working professionally in a chosen discipline and has resulted in graduates being hired by clients.

Facilities

Staff

Programme Director: Alex Schady
Course Leader and Reader: Mick Finch

Pathway Leaders
2D: Mario Rossi
3D: Elizabeth Wright (Fine Art)
4D: John Seth
XD: Anne Eggebert
Joint Leaders; 
Critical Studies: Jon Cairns
Critical Studies: Dr Kate Love

Tutors
2D Pathway: Joey Bryniarska
2D Pathway: Emma Talbot
3D Pathway: Anthony Davies
3D Pathway: Naomi Dines
4D Pathway: Hilary Lloyd
4D Pathway: Paul Simon Richards
4D Pathway: Hannah Rickards
4D Pathway: Erika Tan
XD Pathway: Margot Bannerman
XD Pathway: Ben Cain
XD Pathway: Sarah Cole
XD Pathway: Katrina Palmer
Critical Studies: Stuart Elliot

Associate Lecturers
Critical Studies: Dr Owen Parry
Sarah Jones
Helen Robertson
Dan Hays
Mark Waller
Dr Linda Aloysius
Dr Kimathi Donkor

Admissions Tutor and Stage 1 Tutor: Lynn Hewett
Diploma in Professional Studies Pathway Leader: Anne-Marie Creamer

 

 

 

How to apply

When to apply

The UCAS deadline for all applications (Home, EU and International) is 15 January 2018.

Please note that not all courses are able to consider late applications. Applicants may only change their course choice within 14 days of submitting an application. Any changes made to your application after 15 January 2018 will result in the application being marked as late.

Applying and how your application is considered

You will need to apply through the UCAS online application system. Visit the UCAS BA Fine Art page and click the ‘Apply’ link on the right. From here you will be able to register and create a password that gives you unique access as you complete your online application form. Central Saint Martins (CSM) courses are listed under University of the Arts London. You will need the following details:

  • University code: U65
  • Course code: W100
  • There is no 'campus code' for CSM

Please note this course does not accept Year 3 Entry. 

After you have successfully submitted your application online, you will receive an email confirming your application and providing your login details for the UAL Applicant Portal.  Please do log into your applicant portal as this is where we will send you important updates and requests, as well as allowing you to contact us with any questions you may have about your application.

What happens next

If you meet the entry requirements you will be invited to submit a mini portfolio through UAL’s online portfolio review system. 

Mini portfolio

The mini portfolio should be no more than 10 images comprising of your best work showing your skills and thinking. You can create the pages in any layout (For example: presentation boards) but they should be uploaded as jpeg images. It should include:

  •  A range of work – finished works or works in progress.
  • How you have engaged with experimentation and how well you may have pushed ambition through proposals and perhaps through making. 
  • How well you have developed your skills with materials and processes. 
  • How you may have applied any relevant research to your ideas and making – perhaps through the use of sketch books and study books. 
  • Briefly outline – in one sentence - the ideas and interests behind the works as a title to each page

Following a review on your mini portfolio, you will either be invited for a full portfolio review or your application will be rejected via UCAS Track.

Full portfolio review

  • If you have been successful with your mini portfolio, we will invite you to a full portfolio review at college, normally taking place between February and March.
  • If you are unable to attend the full portfolio review in person, you will be asked to submit a FULL digital portfolio (up to 30 pages) through UAL’s online portfolio review system.
  • Please note that we do not accept portfolios by post.

The full portfolio should demonstrate a range of skills appropriate to the subject area, containing examples of work completed within recent years, whether for a college project or personal work. It is important that the work applicants include reflects their engagement in creative practice, critical thinking and technical abilities and also that they include evidence of background research, e.g. sketchbooks, preliminary work and written material.

Ideas, visual research and experimentation are more important than finished work and can be shown in two dimensional work, made objects, photographs or through recorded moving image/live events.

Please remember:

  • The quality of the work is more important than the quantity.
  • Where possible, large or 3-dimensional work should be photographed and scanned
  • Please organise your work by project, with supporting work presented alongside final outcomes.

How we notify you of the outcome of your application

You will receive the outcome of your application through UCAS track and the UAL Applicant Portal.

Deferred entry

Please note that CSM does not accept application for deferred entry. 

When to apply

The UCAS deadline for all applications (Home, EU and International) is 15 January 2018.

Applicants may only change their course choice within 14 days of submitting an application. Any changes made to your application after 15 January 2018 will result in the application being marked as later. 

Please note that some courses will continue accepting late applications after the above deadline, subject to spaces available on the course. We recommend you apply by the end of March at the very latest to avoid disappointment.

Applying and how your application is considered

There are three ways international students can apply to an undergraduate course at CSM:

To apply via UCAS, visit the UCAS BA Fine Art page and click the ‘Apply’ link on the right. From here you will be able to register and create a password that gives you unique access as you complete your online application form. Central Saint Martins (CSM) courses are listed under University of the Arts London. You will need the following details:

  • University code: U65
  • Course code: W100
  • There is no 'campus code' for CSM.

Please note this course does not accept Year 3 Entry.

You can only apply to the same course once per year whether you are applying via UCAS, UAL Representative or using the UAL online application system. Any duplicate application will be withdrawn.

For further advice on how to apply please visit the UAL International Application page.

After you have successfully submitted your application online, you will receive an email confirming your application and providing your login details for the UAL Applicant Portal.  Please do log into your applicant portal as this is where we will send you important updates and requests, as well as allowing you to contact us with any questions you may have about your application.

Immigration History Check (for International Applications only)

Whether you are applying online via UCAS or through a UAL representative or direct application you will need to complete an Immigration History check. 

Please note: If you do not complete the Immigration History Check we will not be able to proceed with your application and portfolio review.

What happens next

If you meet the entry requirements you will be invited to submit a mini portfolio through UAL's online portfolio review system. 

Mini portfolio

The mini portfolio should be no more than 10 pages comprising of your best work showing your skills and thinking. It should include:

  • The work that you feel is strong, that represents a range of your skills and that is relevant to the course you have applied to. 
  • Please include some development work as well as finished pieces.
  • You can create the pages in any layout or have multiple images per page but do not 'overload' each page.
  • You can also include short captions to explain your work.
  • Prepare your pages in any software, then save as bmp/gif/jpg/jpeg/png images and upload through the PebblePad system.

Following a review on your mini portfolio, you will either be invited for a full portfolio review or your application will be rejected via UCAS Track or UAL Applicant Portal.

Full portfolio review

  • If you currently live in the UK, you will be invited to attend a full portfolio review at college, normally taking place between February and March.
  • If you currently live outside the UK or unable to attend the full portfolio review in person, you will be asked to submit a FULL digital portfolio (up to 30 pages) through UAL’s online portfolio review system.
  • Please note that we do not accept portfolios by post

The full portfolio should demonstrate a range of skills appropriate to the subject area, containing examples of work completed within recent years, whether for a college project or personal work. It is important that the work applicants include reflects their engagement in creative practice, critical thinking and technical abilities and also that they include evidence of background research, e.g. sketchbooks, preliminary work and written material. 

Ideas, visual research and experimentation are more important than finished work and can be shown in two dimensional work, made objects, photographs or through recorded moving image/live events. 

Please remember:

  • The quality of the work is more important than the quantity.
  • Where possible, large or 3-dimensional work should be photographed and scanned
  • Please organise your work by project, with supporting work presented alongside final outcomes.

How we notify you of the outcome of your application

You will receive the outcome of your application through UCAS track and the UAL Applicant Portal. 

Deferred entry

Please note that CSM does not accept application for deferred entry.

Study Abroad applicants

International undergraduate students may apply to join a BA course for a period of up to three terms as a study abroad student.

Please visit the UAL Study Abroad for details of how to apply to one of our courses or contact the UAL Study Abroad Team central offices for more information:

T: +44 (0)20 7514 2249
E: studyabroad@arts.ac.uk
W: UAL Study Abroad

Entry requirements

Selection is determined by the quality of the application, indicated primarily in your portfolio and written statements. A very high proportion of successful applicants complete a Foundation Diploma in Art and Design.

Applicants are normally expected to have achieved, or be expected to achieve, the course entry requirements details below:

  • Foundation Diploma in Art and Design
  • 1 GCE A Level
  • 3 GCSEs grade C or above

OR

  • Pass at BTEC Extended Diploma
  • 3 GCSEs grade C or above

OR

  • Other University of Arts London awarded level 3 Pre-University Diploma and Extended Diploma in Art and Design
  • 4 GCSEs grade C or above

OR

  • Pass at Foundation Diploma in Art and Design (Lever 3 or 4)
  • International Baccalaureate Diploma pass achieved at 28 points or above 

OR

  • Pass at Foundation Diploma in Art and Design (Lever 3 or 4)
  • An equivalent high school qualification from an EU or non-EU institution

In exceptional circumstances, applicants without Foundation Diploma qualification may be considered if they present a portfolio of equivalent standard to a Foundation Diploma in Art and Design and have:

  • 2 GCE A Levels at Grade C or above
  • 3 GCSEs at grade C or above

Applicants who do not meet these course entry requirements may still be considered if the course team judges the application demonstrates additional strengths and alternative evidence. This might be demonstrated by, for example: related academic or work experience; the quality of the personal statement; a strong academic or other professional reference; or a combination of these factors.

English language requirements

All classes are conducted in English. If English is not your first language you will be asked to provide evidence of your English language ability in order to apply for a visa, enrol, and start your course. The English language requirement for entry for this course is:

IELTS Academic 6.0 with a minimum of 5.5 in each of the 4 skills (on one single test)

For further information visit the English Language requirements page.

Applicants who will need a Tier 4 General Student Visa should check the Visa and Immigration page which provides important information about UK Visa and Immigration (UKVI) requirements. 

What we look for

We're interested in students who are prepared to question and to take a critical perspective and who show potential to develop as innovative artists.

Selection criteria

Applicants are selected according to their demonstration of potential and current ability to:

Work imaginatively and creatively in visual media

  • engage with experimentation and invention
  • show imagination and ambition in proposals for your work

Demonstrate a range of skills and technical abilities

  • show personal commitment to skill development
  • engage with materials and processes

Provide evidence of intellectual enquiry within your work

  • demonstrate relevant research
  • reflect critically on your learning

Demonstrate cultural awareness and/or contextual framework of your work

  • identify historical and contemporary art practices
  • identify social and/or cultural influences on your work

Articulate and communicate intentions clearly

  • demonstrate appropriate and effective communication skills
  • present your work appropriately and effectively

Indicate the relevance of this course to your personal development

  • develop your own ideas beyond set project briefs
  • show willingness to work both collaboratively and independently
  • reflect your knowledge of this course

Fees and funding

Home/EU fee

£9,250 (2018/19). TBC

Tuition fees for undergraduate degree courses have been set at £9,250 per year for full-time study. This applies from the 2018/19 academic year, subject to changes in the law. Tuition fees may increase in future years for new and continuing students, in line with an inflationary amount determined by government. Please visit our Undergraduate tuition fees page for more information.

International fee

£19,350 (2018/19).

Additional costs

In addition to tuition fees you are very likely to incur additional costs such as travel expenses and the cost of materials. Please read the information on our additional costs page.

Accommodation

Find out about the accommodation options available and how much they will cost.

Scholarships and awards

There are a number of scholarships and awards available to students on this course. Use our search tool to find out more information.

Scholarships search

Careers and alumni

BA Fine Art students leave with a broad and valuable understanding of fine art practice. Skills acquired enable graduates to become versatile practitioners in exciting and diverse contexts.

Many BA Fine Art graduates work as artists, or pursue art-related careers as curators, critics or teachers. Others work in graphics, IT, media, film, fashion and advertising.

BA Fine Art graduates often go on to postgraduate study, progressing to a wide range of Masters subjects that include fine art, philosophy, film, communication, landscape architecture, art history, gallery and museum studies, literature and broadcast journalism.

Recent BA Fine Art alumni activity demonstrates the breadth of student activity within the subject:

  • Alex Ball: Winner of Catlin Art Prize
  • Joshua Alexander & Siobhan Wanklyn: Film screenings, Camden Arts Centre, London
  • Tamarin Norward: MFA Art Writing, Goldsmiths
  • David Stearn: Bloomberg New Contemporaries 
  • Rosanna Manfredi: Installation assistant to Anselm Kiefer
  • Richard Milward: Published novel 'Apples'
  • Sonny Sanjay Vadgama: Selected to feature in Exposure 2009 at Parasol Unit, London
  • Jessica Rinland: Film Nulepsy accepted to London Film Festival 

For details of the wide range of careers support provided for students, please visit our Careers support page.

Alumni profiles

  • Kelly Ballett

    Kelly talks about the work which saw her nominated for Nova.

  • Jessie Churchill

    Alongside her practice, Jessie publishes Looking At Painting, a printed journal about painting in the expanded field that is archived in the V&A among other places.

  • Laura Ramon Frontelo

    Laura’s art was nominated for the Nova Award 2013, here she talks about the critical thinking behind the piece