Teesside University are the first university to launch the Curator apprenticeship, leading the way with a highly experienced professional team and building on the reknowned work of MIMA (Middlesbrough Institute of Modern Art), an international art gallery and museum that sits at the artistic heart of the School of Arts & Creative Industries on the Teesside University campus.
The Curator apprenticeship is embedded into the MIMA programme, allowing apprentices access to all resources and also for students following the non-apprenticeship route to contribute to a range of events, projects and exhibitions as part of their learning. It benefits from a knowledgeable and vastly experienced team leading sessions, including our Professor of Curating, Sarah Perks, Dr Paul Stewart, Elinor Morgan (Artistic Director at MIMA), Helen Welford and Dr Pippa Oldfield – all based within the school. Tutors for the first module include Daniella Rose-King (Tate) and independent curator, George Vasey, with guest speakers including Emily Pringle (Tate) and Sophia Hao (Cooper Gallery, Dundee).
Professor Perks said
“Starting the first Level 7 Apprenticeship in Curating has been such a fabulous journey for myself and my colleagues in the school and MIMA, we have been so excited during the design and implementation of the course and to be able welcome the first cohort to Middlesbrough has made it very real.
We have an even larger cohort for the next intake and a whole new module focused on access, inclusion and working with collections (of all types), with a large group joining us from the National Trust, as far away as Penzance!
We’re getting more and more enquiries from outside of museums and galleries which is really exciting. It’s also helping our research into curatorial strategies too, where we are very focused on activity with local communities and nature recovery.”
The Curator apprenticeship benefits from an intesive block delivery model, with apprentices required to attend 3 one-week blocks of learning across each year of the 2-year course. On completion of the apprenticeship the award of MA Curating is received alongside the Curator Apprenticeship.
Dr Stewart comments
“It was a fantastic experience to work with such a diverse and passionate group across multiple areas of curating, from galleries to archives across collections and public programming. The course has really developed a fantastic peer group and solidifed the need to further establish new ways of learning and teaching across the arts and curatorial sectors that support new and multiple entry points.
The apprenticeship builds on the work MIMA already does, connecting art, people and ideas to empower creative lives and positively contribute to the community.”
Further information about the Curator Apprenticeship
Since graduating from Teesside University with a degree in Fashion Design, life has been a whirlwind for designer Emily Dey. A graduate programme was followed by the opportunity to take part in a once-in-a-lifetime Modern Artisan training programme, giving her the confidence to launch her very own fashion brand. Emily tells her story here…
I began the Modern Artisan programme in London, September 2021. I’d applied for the programme a couple of months previously and waited till the final day before the applications closed as I couldn’t stop swapping and changing my CV and portfolio until the last minute. When I got an interview I couldn’t believe it and rehearsed for hours what I was going to say.
The whole application and interview process was rather intense and very competitive, so when I finally found out I’d secured a place on the programme I was beyond ecstatic.
Before the programme I had just taken part in one of the Teesside University Graduate programmes. I worked for 3 months between the University and MIMA helping curate a sustainable materials library alongside different innovative fashion items. This was all part of the award-winning Chemical City Exhibition shown at MIMA (winner of the Best Exhibition category in the NE Culture Awards). I think that having this experience with the university and being able to curate all the knowledge of sustainable and innovative fabrics really enhanced my chances when applying for Modern Artisan, as that is really what the programme is all about… a sustainable, ethical and innovative future for the fashion industry.
I had heard about the Teesside University Graduate programme from my previous tutor, Lynne Hugill as I’d studied Fashion Design at Teesside University, graduating with a First Class Honours in 2020. Before applying to do Fashion Design I had very little experience on a sewing machine and zero experience pattern cutting – I just liked clothes and designing. Everything I know about creating garments and sewing began at university and I fell in love with it straight away. I have Amanda Jobling and Vicky Wake to thank for teaching me everything about sewing and pattern cutting. They set me on the path to being a Modern Artisan, where I refined all I was taught at university.
In October 2021, The Prince’s Foundation and YOOX NET-A-PORTER unveiled the new artisans in training for the second edition of the responsible luxury training programme at the pre-COP 26 event hosted by the UK Government’s Department for International Trade in Milan. This year’s programme brought together eight artisans, four British fashion and textiles graduates, along with four Italian graduates from the leading Italian design school, Politecnico di Milano. Us artisans embarked on a collaborative ten-month paid training programme, with design training guided by experts from YOOX NET-A-PORTER and industry mentors, and training on small batch luxury production and heritage craftsmanship skills to help build capacity in the UK delivered by The Prince’s Foundation.
In January 2022, all eight artisans came together at The Prince’s Foundation’s Dumfries House headquarters in East Ayrshire, Scotland. We lived and worked here for six months of intensive training in luxury small batch production. Throughout our time at Dumfries House, we gained the skills to handcraft the entire collection to the highest of standards.
Over the course of the programme, we also had industry visits in the UK and Italy and received ongoing mentorship from YOOX NET-A-PORTER, The Prince’s Foundation and brand partners, initial brand mentors include Gabriela Hearst, Giuliva Heritage, Nanushka, VIN + OMI, Johnstons of Elgin, Tiziano Guardini, Flavia La Rocca and ZEROBARRACENTO.
On the 3rd of November 2022, YOOX NET-A-PORTER and The Prince’s Foundation announced the launch of our responsible ready-to-wear luxury womenswear capsule collection. Available exclusively on NET-A-PORTER and YOOX, 50% of the RRP is donated to The Prince’s Foundation, to support its innovative training programmes. For the first time, Highgrove Gardens, adjacent to Their Majesties The King and The Queen Consort’s private residence, served as an inspiration for a fashion collection. The programme and capsule reflect the initiative’s commitment to advance sustainability in luxury fashion and preserve heritage textile skills. We also demonstrate the shared ambition of YOOX NET-A-PORTER and The Prince’s Foundation to preserve the planet for future generations. It is the first collection to align 100% with the Infinity Product Guide, its sustainability and circularity design guidelines, and its first ever carbon neutral collection.
Each piece is embedded with a Digital ID through YOOX NET-A-PORTER’s partnership with EON, leveraging innovative technology to create a more circular industry and responsible customer mindset by unlocking unique product insights as well as care and repair and resale services. The Digital ID also shares with customers how YOOX NET-A-PORTER worked with environmental consultancy Carbonsink to minimise, calculate, and compensate for the carbon footprint of each garment. Carbon credits support the Artisans’ chosen certified offsetting project: Kariba Forest Protection, which protects forests and wildlife and supports community-based training and upskilling on the Zimbabwean-Zambian border.
Now that the Modern Artisan programme has come to an end, I have been working hard on my own brand, Dey Studios. It has always been a dream of mine to own my own fashion brand and with everything I have learnt from Modern Artisan, I feel that now is the perfect time to take the leap.
Dey Studios an independent, British slow fashion brand designed and founded by myself, Emily Dey. Every garment is carefully hand-made using sustainably sourced or dead-stock fabrics. All items are made on a pre-order basis to prevent wastage. This means every item is made in a much more responsible way. In the past, clothing was made to last – nobody ever thought to wear something once then throw it away. We invested in clothing we loved and wore it over and over again and if it broke, we’d simply fix it. Dey Studios wants to bring this back to the norm. Every item is lovingly hand-made in the North East of England, and made to be worn again and again. Dey Studios is reminiscent of all things fashion, film and music of the past. Not only were things made to last but they were beautiful too.
Each garment gives a nod to past decades where ‘fashion’ wasn’t important, as long as you had ‘style’.
When it came to owning my own brand, I needed all the support I could get so when I moved back home to Teesside, I applied to be part of the Launchpad FUEL Programme here at the university. The FUEL Programme is a 7 week Graduate Start-Up Programme where I was able to take part in numerous workshops and mentoring sessions all dedicated to helping founders learn about all stages of starting a business.
The FUEL Programme has taught me so many aspects of running a business that I otherwise wouldn’t have known where to start. At the end of the 7 weeks, each business founder had the opportunity to pitch to the trustees for grant funding. I was delighted to have been successful in the pitch and have secured grant money to help take Dey Studios to the next level. As well as funding I have also moved into studio space here at Teesside university, which is paramount when running a clothing brand so I am very grateful.
MIMA Creative Week is firmly set in the calendar for students in the School of Arts & Creative Industries – here’s what’s happening!
The week commencing Monday 24th October 2022 sees the start of our first of two MIMA Creative Weeks of this academic year, a week when we celebrate the diversity of creative subjects. MIMA Creative Week has been developed in response to student feedback, telling us that they wanted more time to develop their creative skills, the opportunity to explore the school’s wide range of facilities, take some time out to focus on their wellbeing and seek out new opportunities.
For this MIMA Creative Week we’ve put together an exciting timetable of activities, workshops, sessions and trips developed by academic and technical staff. Students and staff have access to a dedicated site which includes the timetable and a range of on demand content. Most workshops and sessions require booking, so students need to be quick off the mark to reserve their place!
The schedule includes a range of school workshops, both online and in our studios around the campus, including:
Career boost sessions
Adobe & Microsoft accreditation sessions
Visual Arts sessions
Art to Object workshops
Belonging banner design
Create tomorrow together session
Art & Design workshops throughout the week include:
Create your own Album art
Media workshops throughout the week include:
Introduction to the TV Studio
Audio creation sessions
Sound stage introduction sessions
Students wanting to know details of where to book sessions, check for an email and blackboard announcement titled MIMA Creative Week advising of the schedule, or contact firstname.lastname@example.org for a schedule to be sent to you.
Take a look at our courses in the School of Arts & Creative Industries
Rievaulx Abbey in North Yorkshire, an English Heritage site and home of the ruins of one of England’s most powerful Cistercian monasteries, was the venue for a recent Future Communities Journey for Teesside University students.
Students from the school of Arts & Creative Industries spent the day at Rievaulx Abby in North Yorkshire as part of a Global Future Contexts module, culminating in the installation of a temporary artwork on site.The installation comprised students developing constitutions which were displayed on forms designed to represent shelter and community. The forms echoed both simple ‘tents’ and the rooflines of the Abbey which were lost during the dissolution of the monasteries.
Students were encouraged to work in new surroundings and contexts whilst undertaking primary research and the history of the Abbey provided a lens with which to identify and explore contexts relating to community and social organisation.
A comprehensive briefing was provided for the day, explaining that the Journey was to explore contexts relating to time, community, politics, economics, resources and identity. The module theme of People & People was to be discussed through a temporary installation built by the students on site at Rievaulx Abbey. Students were able to consider the history of the site, drawing links with contemporary times in order to present a speculative vision for a future community.
The briefing went on to give context to the surroundings:
As artists and designers we often create forms of visual and material culture that relate to specific people, times and places. This Journey takes place amongst the ruins of Rievaulx Abbey, a Cistercian monastery built next to the river Rye. Founded in 1131, the monastery grew into ‘one of the most powerful and spiritually renowned centres of monasticism in Britain.’ Changing political contexts led to the monastery being violently suppressed and dismantled by order of King Henry VIII in 1538. Now the ruins are a recognised national historic monument cared for by English Heritage.
Students were encouraged to consider historical and contemporary social and environmental contexts including:
Rules and laws
Resources and economics
Foundation, formation and decline of communities
Centralised and decentralised organisation
Political repression and censorship
Trade, barter and exchange
Working in groups and using their findings from research at Rievaulx and their own prior knowledge, students created the constitution and material culture (artefacts) of a local future community. The constitution was presented in the form of a shelter that was erected alongside the constitutions of other communities. Each shelter displayed: 1. A written constitution outlining community resources, social organisation and ways of being. 2. Symbolism and ideologies expressed as selected artefact(s). (i.e. tools, garments or graphics)
Groups were also asked to provide information on social organisation, rules and laws, resources, production and trade, transport and forms of energy use for their community. Once shelters were erected they were then asked to vote for the community they wanted to live in and the best thinking and presentation of idea
Each constitution was drawn onto fabric and suspended in a frame provided.
Angela Peirson, Education Visits Officer at Rievaulx Abbey said
Staff and visitors alike enjoyed the work created by the students. The linking of the rise and fall of the community of monks with students then setting up their own community constitutions and displaying them as tents gave an interesting visual display as well as plenty of food for thought for us all.
The workshop was designed and delivered by Senior Lecturer, Charlie Tait, whose teaching practice often involves co-creation with students through learning partnerships. Charlie commented:
English Heritage representatives were really enthused by the unique approach to the site which started with an excellent contextual introduction to the Abbey tailored to the aims of the workshop by site guide Dr Greg Hoyland.
Students worked hard on the day and it was particularly inspiring to see them engaging as teams within the ruins as they set about the creation of their communities
The Global Future Contexts module is studied in the second year of a 3-year Arts degree and supports students in investigating a range of contemporary social, environmental, technological and ethical issues to inform all types of art and design practice. Students broaden their understanding of creativity as a practice-based form of contemporary social discourse and explore a variety of issues through the development, production and presentation of potential future scenarios.
The module is taught on the following degree programmes:
Words on clearing and a secret revealed by Angela Lawrence, our Associate Dean for Marketing and Recruitment
One of the first WhatsApp messages I received on A Level results day this year was from a friend to tell me that her colleague’s son had not met his grades and he was devastated. It’s so hard to hear these words – devastated, destroyed, heartbroken. My “go-to” response is to quote from Winston Churchill, who said
“Success is not final, failure is not fatal: it is the courage to continue that counts”
Whichever way you look at it, this years university applicants have had a rough ride. They never experienced GCSE exams, but then had to take A Level examinations. They without doubt had a less than perfect learning experience during lockdown despite all the very best efforts of their teachers – it was just not the same as sitting in a classroom alongside friends each day. So to not get the results they hoped for probably feels like yet one more kick in the teeth following a uniquely unorthodox two or three years of study.
I’ll let you into a secret. I went through clearing, way back in the 80’s. It was actually my own fault – I didn’t work as hard as I should have done for my 4 A’ Levels and if I’m honest, I wasn’t completely surprised to find out that I hadn’t got the grades I needed to get in to my chosen uni. Nonetheless I felt that fear and devastation that so many applicants tell us they feel. Fortunately, my parents hit the clearing lines and it wasn’t too long before I had a couple of offers to choose from…roll forward several decades and I’m now close to completing a Doctorate. I am NOT a failure
Things have changed so much since then. Clearing is so much more accessible and such an easy process. Clearing is not seen as failure, but as opportunity. We’re told that there are far more applicants in clearing this year and I can speak from experience and say that our lines were incredibly busy on A Level results day. We’re also speaking to lots of mature students, many of whom are realising that their dreams too can be fulfilled.
It’s hugely satisfying to know that we are turning devastation into delight and heartbreak to happiness through clearing. So if you didn’t get the results that you hoped for, pick yourself up, dust yourself off, don’t see this as failure but as a new opportunity, and in Churchill’s words, have the courage to continue!
Students from the School of Arts & Creative Industries at Teesside University have teamed up with the Ryevitalise Landscape Partnership Project to create a series of installations for The Rye Reflections Art Trail, which can be visited throughout the Summer at Sutton Bank
Graphic Design students created 5 installations which can be seen along the Art Trail – visitors are able to collect a map from Sutton Bank Visitor Centre which shows exactly where each installation is sited. The pieces have been inspired by memory landscape and changing human relationships to nature, agriculture, and technology.
Central to the development of ideas have been oral histories collected as part of the Rye Reflections project. Details of each installation and the accompanying oral history extract can be seen on the Teesside University web page
Students were supported by Senior Lecturer in Graphic Design, Charlie Tait, an inter-disciplinary designer who often works with cultural and heritage based subject matter. Charlie said:
This project has required a deep engagement to develop creative responses that function in this specific environment. I think the students would agree the project has taken them into new areas of practice and given valuable insight into the practical constraints of realising their work.
We have worked together to analyse research, question concepts and test materials – it has been magical to see this work installed and reflect on the journey each student has been on as they respond to feedback to take their ideas forward.
The project has included an initial field trip with artist, Paula Hickey, and photographer, John Arnison, as well as presentations to project officers, Amy Carrick and Francesca Pert. These experiences have helped students gain insight into the collaborative nature of creative work. I would like to specifically thank our expert workshop technicians; their positivity and knowledge of materials has been invaluable.
The installations will remain on the Rye Reflections Art Trail until October 2022 and represent a unique opportunity to see how students in the School of Art & Creative Industries work on live project briefs as part of their degree course. For further information about courses in Art and Design please visit the following pages
It’s hard not to hear about the cost of living crisis, with food, petrol and utilities prices soaring daily – UK gas prices have now hit a three month high. With the government urging businesses to slash prices, how will this affect brand pricing and brand loyalty as we tighten our belts to make purchase decisions? Associate Dean, Angela Lawrence talks of her own brand loyalty challenges.
I love a tin of Heinz tomato soup, the flavour reminds me of my youth – Dad opening a family-sized tin of soup, warming it on the stove and dishing it out to our eagerly awaiting hands, scooping bowls like real life Oliver Twists. I’ve tried various supermarket brands, cheaper versions of tomato soup, but quite honestly nothing tastes quite like Heinz (with a dash of Lea & Perrins Worcestershire sauce!).
We’re told that Britons are paying almost £3 more for an average 20-item shopping basket than 12 months ago and as my weekly basket cost increases, I noticed whilst browsing the supermarket shelves of late that my beloved tin of soup has now increased in price to well over £1. As I write, it is on offer at £1.10 in Sainsburys compared to 59p for their own brand version. A search online shows that I’m not alone in loving that Heinz taste and that the Asda version at 50p is as good as it gets. So, naturally I’m going to give it a try – if it hits the mark then Asda could become my new best friend.
So, I am prepared to sacrifice my loyalty to the Heinz brand and The Grocer magazine reports that up and down the country frugal shoppers are making similar decisions – 34% of us are switching branded products for cheaper alternatives. Yet as a marketer, I am passionate about branding, I teach students about branding and I recognise the importance of branding for business success. Branding enables businesses to grow loyalty, to command higher prices and to stand out and be recognised amongst competitors.
However, it’s not all about selling at a higher price – businesses invest heavily in branding campaigns and seek to connect with their target audience with strong branding. If we want our country to crawl out of the threatened recession then we surely want businesses to be successful – it’s not just the powerhouses such as Heinz, but the SMEs up and down the country who all invest in, and rely on branding for business success.
The struggle is real and the branding dilemma seems to be affecting stocks of branded products already, my favourite soup included. I wonder whether this is the end for branding – will newly formed shopping habits remain once this cost of living crisis is over, or will we simply revert to making purchase decisions based on brand loyalty? Will belief in the power of branding be damaged and will brands ultimately have less power? Perhaps brand owners will have to consider new tactics to appeal and maybe trimming a penny or two here and there will make the difference.
Lots to ponder over and I’m not sure that I have the answer, but I’m looking forward to healthy discussions about branding when students return to Teesside University in September. Meanwhile, I might just nip to Asda now, to purchase that tin of soup… which may help me to make up my mind!
The School of Arts & Creative Industries offers a wide range of courses that include modules on branding – here is a selection to browse through:
Studying for a masters degree is usually an option for anyone who has achieved a 2:2 or above in an undergraduate degree, although relevant professional experience is also considered. There are many reasons why people choose to study at postgraduate level, here are just 3 that prompted students to join the School of Arts and Creative Industries for their Masters degree study
Passion for a subject – many students just want to immerse themselves even further in the subject that they love. In the creative industries, often postgraduate students already run small businesses or sell their creations, so love to immerse themselves and learn even more about the subject that they love. Here’s what mature student Suzie Devay had to say
Employability – having that higher level qualification can make graduates more attractive to employers, so students often decide to further their studies to open more doors to their future career. Postgraduate study opened the doors to Neil Fatkin’s career in Journalism
Earning potential – evidence suggests that graduates with a postgraduate qualification have an increased lifetime earning potential. Hannah Cheetham decided to stay on to study at postgraduate level and aspires to progress to director level within a communications agency.
With postgraduate loans of up to £11,836 and help available to find out what you may be entitled to, study at the School of Arts and Creative Industries may be more accessible than you think.
Whatever your reason, we’ve got a wide range of creative postgraduate courses available, many of which can also be studied with Advanced Practice, enabling you to enhance your qualification by adding a second year of vocational or research based internship to the one-year master’s programme – take a look at what you could study (in alphabetical order of subject):
In January we launched our first MIMA Great Create competition, open to anyone over the age of 16 in the North East. With a regional theme, we invited entrants to tell us about their love of the North East in a creative way and a wide range of drawings, paintings, illustrations, comic strips, graphic designs, fashion designs, videos, photographs and musical pieces were sent in.
Picking a winner was a daunting task for our illustrious panel of creative industry judges, from Film Producers to Cartoonists and Heads of Brand, who anonymously marked each entry against its fit to the brief, creativity, originality and ability to convey a lived experience of the area, amongst other things.
Six finalists were selected and they brought family and friends to join staff from the School of Arts and Creative Industries for an informal finalists celebration lunch on 28th May at the MIMA Gallery, where a pop-up exhibition of their entries was displayed.
Elinor Morgan, Artisic Director for MIMA Gallery announced the winner of the Apple MacBook Pro – Jonathan Raiseborough for his illustration “Boro Skyline”.
Second place went to Ella Miller for her risograph print
and third place went to Airen Sopany for her fabric and fashion design.
Comments on the winning entry from our industry judges included:
The line work and composition in this image is just extraordinary. I love the limited choice of colours. The sense of space is really interesting as well taking it from the natural to the urban in one image but presenting it as a ying and yang rather than as contrasting forces.
Beautifully detailed, from top to bottom. It really makes the viewer feel as though they know the area. Really nice use of colours, shading (especially on the water) and composition to draw the viewer in.
A lovingly executed work. So much to see, all beautifully tied together and well organised. Not a bit of wasted space. An excellent evocation of the wild, unseen side of Teesside, much appreciated by those who know about it. Thoughtful and well done.
The success of the inaugural MIMA Great Create competition has motivated us to continue with a new competition to be launched in September. The new theme will be revealed on our competition web page and lecturers will be visiting schools and colleges in the region to tell students how they can enter, so keep your eye on this page for news coming soon!
Journalism students received awards based on exceptional work produced during the past academic year, with winners receiving a week’s work experience at the company which sponsors the individual award.
A number of special academic awards were also given out, including the award for the best degree Final Projects.
Award’s host Helen was promoted to digital editor in 2012 and was closely involved in the award-winning digital newsroom transformation which was piloted in Newcastle and Teesside in 2014 before being rolled out nationally.
Helen was made editor of ChronicleLive in 2016, and in 2019 became Editor-in-chief for the region, overseeing the newsrooms in Newcastle and Middlesbrough. She’s currently Audience and Content Director for Reach in the North East, Yorkshire and Humber, as well as leading Reach’s partnerships with the BBC Local Democracy Reporting Scheme and with Meta and the NCTJ for our community reporters.
Paul Bailey, Course Leader for Journalism in the School of Arts and Creative Industries, said: “These awards recognise the hard work and excellent calibre of our current journalism students and the students were thrilled to be awarded their prizes by Helen.”
“I would like to thank all of the media organisations who generously contributed prizes to this celebration of our students’ achievements.”
Below is a list of the winners
Winner of Vlogger of the Year – sponsored by Teesside University Communications and Development