More than just a Degree of success:

Contemporary Art Practice students inundated with offers:

At the time of publication the 2009 UCAS stats for HND Contemporary Art Practice Year 2 candidates at Edinburgh’s Telford College are as follows:

  • 100% received 1 or more HE Degree offer.
  • 78% received 2 or more HE Degree offers.
  • 33% received 3 or more HE Degree offers.
  • 90% received offers @ SCQF Level 9 (equivalent to entry level 3 in Scotland)
  • 67% received offers @ SCQF Level 8 (equivalent to entry level 2 in Scotland)

Every year thousands of Art & Design students from hundreds of schools and FE colleges throughout the country apply for Fine Art and Design degree courses in the UK. Competitions for places is extremely high; Edinburgh College of Art for example receives more applications than Oxford and Cambridge. Successfully gaining a place on these courses is a significant achievement for any applicant.

Although such achievements are predominantly down to the hard work, dedication and creative output of the applicants themselves there can be no doubt that the influence of a highly creative, well resourced and supportive art dept along with the input of highly qualified and professional artists / lecturers can have a significant and lasting influence on the future success of students whether they choose to go on to Higher Education or directly into the Creative Industries.

The HND in Contemporary Art Practice at Edinburgh’s Telford College has a growing reputation as one of the most successful courses in the country. Our progression rates continue to be amongst the highest in the FE sector.

This year places have been offered on the following courses:

Edinburgh College of Art:

  • BA(hons) Intermedia
  • BA(hons) Painting
  • BA(hons) Sculpture

Glasgow School of Art:

  • BA(hons) Sculpture and Environmental Art

University of Cumbria:

  • BA(hons) Fine Art

University of Newcastle:

  • BA(hons) Fine Art

If you would like to study on one of the most innovative and successful Fine Art HND courses in the UK then why not APPLY NOW.

ContemporaryArtETC Graduates show opens in Carlilse

Congratulations to ContemporaryArtETC graduates Jennifer Ferns, Lynn Mouat & Daine Cornwall who’s latest works featured in “Therfore I am” an exhibition of new work at Cumbria University’s Fine Art Campus in Carlisle. The exhibition which is of a very professional standard was developed, organised and promoted by the students themselves giving them invaluable experience in organisation and co-operation.

The opening of the show coincided with a visit to the campus of our current HN students all of whom have applied to the Fine Art course at Cumbria University.

During the visit we were kindly invited to take part in the gallery walk through which involved all the exhibitors giving a short presentation providing valuable insight into their work.

The exhibition “Therefore I am” is open daily from 10am – 4pm until Friday the 30th January

University of Cumbria, Caldewgate Campus, Newcastle Street, Carlilse


New Studios for HND Contemporary Art students. is delighted to announce our recent move to brand new studio accommodation in Edinburgh’s Telford College. The new studio has allowed us to allocate individual spaces to all of our current students in years 1 & 2 of the HND Contemporary Art Practice course.

As well as individual spaces the studio is also equipped with networked iMac computers and personal lockable storage. Having their own spaces means that students can take ownership of the studio allowing them to carry out sustained research, development and production.

As well as the new studio students continue to have access to specialist studios and workshops including; flexible and well lit life drawing and drawing & painting studio and specialist workshops for wood and metal production.

Newcastle Visit

The images above are from our recent day trip to Newcastle with our colleagues from the HND Vis Com Illustration course. First stop was the Fine Art School at Newcastle University where we were greeted with light refreshments and an excellent introduction to the courses and facilities by admissions tutor Gavin Robson.

After a quick lunch the next stop was the Workplace Gallery which has re-located to new premises in a former post office. The gallery can be found in the shadow of the iconic Gateshead multi storey car park designed by Owen Luder Partnership 1964 and was made famous in the classic 1970’s british gangster flick ‘Get Carter featuring Michael Caine. Workplace is a commercial gallery run by artists and it represents a portfolio of emerging and established artists through the gallery programme, curatorial projects and art fairs. The current show FEEDBACKER by Peter J. Evans features drawing, sculpture and performance over 3 floors and is very much worth a visit before it ends on 20th Dec 2008.

On then to the Baltic Centre for Contemporary Art for an introduction to the institution and the George Maciunas Fluxus exhibition which brings together the largest collection of Fluxus work ever exhibited in the UK. The extensive exhibition continues till 15th Feb 2009 and is supported by a range of online resources available through the Baltic Archive.

Finally we herded back on the bus for a moonlit and frankly baltic pit stop at the Angel of the North our final destination on the itinerary before our return to Edinburgh. at Edinburgh’s Telford College would like to thank everyone who contributed to a great day out of the studio Mike from Hunters Coaches of Loanhead who’s good humour and patience was very much appreciated.

For more information regarding the places we visited click on the links above or visit the recently added Art e-Map of Newcastle in the links panel. meets Tracy Emin

Contemporary Art ETCs’ Sarah Wilson met Tracy Emin at the recent press launch of the artists first retrospective at the Scottish National Gallery of Modern Art in Edinburgh.

If you have never heard of Tracey Emin where on earth have you been hiding.
Tracey Emin is one of the best known artists working in Britain today. Born in London in 1963, she is a central figure in the generation of Young British Artists (or YBAs) that emerged in the early 1990’s and has produced some of the most memorable, compelling and iconic works of the last 15 years. Her autobiographical, confessional art has tapped into the mainstream of public consciousness, and has contributed to an unprecedented surge of interest in contemporary art in Britain.

Emin studied at Maidstone College of Art and the Royal College of Art in London, and has had major exhibitions around the world. She became a member of the Royal Academy of Arts in 2007, and in the same year was selected to represent Britain at the Venice Biennale, the largest and most prestigious event in the art world calendar.

Unfortunately her notoriety means that practically everybody has heard of, or has formed an opinion about Tracey Emin and her work. A huge percentage of her work is biographical, we all know about her abortion, her rape and most of us have seen her slovenly made bed surrounded by used condoms, fag ends and dirty laundry – when it was entered as a contender for the Turner prize and exhibited at the Tate in 1999 tabloids ran competitions to recreate it using teenagers bedrooms stating the unoriginal “I could do that”.
Tracey spoke of her education, apart from passing her driving test every exam she ever sat was to further her knowledge of art. Although she destroyed most of her work after getting her degree it was not an act of defiance, it was merely because the college had nowhere to store it and she did not want them to destroy it for her.

Emin happily posed for photographs at the Press View and after a quick race through the exhibition there was a questions and answers in the room with her tapestries hanging in huge frames.
The exhibition is fascinating, it is a collection of 20 years work, there is a room with a wooden rollercoaster made in 2005 entitled “It’s not the way I want to die” and rooms containing huge tapestries of blankets. There is a huge collection of her mono-prints and some of her video work and neons. It takes up the entire ground floor of the gallery and is the first major UK retrospective exhibition of work by Tracey Emin. This exhibition brings together loans from private and public collections around the world.

We were introduced to Simon Groom the director of the gallery and Patrick Elliot, the curator. She talked about the logistics of hanging such a huge collection – it is an exhibition that has been 4 years in the planning (they were putting the finishing touched to it as we arrived), work had to be acquired from private collectors across the globe and shipped to Edinburgh. The gallery had supplied her with a model of the gallery space so she could work out the best overview of the layout – she kept the model and now stores buttons in it!

The tapestries had to be removed from the frames as they were too big to get through the main gallery doors but finally seeing them all together in one small room was brilliant. She talked about how (obviously) “all the work is about me” but explained that she was hoping to achieve a transferrance of ideas from her work – like with the tent – “when you crawl inside and look at everyone I ever slept with, you will come out thinking of everyone you ever slept with”.

She said that the course she did in philosophy was the best training she could have done for her art – as they are all about her ideas – I asked her about her plans for the meercats she made for the London plinth – she laughed and said that it was a bit of a joke really, she likes meercats and didnt expect her idea to be one of the final ones chosen she was glad it didnt win as she did not want to be remembered as the meercat woman and anyway, large sculptures scare her! And there was me believing the spiel that had accompanied the idea, that meercats are lookouts and would protect the city etc – she just likes meercats!

What people seem to forget is that Tracey Emin is a Contemporary Artist, her installations are the result of lengthy trial and error and are representational of the “idea” – the bed was a response to a certain time in her life, just because it wasn’t painted by Van Gough does not mean it is not art.

Press responses have been pretty obvious, “celebrity is more important than real achievement, self revelation more gripping than anything created by talent and a considerable imagination” perhaps if journalists were not so lazy and looked at the art from a contemporary point of view then Tracey Emin would actually be given the credit she deserves.

Tracy Emin 20 Years continues at Scottish National Gallery of Modern Art in Edinburgh until November 20th.

Sarah Wilson is currently in the 2nd Year of the HND Contemporary Art Course at ETC