Friday, 27 March 2015

Phoenix Exhibition announced
Images: Reginald MacDonald at work in his studio in Glasgow, Hannah Clarson Dornan’s studio in Boston and Sula Grigg at work in her studio in Mongolia. The artists were able to make new work through the Phoenix Bursary programme

A special group exhibition of new work by the artists who benefited from the Phoenix Bursary programme is to be staged in the Reid Building at The Glasgow School of Art from 24 July – 2 August 2015 it was announced today Friday 27 March 2015. The press view will be on the morning of Thursday 23 July.

Following the fire in the Mackintosh Building last year, which significantly impacted on the final year Fine Art students, the GSA set up a special programme with support from the Scottish Government and academic institutions across the world. The Phoenix Bursary programme offered the recent graduates up to 15 weeks studio time, a bursary and materials budget in order to develop their practice and create a new body of work. Around half of the artists stayed in Glasgow with others taking the opportunity to work overseas. Now they will all show their new work in a specially curated group show.

“In a wonderful gesture of solidarity with those artists who had lost all their work in the fire, all 102 Fine Art students agreed to show just one image each in a simple showcase exhibition two weeks after the fire last year,” says Professor Tom Inns, Director of The Glasgow School of Art. “We are delighted to be able to offer the artists the chance to show a body of newly created work in this specially curated group show.”

“We are hugely grateful to the Scottish Government and our sister institutions across the world without whose support it would not have been possible to create the Phoenix Bursary programme, and to offer this important opportunity to the artists as they set out on their professional careers,” he adds.

Image: Fiona Hyslop MSP meets artist Milly Maloco in her Phoenix Bursary supported studio.
The Phoenix Bursary programme has been supported  a £750,000 grant from the Scottish Government.

Cabinet Secretary for Culture, Europe and External Affairs Fiona Hyslop said:

“Last year’s fire at the Glasgow School of Art was a painful low point in what was such a momentous year for Scotland. For those talented students whose work was destroyed, it was a heart breaking event.

“The Scottish Government has been delighted to help the 2014 fine art graduates rebuild their portfolios through our investment in the Phoenix Bursary Scheme.

“The response from institutions around the globe, in opening up their doors to welcome graduates from GSA, has been wonderful. I’m looking forward to seeing the work created by the artists as their talent rises from the flames.”

100 bursary holders across the three pathways – Fine Art Photography, Painting and Printmaking and Sculpture and Environmental Art - will show work in the group exhibition, which will be installed in spaces throughout the Reid Building. Further information on the works on show will be released in the coming weeks.


Further information contact: Lesley Booth, 0779 941 4474,

24 July – 2 August 2015  
The Reid Building, The Glasgow School of Art, 164 Renfrew Street, Glasgow G3
Open: Monday – Thursday 10am to 9pm; Friday 10am – 7pm; Saturday-Sunday 10am – 5pm
Phoenix Bursary exhibition
 A group exhibition of new work by the artists benefitting from the Phoenix Bursary programme following the fire in the Mackintosh Building.
Entry free
Further information

Notes for Editors
  • The Phoenix Bursary programme was established by The Glasgow School of Art in the immediate aftermath of the fire to ensure that all the artists were able to develop their practice and create a new body of work. The programme has been supported by a £750,000 grant from the Scottish Government..
  • Through the Phoenix Bursary programme each artist received up to 15 weeks studio time with a weekly stipend of £315 and up to £1,000 for materials together with some academic support.
  • Artists receiving a Phoenix Bursary were generously supported by: the School of the Art Institute of Chicago, USA; Bergen Academy of Art and Design, Norway; California College of Art, San Francisco, USA; Concordia, Montreal, Canada; Emily Carr, Vancouver, Canada; Iceland Academy of the Arts, Reykjavik, Iceland;  Leeds College of Art, England; Leipzig Academy of Visual Arts, Germany; Leith School of Art, Edinburgh, Scotland; Manchester School of Art, England; Massachsetts College of Art and Design, Boston, USA; Mongolian State University of Arts and Culture, Ulan Bator, Mongolia; Oslo National Academy of the Arts, Norway; Pratt Institute, New York, USA; Rhode Island School of Design, USA, SOMA Institute, Mexico City, Mexico, University of the Arts Berlin, Germany;  University of the Arts Helsinki, Finland; University of the Arts London (Camberwell college of Art), England; The University of Edinburgh, Scotland; Willem de Kooning Academy, Rotterdam, Netherlands and Zurich University of the Arts, Switzerland.
  • In addition artists developed work in studios in  Buenos Aires, Crete, Hong Kong and Singapore.

Friday, 20 March 2015

Details announced of Building on: Mackintosh Glasgow, a public symposium (17 April 2015)

 CR Mackintosh: Renfrew Street elevation of The Glasgow School of Art
(GSA Archives & Collections)       
  • Symposium facilitator will be UK Architecture Critic of the Year, Rowan Moore
  • Contributions from the lead architects for the Mackintosh restoration project and Luigi Croce, President and Founder of Venice Architectural Association, amongst others
  • Round table events will explore key issues relating to the restoration
  • First screening of A Beautiful Living Thing, a new artwork by Ross Birrell made in the Mackintosh Building after the fire

Details of the second Building on: Mackintosh symposium were released today, Friday 20 March 2015. The event will take place in the Reid Building at The Glasgow School of Art on Friday 17 April 2015. Following the symposium in Venice last autumn during La Biennale Venezia, the Building on: Mackintosh Glasgow symposium will include a number of keynote presentations in the morning and a series of round table discussions in the afternoon. The symposium facilitator will be Rowan Moore, Architecture Critic of The Observer and UK Architecture Critic of the Year, 2014.

Having raised both questions and discussion at the Venice symposium last October, the purpose of this event is to help inform the actual restoration project by exploring best 21st century practice,says Professor Christopher Platt, Head of the Mackintosh School of Architecture at the GSA. “It is also an opportunity to share our plans and aspirations with the people of Glasgow whose support since the fire has been incredibly important to the GSA.”

The morning presentations include an introduction to the brief for the lead architects (Liz Davidson, the GSA’s Mackintosh Building project lead); how the library was constructed and how the building has changed throughout its history (Ranald MacInnes, Historic Scotland); the language and intellectual framework of restoration (Keith Emerick, University of York); and an introduction to the approach to restoring the Mackintosh Building (the lead architects).

In the afternoon there will be three, simultaneous, round table events. The first, chaired by Alison Stevenson, Head of Learning and Resources at the GSA, and with contributions from Jeremy Upton amongst others, will explore the 21st century library. The second, chaired by Professor Christopher Platt, Head of the Mackintosh School of Architecture at the GSA, will look at discrete technology in historic buildings and will include contributions from Luigi Croce, President and Founder of Venice Architectural Association, Robyne Calvert, Mackintosh Research Fellow at the GSA and Stuart Macpherson of Irons Foulner. The third, which be chaired by Johnny Rodger, Professor of Urban Literature at the GSA, will explore the artistic, craft and design cultures that could be drawn on in the restoration of the Mackintosh Library. Expert contributors include Peter Trowles, Mackintosh Archivist at the GSA; Natalie Mitchell of AOC - one of the lead archaeologists in the forensic investigation of the library; and award-winning artist, Toby Paterson.

As part of the event there will be the first public screening of A Beautiful Living Thing, a new artwork by Ross Birrell made in the Mackintosh Building after the fire.

Passes for the symposium are free, but must be booked in advance.
To reserve a press place please call Lesley Booth on 0779 941 4474.


Lesley Booth
0779 941 4474

Notes for Editors
Symposium facilitator:

Rowan Moore
Rowan Moore is Architecture Critic of The Observer.  He was formerly Director of the Architecture Foundation, Architecture Critic of the Evening Standard and Editor of Blueprint magazine.

Rowan Moore’s writing has been published in several countries, and he has curated exhibitions, given lectures, taken part in conferences and debates, and chaired or participated in juries for design awards and competitions. He is also the author of Why We Build (2012).

In 2014 he was named Critic of the Year in the UK Press Awards, the first architectural writer to receive this award. He received the international Bruno Zevi Book Award for Why We Build.

Morning: speakers:

Liz Davidson IHBC, FRIAS, OBE 

Since graduating from Edinburgh College of Art as a post graduate in Architectural Conservation, Liz has been involved in most aspects of Scotland’s built heritage. 

Most recently she was head of Heritage and Design at Glasgow City Council with an active statutory role in maintaining the highest standards of historic building repair and maintenance in conjunction with encouraging the best and most inspirational designs in contemporary incursions and new development. Previous to this she led the Heritage Lottery funded Townscape Heritage programme to regenerate the Merchant City through an extensive arts led programme of building repair, repaving and lighting of main streets, proactive cultural and creative business strategy, public art commissions, street markets, and the now annual Merchant City festival. Earlier posts included that of director of Glasgow Building Preservation Trust, a charitable property developer rescuing and bringing back to life numerous historic buildings. Whilst at the Trust, Liz also pioneered Doors Open Day which introduced the UK’s first free mass architectural participation event, providing access to significant modern and historic buildings and to interiors which had rarely before been glimpsed, even by their closest neighbours. A two year secondment to Historic Scotland also saw the development and launch of the multi million pound Conservation Area Regeneration Scheme (CARS) programme 

In 2010 Liz received an OBE for services to conservation and the built heritage in Scotland.

Dr Keith Emerick
Keith Emerick’s work is chiefly concerned with the conservation and management of State and privately owned archaeological sites and monuments in North Yorkshire, the City of York, Hull and the East Riding of Yorkshire. He advises central government on applications to undertake works, and local planning authorities on planning applications affecting archaeological sites and registered battlefields. He has special responsibility for Fountains Abbey and Studley Royal, World Heritage Site and was a member of the Steering Group that produced the World Heritage Site Management Plan (2000), and its first review, published in 2009. He was also chair of the Ancient Monument Inspectors Group (AMIG) for six years. Since 2000 he has been a tutor for the National Heritage Training Group (NHTG) Craft Skills apprenticeship scheme.

Ranald McInnes
Ranald MacInnes is Head of Heritage Management at Historic Scotland with responsibilities which include advising the Scottish Government on planning and historic environment issues. He began his career with English Heritage in the 1980s. He has a special interest in 20th-­century architecture and planning. He is an Honorary Research Fellow of the Institute of Art History, University of Glasgow, Visiting Lecturer in Architectural Design for the Conservation of Built Heritage at the University of Strathclyde and has taught conservation at the Mackintosh School of Architecture. He has published many books, essays, articles and reviews on architectural history and conservation. He has played a leading research-­based advisory and regulatory role in many significant conservation and architectural projects.

Afternoon: round table leaders:

Alison Stevenson
Alison Stevenson is Head of Learning Resources at The Glasgow School of Art, a role that encompasses the Library, Learning Technology, Archives and Collections. She is also Vice-­Chair of SCURL (Scottish Confederation of University and Research Libraries). Born and raised in Edinburgh, she spent the 9 years prior to starting at the Glasgow School of Art, in January 2013, living in New Zealand. There she worked first as the Director of Te Pūhikotuhi o Aotearoa (the New Zealand Electronic Text Centre) and latterly as Associate Director of the Library at Victoria University of Wellington.

Prof. Christopher Platt
Christopher Platt is Head and Professor of Architecture at the Mackintosh School of Architecture, Glasgow, and one of the founding directors of studioKAP architects ( .He is a registered architect in Great Britain and was previously a member of the Architektenkammer in Berlin. He is a Fellow of the Higher Education Academy and was made a Fellow of the Royal Incorporation of Architects of Scotland in 2009. He is involved in both practice-­based research and research-­driven practice and writes on a wide range of issues overlapping practice and academia. He was apprentice, student and design tutor at the Mackintosh School of Architecture, Glasgow, under Professors Andy MacMillan and Isi Metzstein.

Prof. Johnny Rodger

Johnny Rodger is a writer, critic, and Professor of Urban Literature at The Glasgow School of Art. 

His research consists of enquiry published internationally in two aspects: on the one hand literary and critical writing, and on the other architecture and urbanism. 
His research aims at the opening of a new area of cross disciplinary enquiry which brings together literary analysis with the critical techniques of the political and social sciences to examine the spaces inhabited by society, and designed by artists, architects and urbanists. 
This field of enquiry ranges from his book Contemporary Glasgow (1999) about architecture and urban environments, to the monograph on influential Glaswegian architects Gillespie, Kidd & Coia; through to the work on Robert Burns and how the culture represents his significance in space by the construction of monuments. 
Critical engagement with his work includes articles on his published books in academic journals throughout Europe and the USA. He has worked together with the composers and animators on a series of music theatre collaborations involving, text, image and music. In 2011 Vanishing Boundaries was performed by the National Youth Orchestra of Scotland in Manchester and at the Glasgow Music and Film Festival. In 2008 Animals was performed in Edinburgh Filmhouse by the Research Ensemble at the Edinburgh New Music Festival. In 2006 Love Eurydice, commissioned by Scottish Opera was performed in concert recital by at Musica Nova in the West End Festival, Glasgow. 

He makes regular contributions to architectural press, and also appears regularly on BBC radio arts and national TV programmes. 
He is a founding editor (2001) of The Drouth ( Scotland’s literary arts quarterly.

Tuesday, 17 March 2015

The GSA's Institute of Design Innovation Experience Labs support GCU’s innovative insole device for the elderly

The Experience Lab, a GSA Institute of Design Innovation (InDI) initiative developed as part of the Digital Health Institute, has supported research by Glasgow Caledonian University (GCU) to create an innovative insole device using sensors to establish if older people are at risk of falls.

DHI Experience Labs provide environments where users, businesses and researchers can collaborate to respond to health and care challenges. They use current and emerging design practice to create settings which replicate real life practice, and so provide a safe and innovative environment in which to trial new technology, services, processes and behaviours.

Through an Experience Lab workshop, designed by InDI, the research team has been working with fallers and falls experts to improve the prototype and to establish when fallers would receive most benefit from the device. Longer term trials will determine the effectiveness of the insole.

Professor Lynne Baillie, group lead for Interactive and Trustworthy Technologies research at GCU, said: “This has great potential to help with many gait related conditions like stroke and Parkinson’s Disease. Sensors are revolutionising how healthcare is delivered.”

Jeroen Blom from the Experience Lab team said: The Experience Labs allowed the team to establish understanding and insight from the perception of fallers and professionals in terms of how this new technology could add value on a day to day basis.

Nearly half of people over 65 have a fall, and around 400,000 people over the age of 75 will have to go to hospital as a result of a fall every year, with costs to UK healthcare services estimated at £2billion a year. Many elderly people who have suffered a fall are worried about further injury and therefore stop or limit physical activities that otherwise might help them regain confidence and their original quality of life.

Gait analysis - the study of human motion - is currently the primary method of assessing the risk of falls by an elderly person. Balance and gait disturbances act as a good indicator of the risk of falls. However, gait analysis can usually only be conducted in research environments, which include 3D motion capture, ultrasound techniques, force and pressure analysis, and metabolic and physical activity monitoring.

Researchers at GCU have developed a prototype insole which can be worn on the foot and which can measure the force and movement of a person walking, capturing data within a normal living environment. The data from the sensors will be saved to memory embedded within the insole or transmitted wirelessly for real-time processing.

Poor balance and gait are treatable through exercise programmes, so researchers believe the insoles will help people who have already had a fall to readjust their walking patterns. The insoles may also be used by physiotherapists, GPs and other healthcare providers to measure risk of falls and proactively prevent falls in elderly people.

Led by Professor Lynne Baillie, group lead for Interactive and Trustworthy Technologies research at GCU, the project has been funded by the Digital Health Institute, a Scottish Funding Council initiative to bring together health professionals, academics and industry partners to work together on innovative digital technologies. Professor Baillie is working with GCU Professor of Ageing and Health Dawn Skelton, and biomedical engineer Dr Philip Smit on the project.

For further information on the GSA contact
Lesley Booth
0779 941 4474

For more information on the insole device/GCU , please contact:
Fiona Ramsay
Tel: 0141 331 3125

Monday, 16 March 2015

The Glasgow School of Art Degree Show 2015: dates/venues confirmed

The Glasgow School of Art Degree Show 2015 will run from 
Saturday 13 – Saturday 20 June

Press view:  Thursday 11 June

Undergraduate Degree Show will be open to the public:
Saturday / Sunday 10am - 5pm;  Monday - Thursday 10am-9pm; Friday 10am-7pm

MFA Degree Show will be open
Daily, 11am - 6pm

Mackintosh School of Architecture at The Glasgow School of Art:
Bourdon Building, Renfrew Street, Glasgow G3 6RQ
  •  Stage 3 - BArch
  •  Stage  4   BArch (Hons) / DipArch
  •  Stage 5  - DipArch

School of Design:
Reid Building, Renfrew Street, Glasgow G3 6RQ
  • Communication Design (Graphic Design/Illustration/Photography),
  • Digital Culture,
  • Fashion Design,
  • Interior Design,
  • Jewellery & Silversmithing,
  • Product Design,
  • Product Design Engineering, 
  • Textile Design

School of Fine Art:
Tontine Building, 88 Bell Street,Glasgow, G1 1LQ
  • Fine Art Photography,
  • Painting & Printmaking,
  • Sculpture and Environmental Art

Glue Factory, 5 Burns Street, Spiers Locks, Glasgow, G4 9SE

Further information:
Lesley Booth,
0779 941 4474

Thursday, 12 March 2015

First view of the finds from the archaeological survey and update on impact of fire on the GSA Archives and Collections

Images: Sights and Scenes in Fair Japan part of the iconic central light and library chairs were among the finds
from the forensic archaeology in the Mackintosh Library

Rare books, parts of a studio clock, the iconic central lights and a beautiful silver salver were among the finds from the archaeological survey of the Mackintosh Library it was revealed today, 12 March 2015. Kirkdale Archaeology in partnership with AOC took 12 weeks to painstakingly document, sift and remove the remains. All the finds have now been packed and put into safe storage to be assessed for future conservation work.

“There have been some remarkable finds from the forensic archaeology,” says Professor Tom Inns, Director of The Glasgow School of Art. “We are still awaiting the final reports from the survey, but we are delighted that the majority of the pieces making up the intricate metal lanterns from the iconic light fitting have been found along with books from the rare book collection which can be conserved to some degree, parts of the studio clock and of the original library chairs and periodicals desk.”

“We have also learned a tremendous amount about the construction of the library which will be invaluable when we come to begin the restoration.”

Following the completion of the survey the GSA is in a position to give full details of the impact of the fire on the vast Archives and Collection that the School holds.

“The GSA Archives and Collections comprises thousands of items including artworks and architectural drawings, correspondence and documentation relating to the historical development of the estate and the running of the school, textiles, plaster casts, photographs and furniture,” says Professor Inns, “and the vast majority of the Archives and Collections survived the fire intact although there have inevitably been losses.

“All of the surviving material is now stable and secure. It will be reviewed by expert conservators as part of a recovery programme which will take place over the next three years,” he adds.

Some of the most popular items in the Recognised Collection are now accessible by guided tour in a new Furniture Gallery

All items that were in the east wing of the Mackintosh Building, including in the Furniture Gallery, Director’s office, Mackintosh Room, Mackintosh Museum and Boardroom survived intact and were removed to safe, offsite storage immediately after the fire. Some of these items have now been put back on public display in a newly created Furniture Gallery in the Reid Building.

An original watercolour by Mackintosh from the GSA Archives & Collections is hung in the Reid Gallery (June 2014)

The majority of the paper archives and artworks on paper, including over 100 works by Charles Rennie Mackintosh himself that the GSA holds and are part of the institution’s Recognised Collection were unharmed by the fire.  This includes watercolours from The Magazine which were put on display as part of Graham Fagan’s Cabbages in an Orchard exhibition in the Reid Gallery only a matter of weeks after the fire.  A small percentage of the paper archives suffered water damage, but these items have either been air dried or frozen and are now stable.

Two of pieces from the collection of plaster casts: one untouched the other blackened in the fire

The large plaster cast collection has also substantively survived, although many pieces have suffered some smoke and water damage. One piece was damaged beyond restoration. All the casts that could be removed have now been transferred to an offsite location where they have been stabilised and will be assessed for further conservation. Others still remain inside either because they were in too fragile a condition or too large to move and it was safer for them to stay in situ where the environment is stable. Plans are now in train to conserve and restore these pieces.

     Specialists check over part of the GSA’s textile collection in the aftermath of the fire and a ceramic brooch that survived the fire

The object collections, which include ceramics, small sculptures, examples of silversmithing and jewellery and more, all survived. The textile collections suffered some water damage.  However, the items have now all been air-dried, stabilised and conservation work, where appropriate, will commence in due course. 

Around 90 of the oil paintings on canvas in the School’s collections were destroyed. These included two paintings by Mackintosh, a handful of works by Newbery and one work by Joan Eardley. However, all the paintings had been digitised as part of the GSA’s commitment to open up its Archives and Collection to a wider audience and can be accessed via the online archive.

Around 8,000 books and journals in the Mackintosh Library, including part of the GSA’s rare book collection, were also destroyed in the fire. However, almost 80% of the rare book collection - which is kept in the main library in the Bourdon Building - survives. The GSA is not seeking to replace the vast majority of the books and magazines lost from the library. A priority replacement list was circulated in the aftermath the fire, 25% of which has already been generously donated.

The majority of the contents of the library were destroyed, although the forensic archaeology has retrieved a number of artefacts including parts of the studio clock and all its mechanism, most of the metal from the lamps in the iconic central light fitting, some of the rare book collection - including The Sights and Sounds of Fair Japan – and parts of some of the library chairs / the periodical desk. All of these items have been documented and put into specialist storage as the GSA looks into what conservation work can/should be done.

Virtually all the items that were in the studio above the Mackintosh Library, which was historically a bookstore and then the GSA’s Furniture Gallery for over 20 years from the 1980s until 2008, were lost in the fire. This includes much of the collection of oil paintings and some 97 items furniture which were part of the GSA’s Recognised Collection. Around 60 pieces of furniture, including many of the major items in the collection, have survived. A number of these have now gone back on public display in the newly created Furniture Gallery in the Reid Building. The majority of the lost furniture had been documented digitally and can still be accessed through the GSA’s recently launched online archive.

“We are obviously devastated to have lost anything from our Archives and Collections in the fire. Fortunately the vast majority of the artefacts survive including all the works on paper by Mackintosh and many of the most important pieces of furniture, some of which are now on display in our new Furniture Gallery. As part of the GSA’s commitment to greater access through digitisation virtually all of the lost artefacts had already been documented and images of them will continue to be accessible through the GSA’s online archive.”

For further details on the GSA’s substantial Archives & Collections visit:


Further information
Lesley Booth
0779 941 4474

Monday, 9 March 2015

Antiquarian Booksellers Association donates rare Art Nouveau edition of Keats poems to The Glasgow School of Art library

1898 edition of John Keats, His Poems with cover design by Ann Macbeth
donated to the GSA by the Antiquarian Booksellers Association
The Antiquarian Booksellers Association has donated a rare 1898 edition of work by the Romantic poet, John Keats, to The Glasgow School of Art as the institution begins to rebuild its collection following the fire in the Mackintosh Building. The cover design of John Keats – His Poems, which is elaborately gilt-tooled in Glasgow School style, was created by acclaimed GSA teacher and designer, Ann Macbeth. The book was formally presented to GSA Librarian, Jennifer Higgins, by President of the Antiquarian Booksellers Association, Brian Lake, on Friday 6 March 2015.

"The ABA is very pleased to donate the Poems of Keats, in a binding designed by Ann Macbeth, who was a student and teacher at The Glasgow School of Art,” says Brian Lake, President of the Antiquarian Booksellers Association “When the purchase was suggested by Cooper Hay, the Glasgow rare book dealer, it seemed an entirely appropriate contribution to the rebuilding of the Library and, we hope, an encouragement to other booksellers and collectors to make their own contributions of suitable books and bindings as The School of Art rises from the ashes."

"Glasgow School of Art Library is thrilled to be presented with such a generous donation from the Antiquarian Booksellers Association,” adds Jennifer.The fact that so many booksellers across the UK offered us support after the Mackintosh Library fire of May 2014, is very humbling and a testament to both their generosity and the esteem in which the Library was held.”

“Today’s presentation of a stunning Art Nouveau binding by Ann Macbeth is particularly poignant, for Macbeth would have known the Library well during her time as both a student and teacher at the GSA from 1897 onwards. Indeed, she is known to have taught bookbinding to our students, and this gilt design on green morocco leather was first exhibited at the Glasgow International Exhibition in 1901. It is a superbly rare example of her work and of the Glasgow Style that is so synonymous with the School. It’s wonderful to welcome it home."

Ann Macbeth
Ann Macbeth (seated) in an art class at The GSA

The eldest of nine children of a Scottish engineer, Ann Macbeth was born in Bolton in 1875 and was a student and teacher at The Glasgow School of from 1897-1929. The GSA knows from the student records held within the school’s Archives & Collections that her father’s occupation was that of engineer. Her addresses are also listed: she came to Glasgow from St. Anne’s on the Sea, Lancashire, and in Glasgow she lived at 9 Park Quadrant (1897-98), at 15, Windsor Circus, Kelvinside (1898-99), at 6 Melrose Street from 1899 and at Queen Margaret Hall from 1905.

Before 1902 her occupation is given in the student registers as either “Art Student” or “Designer”. From the session 1902-3 her occupation is listed as that of “Teacher”, but she still appears in the student registers because she continued to advance her formal education through the attendance of classes at the school.

In 1902 she was appointed to the position of Assistant Mistress, teaching courses in needlework, embroidery and applique, in the Design and Decorative Art Section. She continued to teach in The Glasgow School of Art until her retirement in 1929.

In 1903-5 she taught Design and Instruction, from 1906 she taught Metalwork and Repousse, and from 1907 Bookbinding and Decoration. In 1909 she became the Head of the Needlework and Embroidery Section, adding Bookbinding and Decoration and Decorative Leatherwork to these responsibilities in 1910. In 1912 she finally became the Director of Studies in the Needlecraft-Decorative Art Studios.

In addition during her time at the Glasgow School of Art Ann Macbeth also taught classes in Ceramic Decoration and China Painting. Even after she moved to the Lake District in the 1920s she held the prestigious position of Visiting Lecturer – Needlework and Embroidery from 1921 until her retirement in 1929.


Further information:
Lesley Booth

Notes for Editors
  • Following the fire in which the GSA lost around 20% of its Rare Book Collection a priority replacement list was compiled. Around 25% of the list has already been generously donated by individuals and institutions from across the world.
  • Founded in 1906, and the oldest organisation of its kind in the world, the Antiquarian Booksellers’ Association is the senior trade body for dealers in antiquarian and rare books, manuscripts and allied materials in the British Isles. Its membership also extends to many of the leading booksellers overseas. Members are elected solely on the basis of proven experience, expertise and integrity. They are expected to observe the highest professional and ethical standards and to foster the mutual trust and respect that exists between the trade and the public. For further details on the work of the ABA visit:

Tuesday, 3 March 2015

Students from Scotland to Scandinavia and Singapore unveil new collections in 2015 GSA Fashion Show

Collections by designers from as far afield as Scandinavia and Singapore, Paris and Pakistan were unveiled in The Glasgow School of Art Fashion Show last night, 3 March 2015.  Over 40 young young designers showcased collections inspired by a range of non-Western traditions on a catwalk set created by a Fashion and Textiles design team in partnership with 3rd year Architecture students. A pop up shop of work by the young designers will be open in the Reid Building foyer from 1pm - 10pm today, Wednesday 4 March.

Designs by Textiles students Kathryn McKerral and Sheryll Goh,

The young designers focused on World Dress and Textile traditions and explored a range of clothing and cultural traditions to create collections comprising three looks. Inspiration was drawn from traditions ranging from the bark paintings of the Mbuti tribe of the DRC to the Inuit of Nunavik, Chinese porcelain and Japanese Samurai, Masai blankets and Ethiopian body art, Syrian style and Peruvian textiles.

 “Adopting elements of different cultures is perfectly natural when designing’ says Jimmy Stephen-Cran, Head of Fashion and Textiles at the GSA. “However, we expect our students to recognise the difference between ‘imitationand ‘inspiration.”

“This theme requires considered and respectful research to ensure that the end results are innovative and creative enough not to rely on cheap mimicry. The students have very much risen to this challenge.”

“The reality of a designers life is that ‘designingis only ever one aspect of what they do,” adds Stephen-Cran. “The annual GSA Fashion Show testifies to this. As well as allowing 3rd Year students the opportunity to explore and test the fashion potential of their ideas ‘full scale, the organization and production of the show is also entirely their responsibility. This can be daunting task as for many of the young designers it is the first time their individual and collective efforts are open to public scrutiny.”