1. Aim: To demystify the processes through which contemporary art is both made and evaluated www.q-artlondon.com

2. Convenors Convenor 19, Chelsea College of Art, 23 May 2011 Conv 18, UOA, 14 March 2011 Conv APT Gallery, 28 Nov 2011

3. Q-Art Annual Exhibitions Q-Art Presents, Nov 2010 Q-Art Presents, July 2009

4. Publications 12 Gallerists: 20 Questions11 Course Leaders: 20 Questions

5. Panel Discussions Launch of the Q-Art publication '11 Course Leaders: 20 Questions', Cubitt, Islington. July 23rd 2011 Panellists: John Timberlake (Middlesex), John Aiken (Slade), Mo Throp (Chelsea), Andrew Bannister (City & Guilds), Louis Nixon (Kingston), Rosemarie McGoldrick (Cass), Stephen Carter (Byam Shaw/CSM), Sarah Rowles (Director, Q-Art London), Jane Lee (Central Saint Martins), Marin Newth (Byam Shaw)

6. Gallery Visits Deptford X, 1 October 2011 Deptford X, 1 Oct 2011

7. Our Audience: -47% art graduate -35% current art students, from Foundation - PhD -10% self-trained artist/ interest in art/thinking about going into art college -4 % student/graduate of non-arts subject - 4% family members/ friends/ non art or HE background

8. Q-Art values: Inclusive/ Open Non-hierarchy Transparency Peer led learning Empower

9. 1. Do I go to Goldsmiths, Chelsea, Camberwell? Will I be a different, better, more successful artist if I attend somewhere else? How does the education system differ between colleges? Why are we receiving the education we do and why does contemporary art look like it does? 2. What happens when we graduate? How do we survive as an artist - do we? Is their a fair valuation system or does our fate dependent upon someone else’s opinion or who we know? Do we get thrown in to the abyss when we leave? 3. Why in the art market, do some things sell for millions of pounds and others for a few hundred pounds?

10. Convenors Convenor 19, Chelsea College of Art, 23 May 2011 Conv 18, UOA, 14 March 2011 Conv APT Gallery, 28 Nov 2011 Key ideas: -Students from across colleges can meet - See different art schools (physically) and whether work is any different - Peer led. Students can learn from graduates, Foundation from BA etc -Graduates can return to familiar environment to present in after leaving art school and find new support network - Those not in art education can see what goes on.

11. Q-Art Annual Exhibitions Q-Art Presents, Nov 2010 Q-Art Presents, July 2009 Key idea: Away from ‘who you know’ art world politics

12. 11 Course Leaders: 20 Questions: SAMPLE QUESTIONS -Please outline your position and what course you teach on etc. -How long have you been teaching on this course for? -What did you do before? -Did you study art yourself, where? -Did you undergo any formal teacher-training? -What made you decide to teach? -Do you think art can be taught? -Do you think an understanding of art history is required when reading, assessing and producing contemporary art? -How do we learn to read art? -Did you grow up seeing art? -Do you think those who do are at an advantage when making/reading art? -What educational structure do you use on this course? E.g. is it broad-based, divided by discipline etc? Where in the conversation does the education take place? Do you think the art market has an influence on the work of students? -Do you teach craft-based/practical skills or have such workshops? -Is the decline in teaching of craft based/ practical skills ideological or economic? -How does art college differ now from when you were at art school? How do you judge good art both here an in a gallery context? How do you select students at interview?

13. The books are sold in: London Tate Modern Foyles ICA Whitechapel Gallery Serpentine Gallery Artwords Goldsmiths student shop Cubitt Gallery, Islington Oxford Blackwells Scotland National Galleries of Scotland Fruitmarket Gallery, Edinburgh Brighton Imnop Shop Brighton Q-Art website and events Publications

14. www.q-artlondon.com