XClose

UCL CULTURE

Home
Menu

Projects landing page


What:
Research
Conference
Festival
Media
Training
Where:

Filter Projects landing page
Showing 9 Projects from The Octagon:
Disrupters and Innovators
About Disrupters and Innovators
Discover more about Disrupters and Innovators, UCL's exhibition dedicated to remarkable women, whose lives and careers were shaped by what they learnt, taught and researched at UCL. The exhibition curated by Dr Nina Pearlman is presented in two parts: a prologue called The Magic Fruit Garden, and Disrupters and Innovators, which features a number of women with connections to the university.The stories in this exhibition reflect the long struggle for democracy in the UK and for gender equality in higher education. They provide insights into educational reform, advancements in science and art and social and political change in the world in which these women lived.Some women were rewarded with professional recognition and personal accolades for their contributions to their discipline, culture and social reform. Others, despite equally significant contributions, received much less attention and reward. It falls to later generations to uncover their achievements and restore their reputations. Find our more about these women here. [[{"fid":"8519","view_mode":"large","fields":{"height":"1510","width":"2347","class":"media-element file-large","format":"large","field_file_image_alt_text[und][0][value]":"Record card Aimee Nimr","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EStudent%20registry%20card%20for%20Slade%20student%2C%20Aimee%20Nimr%20(1907-1974).%20After%20graduating%2C%20Nimr%20became%20a%20driving%20force%20in%20the%20Art%20and%20Liberty%20Group%20founded%20in%201930s%20Cairo.%20Its%20members%20%26ndash%3B%20Surrealist%20artists%2C%20poets%20and%20writers%20%26ndash%3B%20aspired%20to%20connect%20art%20with%20social%20issues%2C%20particularly%20the%20impact%20of%20World%20War%20II%20on%20Egypt.%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"type":"media","field_deltas":{"1":{"height":"1510","width":"2347","class":"media-element file-large","format":"large","field_file_image_alt_text[und][0][value]":"Record card Aimee Nimr","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EStudent%20registry%20card%20for%20Slade%20student%2C%20Aimee%20Nimr%20(1907-1974).%20After%20graduating%2C%20Nimr%20became%20a%20driving%20force%20in%20the%20Art%20and%20Liberty%20Group%20founded%20in%201930s%20Cairo.%20Its%20members%20%26ndash%3B%20Surrealist%20artists%2C%20poets%20and%20writers%20%26ndash%3B%20aspired%20to%20connect%20art%20with%20social%20issues%2C%20particularly%20the%20impact%20of%20World%20War%20II%20on%20Egypt.%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"1510","width":"2347","class":"media-element file-large"}}]]Exploring new disciplinesDisrupters and Innovators is displayed across four cases in UCL's Octagon Gallery. In the second part of the exhibition, each case addresses a different area of academic study: Archaeology, Art, Science, and Politics and Society. Visitors can explore how women pioneered new disciplines and their often interdisciplinary approaches.ArchaeologyArchaeology was a new science at the end of the 19th century. The study of Egypt – Egyptology – was on the edge of this new science. It did not require the same formal qualifications, such as knowing Latin and Greek, demanded by more established subjects. As women were less likely to have these qualifications, Egyptology was easier for them to enter.The attitude of the first UCL Professor of Egyptology, Flinders Petrie, was crucial to women’s advancement in this subject. Petrie helped to transform archaeology from treasure-hunting to a scientific discipline, and his collection is held at the UCL museum established in his name. Petrie's own career was made possible by the generosity and support of women, particularly his benefactor Amelia Edwards and his protégé Margaret Murray, who is featured below.Murray enabled Petrie to make long trips to Egypt to carry out excavations, as she taught most of UCL's Egyptology classes. Her high profile as a scholar, teacher and advocate for women’s rights in turn contributed to the subject’s popularity with women. In 1907, Manchester University Museum received a rare collection of two mummies, complete with the contents of their tomb, and Murray worked to catalogue the objects. A year later she took part in the public unwrapping of one of the mummies to an audience of 500 with extensive media coverage.[[{"fid":"8467","view_mode":"large","fields":{"format":"large","field_file_image_alt_text[und][0][value]":"Margaret Murray, mummy unwrapping","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EMargaret%20Murray%20and%20team%20unwrapping%20the%20mummies%20of%20the%20%26lsquo%3BTwo%20Brothers%26rsquo%3B%20at%20Manchester%20University%20Museum%20in%201908.%20%26copy%3B%20Courtesy%20of%20Manchester%20Museum%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"type":"media","field_deltas":{"1":{"format":"large","field_file_image_alt_text[und][0][value]":"Margaret Murray, mummy unwrapping","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EMargaret%20Murray%20and%20team%20unwrapping%20the%20mummies%20of%20the%20%26lsquo%3BTwo%20Brothers%26rsquo%3B%20at%20Manchester%20University%20Museum%20in%201908.%20%26copy%3B%20Courtesy%20of%20Manchester%20Museum%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"1772","width":"2490","class":"media-element file-large"}}]]“The shelf is not a comfortable place and I have no desire to be on it...I look forward to working till the last."Egyptologist Margaret Murray aged 100, autobiography, 1963ArtThe Slade School of Fine Art was founded in 1871. Teaching was grounded in the study of the human figure, setting the Slade apart from other schools. The admission of women to study alongside men formed another radical departure from established models. The Royal Academy followed suit nearly twenty years later, with other disciplines at UCL even slower to adopt a co-education approach: medicine was the latest in 1917-18.The Slade influenced women’s integration into wider College life and society, and many Slade women worked across disciplines or were involved in socio-political reform. Female students quickly outnumbered male ones at the Slade and their achievements were recognised by prizes. While 45% of the artists in the Slade Collection are women, many including Clara Klinghoffer (featured below), Winifred Knights and Aimee (Amy) Nimr in the exhibition, remain largely unknown today.Clara Klinghoffer (1900-1970) was an Austrian Jewish émigré who enrolled at the Slade in 1918. A year later, she won second prize for Figure Drawing and received the Orpen Bursary for students who ‘intend to become Professional Artists’. Promoted by influential artists such as Sir Jacob Epstein and Alfred Wolmark, she presented her first critically acclaimed exhibition in 1919. Reviewers compared her to the grand master of Italian Renaissance, Raphael. Journeys of early 20th-century women artists like Klinghoffer are explored in the UCL Art Museum's 2018 exhibition Prize & Prejudice. [[{"fid":"8531","view_mode":"medium","fields":{"format":"medium","field_file_image_alt_text[und][0][value]":"Clara Klinghoffer © The artist's estate","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cdiv%3E%3Cp%3EClara%20Klinghoffer%2C%20%3Cem%3EFive%20Studies%20of%20a%20Female%20Nude%2C%3C%2Fem%3E%20c.1918-1919%2C%20pencil.%20UCL%20Art%20Museum%206075%26nbsp%3B%26copy%3B%20The%20artist%26%2339%3Bs%20estate%3C%2Fp%3E%3C%2Fdiv%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"type":"media","field_deltas":{"1":{"format":"medium","field_file_image_alt_text[und][0][value]":"Clara Klinghoffer © The artist's estate","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cdiv%3E%3Cp%3EClara%20Klinghoffer%2C%20%3Cem%3EFive%20Studies%20of%20a%20Female%20Nude%2C%3C%2Fem%3E%20c.1918-1919%2C%20pencil.%20UCL%20Art%20Museum%206075%26nbsp%3B%26copy%3B%20The%20artist%26%2339%3Bs%20estate%3C%2Fp%3E%3C%2Fdiv%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"800","width":"504","class":"media-element file-medium"}}]]“Girl Who Draws Like Raphael - Success at 19"—Review of artist Clara Klinghoffer’s exhibition in The Daily Graphic, 1919Politics and SocietyWomen’s and workers’ rights, prison reform, education and Irish independence were key social and political concerns of the early 20th century. Women working across the sciences and humanities at UCL became forces for change in these areas, often alongside significant contributions in their own disciplines.Constance Markievicz (née Gore-Booth) was the first woman elected to the British House of Commons in 1918. She became an MP for a Dublin constituency while in prison, along with many Sinn Féin MPs who were political prisoners at this time. As with other Sinn Féin MPs, then and now, Markievicz did not take her seat in Parliament.Markievicz previously studied at the Slade School of Art and she became increasingly involved in the suffrage cause during this time. Despite her aristocratic background and marriage to a Polish count, she felt passionately about art and workers’ rights throughout her life. She was imprisoned and sentenced to death for her part in the 1916 Easter Rising against British rule, but was later released under a general amnesty.[[{"fid":"8543","view_mode":"medium","fields":{"height":"5688","width":"3960","class":"media-element file-medium","format":"medium","field_file_image_alt_text[und][0][value]":"Constance Markievicz","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cdiv%3E%3Cp%3EDigital%20reproduction%20of%20studio%20portrait%20of%20Countess%20Constance%20Markievicz%2C%20Keogh%20Brothers%20Ltd%2C%20c.1910-1927%20NPA%20POLF206%20%26copy%3B%20National%20Library%20of%20Ireland%3C%2Fp%3E%3C%2Fdiv%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"type":"media","field_deltas":{"1":{"height":"5688","width":"3960","class":"media-element file-medium","format":"medium","field_file_image_alt_text[und][0][value]":"Constance Markievicz","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cdiv%3E%3Cp%3EDigital%20reproduction%20of%20studio%20portrait%20of%20Countess%20Constance%20Markievicz%2C%20Keogh%20Brothers%20Ltd%2C%20c.1910-1927%20NPA%20POLF206%20%26copy%3B%20National%20Library%20of%20Ireland%3C%2Fp%3E%3C%2Fdiv%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"5688","width":"3960","class":"media-element file-medium"}}]]“...When I urged that the women’s suffrage movement had gone too far to be stopped he disagreed."—Reformer Isabel Fry reflecting on a conversation with retired Judge Bacon, known for his anti-feminist views, 1911Sciencey the 1990s, the scientific community had started to uncover the missing histories of women scientists. Disciplines such as botany and geology had long traditions of amateur contributors, often women, alongside professionals. The uncertain career paths offered in emerging scientific disciplines were often less attractive to men, and new disciplines often had less defined entry paths, or involved applied research that carried less academic prestige. These circumstances all provided opportunities for women to further develop research and careers.Dame Kathleen Lonsdale (née Yardley) (1903-1971) is pictured below. She was one of the first two women to become a Fellow of the Royal Society in 1945, and the following year she founded a research group in Crystallography at UCL. In 1949, Lonsdale became the university's first female professor and she received both the Royal Society’s Davy Medal and a DBE in under a decade.During her lifetime, Lonsdale worked with influential professors such as William Bragg and Christopher Ingold. Nobel Prize winners Bragg and his son Lawrence pioneered the use of X-rays to determine crystal structures, and Lonsdale applied this technique to the petrochemical benzene, confirming its long-disputed structure. As a scientist she worked at many institutions but UCL was her first, last and longest. UCL marked her legacy by naming a university building in her honour, the only building to be named after a women. The refurbished Kathleen Lonsdale Building is located on UCL’s main Bloomsbury campus.[[{"fid":"8471","view_mode":"large","fields":{"height":"1308","width":"1772","class":"media-element file-small","format":"large","field_file_image_alt_text[und][0][value]":"Kathleen Lonsdale with crystal models","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EKathleen%20Lonsdale%20with%20crystal%20models%2C%20photographer%20unknown%2C%20c.1946.%20Courtesy%20of%20Professor%20Ian%20Wood%2C%20UCL%20Earth%20Sciences%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"type":"media","field_deltas":{"1":{"height":"1308","width":"1772","class":"media-element file-small","format":"large","field_file_image_alt_text[und][0][value]":"Kathleen Lonsdale with crystal models","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EKathleen%20Lonsdale%20with%20crystal%20models%2C%20photographer%20unknown%2C%20c.1946.%20Courtesy%20of%20Professor%20Ian%20Wood%2C%20UCL%20Earth%20Sciences%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"1308","width":"1772","class":"media-element file-large"}}]]“...questioning of the established order is the hallmark of the true scientific outlook..."—Crystallographer Dame Kathleen Lonsdale, The Melbourne Herald, 1966Behind the exhibitionDisrupters and Innovators is part of Vote 100 at UCL in 2018. Find out more about the background to this exhibition below:The history of women at UCLThis exhibition is part of UCL's year-long Vote 100 programme, which marks the centenary of the Representation of the People Act that granted the vote to some women over the age of 30 in the UK.Beginning in the 1860s, UCL experimented with providing classes for women. From 1878, women could study alongside men and receive University of London degrees: the first time this had happened in the UK. It was not until 1918 that new legislation allowed the first women to vote in the UK. This was part of wider electoral reforms accelerated by World War I. Ten years later, women received equal voting rights with men. This process was a backdrop to the lives of female students and researchers at UCL and beyond in the early 20th century. However, co-education was not adopted in all subjects and female students and staff continued to face many obstacles.The UCL Vote 100 programme reveals the impact of the pioneering women who built the university, and imaginatively explore the battles still to be won. Find out more about UCL Vote 100 here.Working across UCLThis UCL Culture exhibition is curated by Dr Nina Pearlman, Head of UCL Art Collections,who also produced this interpretation text.Exhibition produced in association with:Maria Blyzinsky, Museum Consultant, The Exhibitions TeamVictoria Kingston, Interpretation Consultant, The Exhibitions TeamAngela Scott, Senior Graphic Designer, UCL Digital MediaDave Bellamy, Display Technician, Chiltern ExhibitionsUCL Culture would like to thank the following people for their support with the exhibition:Society: David Blackmore (UCL Slade School of Fine Art), Dr Georgina Brewis (UCL Institute of Education), Dr Claire Robins (UCL Institute of Education)Archaeology: Dr Emma Libonati (UCL Petrie Museum)Art: Helen Downes (UCL Art Museum), Grace Hailstone (UCL Slade School of Fine Art)Science: Deborah Furness (UCL Library Services), Lesley Hall (Wellcome Library), Dr Jenny Wilson (UCL Science & Technology Studies), Professor Ian Wood (UCL Earth Sciences)Thanks are extended also to:UCL Art Museum, Grant Museum of Zoology, Petrie Museum of Egyptian Archaeology, UCL Geology Collection, UCL Pathology Collection, UCL Institute of Education Archives, UCL Library Services, UCL Records, UCL Special Collections UCL Special Collections, and UCL Slade School of Fine Art for their generous loans.[[{"fid":"15847","view_mode":"small","fields":{"height":"186","width":"129","class":"media-element file-small","format":"small","field_file_image_alt_text[und][0][value]":"Thumbnail of exhibition guide","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"https://www.ucl.ac.uk/culture/sites/culture/files/disrupters_innovators_book_webversion.pdf","field_caption[und][0][value]":"%3Cp%3EDisrupters%20and%20Innovators%20exhibition%20guide%3C%2Fp%3E","field_caption[und][0][format]":"","field_float_left_right[und]":"left","field_file_image_decorative[und]":"0"},"type":"media","field_deltas":{"1":{"height":"186","width":"129","class":"media-element file-small","format":"small","field_file_image_alt_text[und][0][value]":"Thumbnail of exhibition guide","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"https://www.ucl.ac.uk/culture/sites/culture/files/disrupters_innovators_book_webversion.pdf","field_caption[und][0][value]":"%3Cp%3EDisrupters%20and%20Innovators%20exhibition%20guide%3C%2Fp%3E","field_caption[und][0][format]":"","field_float_left_right[und]":"left","field_file_image_decorative[und]":"0"}},"attributes":{"height":"186","width":"129","class":"media-element file-small"}}]]
A still from a film showing three figures as silhouettes backlit in what looks like a nightclub setting
Blueprints of Hope
[[{"fid":"16385","view_mode":"large","fields":{"format":"large","field_file_image_alt_text[und][0][value]":"Exhibition graphic with the text 'Blueprints of Hope: Celebrating LGBTQ+ London, Free exhibition, 1 Mar-18 Aug 2023, Octagon Gallery' overlaid in white on a film still showing three backlit figures in silhouette","field_file_image_title_text[und][0][value]":"Blueprints of Hope","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"type":"media","field_deltas":{"1":{"format":"large","field_file_image_alt_text[und][0][value]":"Exhibition graphic with the text 'Blueprints of Hope: Celebrating LGBTQ+ London, Free exhibition, 1 Mar-18 Aug 2023, Octagon Gallery' overlaid in white on a film still showing three backlit figures in silhouette","field_file_image_title_text[und][0][value]":"Blueprints of Hope","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"500","width":"800","class":"media-element file-large"}}]]Octagon Gallery exhibition ‘Blueprints of Hope: Celebrating LGBTQ+ London’ presents a snapshot of London’s vital queer cityscape, past and present.The exhibition has been curated by London-based collective Gedney Common in response to research by UCL Urban Laboratory (Urban Lab) evidencing a drop of 58% in London's LGBTQ+ venues between 2006 and 2017.Bringing together the work of libraries, archives, community centres and activist groups, alongside pieces by contemporary artists including Louis Blue Newby, Jakob Rowlinson and Nina Wakeford, Gedney Common illuminate the role of London’s queer cityscape in providing a social and cultural lifeline for LGBTQ+ communities.In his book Queer Premises: LGBTQ+ Venues Since the 1980s, Urban Lab’s Co-Director Ben Campkin argues that the term 'queer infrastructure' captures the diversity, dynamism, adaptation and extension of scenes across different periods, generations and geographical locations - a term to which this exhibition responds.This page explores the inspiration behind the exhibition and the UCL research that underpins it, and provides a selection of related resources, links and further reading.Project inspirationIn the mid-2010s, a reported surge in closures of LGBTQ+ venues in London led UCL Urban Laboratory to collaborate with grassroots group Queer Spaces Network and the Greater London Authority to understand what was happening and why.Research published by Professor Ben Campkin and Dr Lo Marshall showed that in the decade to 2017, the number of venues fell by 58%. Since then, the GLA have maintained the data, the number of venues has stabilised, and some new venues have opened. However, the Covid-19 pandemic and the energy and cost of living crises have further exacerbated the challenges Campkin and Marshall noted venues faced, through gentrification dynamics and redevelopment.Urban Lab’s research, and the lively campaigns sparked by threats of closure, contributed to demonstrating these venues’ important part in the history, present and future of LGBTQ+ social movements. In the face of continued inequalities and experiences of isolation for some constituents of these communities, and as a connector across different groups and generations, the maintenance and extension of such resources is more important than ever.Urban Lab researchers worked in close collaboration with LGBTQ+ communities, local government, grassroots organisations and countless individuals to map London’s network of queer venues and investigate the threats they face. The data illustrated the incredible diversity of the capital’s LGBTQ+ venues and highlighted the significant contribution they make to community life, welfare and wellbeing.Building on earlier models of urban and gay enclaves, in his book, Queer Premises: LGBTQ+ Venues in London Since the 1980s (Bloomsbury, 2023), Campkin proposes the model of a dynamic and precarious ‘queer infrastructure’. This encapsulates how venues, which link to and transmit other resources, have recently become more visible in contested urban redevelopment, often linked to transport interchanges.'Blueprints of Hope' uses this thinking as a springboard and explores stories from London’s LGBTQ+ past and present.LinksUCL Urban Lab websiteFeature: Safeguarding London’s LGBTQ+ venuesFeature: London’s nocturnal queer geographiesVideo: The Bartlett International Lectures - Professor Ben CampkinFeature: LGBTQ+ spaces face a new threat from the pandemic – here’s how they can adaptReading listA range of works, publications and media have contributed to 'Blueprints of Hope''s conceptual frameworks. Here are some key texts:BooksPeter Ackroyd, Queer City: Gay London from Romans to the Present Day, 2017Ben Campkin, Queer Premises: LGBTQ+ venues in London since the 1980s, 2023Adam Nathaniel Furman and Joshua Mardell, Queer Spaces: an atlas of LGBTQIA places and stories, 2022Derek Jarman, Dancing Ledge, 1984Alim Kheraj, Queer London: A Guide to the City's LGBTQ+ Past and Present, 2021Jeremy Atherton Lin, Gay Bar: Why We Went Out, 2021José Esteban Muñoz, Cruising Utopia: The Then and There of Queer Futurity, 2009Richard Scott, Soho, 2018Joelle Taylor, C+nto: & Othered Poems, 2021Nina Wakeford, Our Pink Depot: The Gay Underground FLO-N202-236000000- TRK-MST-00002-SAY- HELLO-WAVE-GOODBYE- KEN-NIE-BPS, 2019Other publications and mediaKaren Fisch transcript, From a Whisper to a Roar, 2020LGBTQ+ Centre research: https://londonlgbtqcentre.org/updates/news-report-london-lgbtq-community-centre/Rebel Dykes Art and Archive Show, Space Station 65, 2021Rebel Dykes documentary, 2021Extract from Ben Walters’ listing application for the Royal Vauxhall Tavern: http://www.run-riot.com/articles/blogs/ben-walters-royal-vauxhall-tavern-becomes-uk%E2%80%99s-first-ever-building-be-listed-because- Associated resourcesLondon LGBTQ+ Community CentreThe London LGBTQ+ Community Centre is a sober, intersectional community centre and café where all LGBTQ+ people are welcome, supported, can build connections and can flourish. Our vision is for a more connected, belonging and thriving LGBTQ+ community in London.https://londonlgbtqcentre.org/the-project/The Outside ProjectThe Outside Project is London's LGBTIQ+ community shelter, centre and domestic abuse refuge.https://lgbtiqoutside.org/The Queer Allyship LexiconAn intersectional LGBTQ+ glossary of termsGlossary by We Create Space, a global community-led platform, consultancy and collective on a mission to improve the lives of LGBTQ+ people and other under-represented groups of professionals around the world by connecting our communities and allies with tools, knowledge and a support network for personal growth, leadership development, allyship and self-care.https://www.wecreatespace.co/glossary QueercircleQueercircle is an LGBTQ+-led charity working at the intersection of arts, culture and social action.https://queercircle.org/ UCLOut@UCLOut@UCL is a staff social network and is a way for lesbian, gay, bisexual, trans and queer  (LGBTQ+) staff at UCL to get to know each other and take part in social events. The group was set up in July 2009 as some LGBTQ+ staff considered that, in an organisation as big as UCL, it was difficult to get to know people in other departments, especially other LGBTQ+ people.https://www.ucl.ac.uk/human-resources/equality-diversity-inclusion-committees-and-networks/outuclUCL Trans NetworkThis is an informal network for staff and students for anyone who identifies as trans (including non-binary, genderqueer & all other identities not identical with the gender assigned at birth)https://www.ucl.ac.uk/human-resources/equality-diversity-inclusion-committees-and-networks/ucl-trans-network LGBT+ Students NetworkOur network supports students who are lesbian, gay, bisexual, trans*, queer, intersex, asexual spectrum, aromantic spectrum and/or any other sexual, romantic or gender minority during their time at university. It also helps students interested in LGBT+ issues to meet like-minded people and groups in the university and across London. https://studentsunionucl.org/lgbtAdditional list of resources for support and wellbeing for LGBTQ+ staff and students:https://www.ucl.ac.uk/students/support-and-wellbeing/resources-and-information/information-and-support-specific-student-groups-5 Exhibition contributors'Blueprints of Hope' features collections from a range of archives and libraries as well as work by contemporary artists.Archives, Collections and LibrariesBishopsgate Institute  Karen Fisch ArchiveRebel Dykes ArchiveLesbians and Gays Support the Migrants (LGSMigrants) UCL Art MuseumWomen’s Anarchist Nuisance Café (WANC)Artists and PhotographersLouis Blue NewbyJakob RowlinsonNina WakefordRobert WorkmanRoss HeadVi Dimi Zbigniew KotkiewiczGraphic Design by PolytechnicGedney Common is an arts collective formed in 2019 by Georgia Cherry, Arthur Carey, Charlotte Flint and Ross Head. This project has been (partially) funded by the LGBTQ+ Equality Implementation Group (LEIG) Fund. This has allowed Gedney Common to publicly celebrate queer culture at UCL and raise widespread awareness of issues affecting the LGBTQ+ community.Gedney Common would like to thank: Art on the Underground, Bishopsgate Institute, Sebastian Buser, Ben Campkin, Stefan Dickers, Naoise Dolan, Karen Fisch, Jayne Flowers, Andrea Fredericksen, Gayscene, Derek Jarman, Gerard Jones, Zbigniew Kotkiewicz, the LGBTQ+ Community Centre, the members of Lesbians and Gays Support the Migrants, Dr Lo Marshall, Louis Blue Newby, Ron Peck, the Royal Vauxhall Tavern, the Rebel Dykes, Jakob Rowlinson, the teams at UCL Urban Lab, UCL Museums & Cultural Programmes, Del LaGrace Volcano, Nina Wakeford, Lucy Waitt, Robert Workman, and the Women’s Anarchist Nuisance Café. We also want to recognise the importance of transformative queer events and spaces past, present and future.EventsAbove this new tunnel the Market Tavern once stood. Grey concrete outside. Cherry red, dark, sexy, cruisy, inside.Wednesday 31 May 2023, 21:00-21:45, North CloistersJoin us for a live performance by exhibiting artist Nina Wakeford as she excavates and embodies LGBTQ+ history and proposes it as part of the new transport infrastructure of London.Blueprints of Hope: Badge Café HangoutFriday 2 June 2023, 13:00-16:00, UCL Art MuseumA crafty utopian hangout with Ben Walters, putting old books and mags to queer badgemaking use. Free, friendly, easy, fun.Gedney Common Curatorial Surgery (event cancelled due to unforeseen circumstances)Friday 16 June 2023, 14:30-16:30, Object Based Learning LabJoin the makers of the exhibition for this special curatorial surgery. Hear how the collective Gedney Common used academic research as a catalyst, from exhibition concept to realisation, and chat through your own ideas.Queer Tours of London: A Mince Through TimeThursday 10 August, 18:30-19:45, start at Octagon GalleryJoin Dan de la Motte from Queer Tours of London as we shine a light on London’s rich LGBTQ+ history through a creative and life-affirming interactive tour around Bloomsbury. 
amended_octagon.jpg
Cabinets of Consequence
The Cabinets of Consequence is an exhibition that explores the interplay between human, environmental and technological activity by drawing on current UCL research in Geology, Neuroscience, Literature, Computer Science and Archaeology.The exhibition examines the following key themes: Agriculture-AnimalsThe scale of current ecological change is often difficult to perceive. Non-humans including animals and insects can be overlooked in their significance and impact upon the Earth’s eco-system.  This part of the exhibition looks at the interplay between natural history and animal worlds. It examines the use of animals in agriculture and farming, and asks: how will food be provided for a growing population of 9 billion people in 2050?Energies-ResourcesThe drive for energy and resources crosses both human and non-human histories. Forms of movement, extraction and displacement of natural resources create a multiplicity of effects. This part of the exhibition showcases the impact of fossil fuel extraction and burning, alongside the entangled military-industrial collisions of war and trade. It asks: when did humans begin to radically alter the Earth and what historical narratives have been created to explain our behaviour?Media-NaturesTechnology is often thought of as a human-centered pursuit and skill. Yet nature has not only inspired the rise of technology, it is materially involved in the production of digital culture. This part of the exhibition focuses on the blurring of technology and the natural world. It reveals the invisible connections that we have come to depend upon and asks: will the technology of today be the fossils of tomorrow?Afterlives-ExtinctionsWith the Earth’s resources dwindling, the possibility of a post-human planet emerges. Our own limits must be confronted in order to contemplate potential scenarios. This part of the exhibition connects the inevitability of finitude and the possible worlds it may bring. It asks: how will we prepare for the future and will our anthropogenic legacies transmit to other beings and planets?Come and visit the Cabinets of Consequence at The Octagon till May 2017.  
Kathleen Lonsdale
Disrupters and Innovators
As part of UCL's Vote 100 programme, the Octagon gallery presents an exhibition exploring the lasting contributions to research, teaching and wider society of female students and staff at UCL a century ago.Disrupters and Innovators, curated by Dr Nina Pearlman, is dedicated to a group of remarkable women whose lives and careers were shaped by what they learnt, taught and researched at UCL. Their perseverance, originality and ingenuity continue to inspire. Echoes of the challenges they faced remain today. Download the exhibition guide.This is part of UCL Art Museum's research and curatorial platform Curating Equality and UCL's Grand Challenge Justice and Equality.The Octagon is a public space at the heart of UCL, directly under its iconic dome. On this page you'll find a selection of images from the forthcoming display that relate to the lives and work of these women in archaeology, art, education, politics, science and society. Discover more about the exhibitionThis UCL Culture exhibition is curated by Dr Nina Pearlman, Head of UCL Art Collections.Produced in association with:Maria Blyzinsky, Museum Consultant, The Exhibitions TeamVictoria Kingston, Interpretation Consultant, The Exhibitions TeamAngela Scott, Senior Graphic Designer, UCL Digital MediaDave Bellamy, Display Technician, Chiltern ExhibitionsUCL Culture would like to thank the following people for their support with the exhibition:Society: David Blackmore (UCL Slade School of Fine Art), Dr Georgina Brewis (UCL Institute of Education), Dr Claire Robins (UCL Institute of Education)Archaeology: Dr Emma Libonati (UCL Petrie Museum)Art: Helen Downes (UCL Art Museum), Grace Hailstone (UCL Slade School of Fine Art)Science: Deborah Furness (UCL Library Services), Lesley Hall (Wellcome Library), Dr Jenny Wilson (UCL Science & Technology Studies), Professor Ian Wood (UCL Earth Sciences)Thanks are extended also to:UCL Art Museum, Grant Museum of Zoology, Petrie Museum of Egyptian Archaeology, UCL Geology Collection, UCL Pathology Collection, UCL Institute of Education Archives, UCL Library Services, UCL Records, UCL Special Collections UCL Special Collections, and UCL Slade School of Fine Art for their generous loans.
Disrupters and Innovators
Disrupters and Innovators
Discover more about Disrupters and Innovators, UCL's exhibition dedicated to remarkable women, whose lives and careers were shaped by what they learnt, taught and researched at UCL. Here you'll find more detailed stories of the women featured in the display.The stories in this exhibition reflect the long struggle for democracy in the UK and for gender equality in higher education. They provide insights into educational reform, advancements in science and art and social and political change in the world in which these women lived.Some women were rewarded with professional recognition and personal accolades for their contributions to their discipline, culture and social reform. Others, despite equally significant contributions, received much less attention and reward. It falls to later generations to uncover their achievements and restore their reputations. [[{"fid":"8519","view_mode":"large","fields":{"height":"1510","width":"2347","class":"media-element file-large","format":"large","field_file_image_alt_text[und][0][value]":"Record card Aimee Nimr","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EStudent%20registry%20card%20for%20Slade%20student%2C%20Aimee%20Nimr%20(1907-1974).%20After%20graduating%2C%20Nimr%20became%20a%20driving%20force%20in%20the%20Art%20and%20Liberty%20Group%20founded%20in%201930s%20Cairo.%20Its%20members%20%26ndash%3B%20Surrealist%20artists%2C%20poets%20and%20writers%20%26ndash%3B%20aspired%20to%20connect%20art%20with%20social%20issues%2C%20particularly%20the%20impact%20of%20World%20War%20II%20on%20Egypt.%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"link_text":null,"type":"media","field_deltas":{"1":{"height":"1510","width":"2347","class":"media-element file-large","format":"large","field_file_image_alt_text[und][0][value]":"Record card Aimee Nimr","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EStudent%20registry%20card%20for%20Slade%20student%2C%20Aimee%20Nimr%20(1907-1974).%20After%20graduating%2C%20Nimr%20became%20a%20driving%20force%20in%20the%20Art%20and%20Liberty%20Group%20founded%20in%201930s%20Cairo.%20Its%20members%20%26ndash%3B%20Surrealist%20artists%2C%20poets%20and%20writers%20%26ndash%3B%20aspired%20to%20connect%20art%20with%20social%20issues%2C%20particularly%20the%20impact%20of%20World%20War%20II%20on%20Egypt.%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"1510","width":"2347","class":"media-element file-large"}}]]Exploring new disciplinesDisrupters and Innovators is displayed across four cases in UCL's Octagon Gallery. Each case addresses a different area of academic study: Archaeology, Art, Science, and Politics and Society. Visitors can explore how women pioneered new disciplines and their often interdisciplinary approaches.ArchaeologyArchaeology was a new science at the end of the 19th century. The study of Egypt – Egyptology – was on the edge of this new science. It did not require the same formal qualifications, such as knowing Latin and Greek, demanded by more established subjects. As women were less likely to have these qualifications, Egyptology was easier for them to enter.The attitude of the first UCL Professor of Egyptology, Flinders Petrie, was crucial to women’s advancement in this subject. Petrie helped to transform archaeology from treasure-hunting to a scientific discipline, and his collection is held at the UCL museum established in his name. Petrie's own career was made possible by the generosity and support of women, particularly his benefactor Amelia Edwards and his protégé Margaret Murray, who is featured below.Murray enabled Petrie to make long trips to Egypt to carry out excavations, as she taught most of UCL's Egyptology classes. Her high profile as a scholar, teacher and advocate for women’s rights in turn contributed to the subject’s popularity with women. In 1907, Manchester University Museum received a rare collection of two mummies, complete with the contents of their tomb, and Murray worked to catalogue the objects. A year later she took part in the public unwrapping of one of the mummies to an audience of 500 with extensive media coverage.[[{"fid":"8467","view_mode":"large","fields":{"format":"large","field_file_image_alt_text[und][0][value]":"Margaret Murray, mummy unwrapping","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EMargaret%20Murray%20and%20team%20unwrapping%20the%20mummies%20of%20the%20%26lsquo%3BTwo%20Brothers%26rsquo%3B%20at%20Manchester%20University%20Museum%20in%201908.%20%26copy%3B%20Courtesy%20of%20Manchester%20Museum%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"link_text":null,"type":"media","field_deltas":{"1":{"format":"large","field_file_image_alt_text[und][0][value]":"Margaret Murray, mummy unwrapping","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EMargaret%20Murray%20and%20team%20unwrapping%20the%20mummies%20of%20the%20%26lsquo%3BTwo%20Brothers%26rsquo%3B%20at%20Manchester%20University%20Museum%20in%201908.%20%26copy%3B%20Courtesy%20of%20Manchester%20Museum%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"1772","width":"2490","class":"media-element file-large"}}]]“The shelf is not a comfortable place and I have no desire to be on it...I look forward to working till the last."Egyptologist Margaret Murray aged 100, autobiography, 1963ArtThe Slade School of Fine Art was founded in 1871. Teaching was grounded in the study of the human figure, setting the Slade apart from other schools. The admission of women to study alongside men formed another radical departure from established models. The Royal Academy followed suit nearly twenty years later, with other disciplines at UCL even slower to adopt a co-education approach: medicine was the latest in 1917-18.The Slade influenced women’s integration into wider College life and society, and many Slade women worked across disciplines or were involved in socio-political reform. Female students quickly outnumbered male ones at the Slade and their achievements were recognised by prizes. While 45% of the artists in the Slade Collection are women, many including Clara Klinghoffer (featured below), Winifred Knights and Aimee (Amy) Nimr in the exhibition, remain largely unknown today.Clara Klinghoffer (1900-1970) was an Austrian Jewish émigré who enrolled at the Slade in 1918. A year later, she won second prize for Figure Drawing and received the Orpen Bursary for students who ‘intend to become Professional Artists’. Promoted by influential artists such as Sir Jacob Epstein and Alfred Wolmark, she presented her first critically acclaimed exhibition in 1919. Reviewers compared her to the grand master of Italian Renaissance, Raphael. Journeys of early 20th-century women artists like Klinghoffer are explored in the UCL Art Museum's 2018 exhibition Prize & Prejudice. [[{"fid":"8531","view_mode":"medium","fields":{"format":"medium","field_file_image_alt_text[und][0][value]":"Clara Klinghoffer © The artist's estate","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cdiv%3E%3Cp%3EClara%20Klinghoffer%2C%20%3Cem%3EFive%20Studies%20of%20a%20Female%20Nude%2C%3C%2Fem%3E%20c.1918-1919%2C%20pencil.%20UCL%20Art%20Museum%206075%26nbsp%3B%26copy%3B%20The%20artist%26%2339%3Bs%20estate%3C%2Fp%3E%3C%2Fdiv%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"link_text":null,"type":"media","field_deltas":{"1":{"format":"medium","field_file_image_alt_text[und][0][value]":"Clara Klinghoffer © The artist's estate","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cdiv%3E%3Cp%3EClara%20Klinghoffer%2C%20%3Cem%3EFive%20Studies%20of%20a%20Female%20Nude%2C%3C%2Fem%3E%20c.1918-1919%2C%20pencil.%20UCL%20Art%20Museum%206075%26nbsp%3B%26copy%3B%20The%20artist%26%2339%3Bs%20estate%3C%2Fp%3E%3C%2Fdiv%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"800","width":"504","class":"media-element file-medium"}}]]“Girl Who Draws Like Raphael - Success at 19"—Review of artist Clara Klinghoffer’s exhibition in The Daily Graphic, 1919Politics and SocietyWomen’s and workers’ rights, prison reform, education and Irish independence were key social and political concerns of the early 20th century. Women working across the sciences and humanities at UCL became forces for change in these areas, often alongside significant contributions in their own disciplines.Constance Markievicz (née Gore-Booth) was the first woman elected to the British House of Commons in 1918. She became an MP for a Dublin constituency while in prison, along with many Sinn Féin MPs who were political prisoners at this time. As with other Sinn Féin MPs, then and now, Markievicz did not take her seat in Parliament.Markievicz previously studied at the Slade School of Art and she became increasingly involved in the suffrage cause during this time. Despite her aristocratic background and marriage to a Polish count, she felt passionately about art and workers’ rights throughout her life. She was imprisoned and sentenced to death for her part in the 1916 Easter Rising against British rule, but was later released under a general amnesty.[[{"fid":"8543","view_mode":"medium","fields":{"height":"5688","width":"3960","class":"media-element file-medium","format":"medium","field_file_image_alt_text[und][0][value]":"Constance Markievicz","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cdiv%3E%3Cp%3EDigital%20reproduction%20of%20studio%20portrait%20of%20Countess%20Constance%20Markievicz%2C%20Keogh%20Brothers%20Ltd%2C%20c.1910-1927%20NPA%20POLF206%20%26copy%3B%20National%20Library%20of%20Ireland%3C%2Fp%3E%3C%2Fdiv%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"link_text":null,"type":"media","field_deltas":{"1":{"height":"5688","width":"3960","class":"media-element file-medium","format":"medium","field_file_image_alt_text[und][0][value]":"Constance Markievicz","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cdiv%3E%3Cp%3EDigital%20reproduction%20of%20studio%20portrait%20of%20Countess%20Constance%20Markievicz%2C%20Keogh%20Brothers%20Ltd%2C%20c.1910-1927%20NPA%20POLF206%20%26copy%3B%20National%20Library%20of%20Ireland%3C%2Fp%3E%3C%2Fdiv%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"5688","width":"3960","class":"media-element file-medium"}}]]“...When I urged that the women’s suffrage movement had gone too far to be stopped he disagreed."—Reformer Isabel Fry reflecting on a conversation with retired Judge Bacon, known for his anti-feminist views, 1911Sciencey the 1990s, the scientific community had started to uncover the missing histories of women scientists. Disciplines such as botany and geology had long traditions of amateur contributors, often women, alongside professionals. The uncertain career paths offered in emerging scientific disciplines were often less attractive to men, and new disciplines often had less defined entry paths, or involved applied research that carried less academic prestige. These circumstances all provided opportunities for women to further develop research and careers.Dame Kathleen Lonsdale (née Yardley) (1903-1971) is pictured below. She was one of the first two women to become a Fellow of the Royal Society in 1945, and the following year she founded a research group in Crystallography at UCL. In 1949, Lonsdale became the university's first female professor and she received both the Royal Society’s Davy Medal and a DBE in under a decade.During her lifetime, Lonsdale worked with influential professors such as William Bragg and Christopher Ingold. Nobel Prize winners Bragg and his son Lawrence pioneered the use of X-rays to determine crystal structures, and Lonsdale applied this technique to the petrochemical benzene, confirming its long-disputed structure. As a scientist she worked at many institutions but UCL was her first, last and longest. UCL marked her legacy by naming a university building in her honour, the only building to be named after a women. The refurbished Kathleen Lonsdale Building is located on UCL’s main Bloomsbury campus.[[{"fid":"8471","view_mode":"large","fields":{"height":"1308","width":"1772","class":"media-element file-small","format":"large","field_file_image_alt_text[und][0][value]":"Kathleen Lonsdale with crystal models","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EKathleen%20Lonsdale%20with%20crystal%20models%2C%20photographer%20unknown%2C%20c.1946.%20Courtesy%20of%20Professor%20Ian%20Wood%2C%20UCL%20Earth%20Sciences%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"link_text":null,"type":"media","field_deltas":{"1":{"height":"1308","width":"1772","class":"media-element file-small","format":"large","field_file_image_alt_text[und][0][value]":"Kathleen Lonsdale with crystal models","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EKathleen%20Lonsdale%20with%20crystal%20models%2C%20photographer%20unknown%2C%20c.1946.%20Courtesy%20of%20Professor%20Ian%20Wood%2C%20UCL%20Earth%20Sciences%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"1308","width":"1772","class":"media-element file-large"}}]]“...questioning of the established order is the hallmark of the true scientific outlook..."—Crystallographer Dame Kathleen Lonsdale, The Melbourne Herald, 1966 The history of women at UCLThis exhibition is part of UCL's year-long Vote 100 programme, which marks the centenary of the Representation of the People Act that granted the vote to some women over the age of 30 in the UK.Beginning in the 1860s, UCL experimented with providing classes for women. From 1878, women could study alongside men and receive University of London degrees: the first time this had happened in the UK. It was not until 1918 that new legislation allowed the first women to vote in the UK. This was part of wider electoral reforms accelerated by World War I. Ten years later, women received equal voting rights with men. This process was a backdrop to the lives of female students and researchers at UCL and beyond in the early 20th century. However, co-education was not adopted in all subjects and female students and staff continued to face many obstacles.The UCL Vote 100 programme reveals the impact of the pioneering women who built the university, and imaginatively explore the battles still to be won. Find out more about UCL Vote 100 here. This UCL Culture exhibition is curated by Dr Nina Pearlman Manager of UCL Art Museum who also produced this interpretation text. Exhibition produced in association with:Maria Blyzinsky, Museum Consultant, The Exhibitions TeamVictoria Kingston, Interpretation Consultant, The Exhibitions TeamAngela Scott, Senior Graphic Designer, UCL Digital MediaDave Bellamy, Display Technician, Chiltern ExhibitionsUCL Culture would like to thank the following people for their support with the exhibition:Society: David Blackmore (UCL Slade School of Fine Art), Dr Georgina Brewis (UCL Institute of Education), Dr Claire Robins (UCL Institute of Education)Archaeology: Dr Emma Libonati (UCL Petrie Museum)Art: Helen Downes (UCL Art Museum), Grace Hailstone (UCL Slade School of Fine Art)Science: Deborah Furness (UCL Library Services), Lesley Hall (Wellcome Library), Dr Jenny Wilson (UCL Science & Technology Studies), Professor Ian Wood (UCL Earth Sciences)Thanks are extended also to:UCL Art Museum, Grant Museum of Zoology, Petrie Museum of Egyptian Archaeology, UCL Geology Collection, UCL Pathology Collection, UCL Institute of Education Archives, UCL Library Services, UCL Records, UCL Special Collections UCL Special Collections, and UCL Slade School of Fine Art for their generous loans. 
Collage style compilation of photographs of students across the history edited in two-wave neon yellow and lilac colour balance.
Generation UCL: 200 Years of Student Life in London
[[{"fid":"16849","view_mode":"large","fields":{"format":"large","field_file_image_alt_text[und][0][value]":"Exhibition graphic featuring a collage of archive student images in blue and lime green. Overlaid in white is the text 'Generation UCL: 200 Years of Student Life in London, FREE EXHIBITION, 25 Sep 2023 - 8 Dec 2024, Octagon Gallery' and the UCL logo.","field_file_image_title_text[und][0][value]":"Generation UCL: 200 Years of Student Life in London","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"type":"media","field_deltas":{"1":{"format":"large","field_file_image_alt_text[und][0][value]":"Exhibition graphic featuring a collage of archive student images in blue and lime green. Overlaid in white is the text 'Generation UCL: 200 Years of Student Life in London, FREE EXHIBITION, 25 Sep 2023 - 8 Dec 2024, Octagon Gallery' and the UCL logo.","field_file_image_title_text[und][0][value]":"Generation UCL: 200 Years of Student Life in London","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"500","width":"800","class":"media-element file-large"}}]]The 'Generation UCL: 200 Years of Student Life in London' exhibition is a look at two centuries of student life at UCL and in London, mounted in the run-up to UCL’s bicentenary celebrations in 2026. It also marks 130 years since the formation of what became Students’ Union UCL, now one of the largest student-led organisations in the world. The exhibition in the Octagon Gallery sees students as foundational to the story of UCL and places them at the heart of UCL’s 200-year history. It was curated by Georgina Brewis and Sam Blaxland together with Leah Johnston and Colin Penman from UCL Special Collections.On display are items from UCL Special Collections, Students' Union UCL and UCL Museums. Many of the objects included have never been displayed before. They include a collection built up over many years by alumnus Mark Curtin and donated to Students' Union UCL in 2023. Others are from recent UCL Special Collections acquisitions or have been loaned by alumni. We have included several items from the archives of the Institute of Education and the School of Eastern European and Slavonic Studies, which later became part of UCL.The exhibition includes stories from students past and present, recalling their time at UCL, showcasing part of a wider oral history project gathering alumni memories. Also featured is archive footage of the university collated in the video Student Life Through the Eyes of UCL Film and TV Society, available to watch below.YouTube Widget Placeholderhttps://www.youtube.com/watch?v=ROiikbyCJ3E This exhibition is part of Generation UCL, an ongoing research and engagement project exploring UCL’s history through the eyes of its students. Research undertaken as part of Generation UCL draws on records of UCL and its merged institutions, student associations, alumni biographies and memoirs, and interviews that form an important new collection of oral histories at UCL.Find out more about the research and contributors behind the exhibition below.Project Context: Generation UCL Research ProjectGeneration UCL: 200 Years of Student Life in London is a research and engagement project that explores two centuries of UCL student life, turning institutional history upside down to suggest that the first students should be seen as the real ‘founders’ of UCL.Funded by a Provost’s Award, the project is a partnership between academics based at IOE, UCL’s Faculty of Education and Society, Students’ Union UCL and the Office of the Vice-President (Advancement). Generation UCL is led by Professor Georgina Brewis (IOE) and John Dubber (Students’ Union UCL). Dr Sam Blaxland, Lecturer in Education (IOE), leads on the oral history element of the project, and the team works closely with student researchers and interns.This exhibition is the first major project output. We are writing an open access book to be published by UCL Press in 2026. We have also been awarded a Student Success grant to diversify and revise the UCL Walking Tour.  You can read blog posts by staff and students involved in the project here: https://studentsunionucl.org/generation-uclGeneration UCL: Voices of UCLThe Generation UCL project marks the first time UCL has undertaken a major oral history project with alumni, and we are in the process of creating a unique and significant record of student life in London.After an invitation was circulated to alumni in early 2022, we received over 250 expressions of interest. To date we have conducted, recorded and transcribed over 70 interviews. Eventually these will be deposited with UCL Special Collections as an important resource for researchers in the future. An interview with our oldest respondent, 102-year-old artist Diana Armfield, was written up for UCL alumni magazine Portico.For the exhibition, we have curated a selection of short clips from these interviews as well as voicing up some written extracts from the 1840s, 1880s and early 1900s. You can listen to these excerpts via the Generation UCL playlist on SoundCloud.We are still in the process of interviewing alumni around the world, from a range of ages, backgrounds, and levels of study. To express interest in taking part in an oral history interview, please enter your details via the online form at the link below. Whilst we cannot interview everyone who expresses an interest in the project, we will try and get back to you with more information as soon as possible. Fill out the interest form on this page.Voices of UCL - Audio and TranscriptsToni Griffiths, English student from the mid-1960s, describes her duties as Woman Vice President of the Students’ Union in that period.Listen to Toni on UCL's SoundCloudDuration: 1 minute 5 seconds I was in this position between ‘65 and ‘66. And it was a complete eye-opener. And I found myself doing all sorts of things that I had never imagined, nor contemplated before. Sort of running things, writing things, making speeches. Making speeches at dinners. Giving toasts. Holding receptions for the glorious Presidents of other university student unions and so on! And running and organising my own Ball, which was then called the ‘Women’s at Home’. And that was a Ball for women finalists and their partners. And I had to organise a revue for that, or at least make sure that one was going to happen. And some sort of recital, and there was a dinner. All sorts of things. Jim Onyemenam, Laws student, late 2010s, describes why he became a Students’ Union Sabbatical officer and what the role involved.Listen to Jim on UCL's SoundCloudDuration: 1 minute 28 seconds I applied to be a SAB because it would keep me in the country longer, which will allow me naturalise – that was it! That was my entire reason for applying. In the two weeks that I got to do the campaign, I learnt, by the way, actually like, I’m campaigning for some very important things. Two weeks is way too short to actually be emotionally invested in any of these campaigns but then, I could objectively see the importance in building my own manifesto. I built my manifesto around things that I thought were objectively very important things like PGTA stipends being made monthly as opposed to termly, things like increasing the amount of childcare support...of support being provided for parents and students with... or, students with caring responsibilities of younger dependants and so I ran to be a SAB. If I’m being honest, the main reason to want to be a SAB, I stay in the country a bit longer, let’s get naturalised in the UK. I then start as a SAB, and I am genuinely sure that it will be the best job I’ve ever had. Right now, it’s the best job I’ve ever had in my life, and I reckon,‘til I die, I’d constantly say that. No two days are the same. But I don’t think there’s any job that anyone could ever have that is, on the one hand, designed to fit their specific skill set. They almost define, they almost define what the job needs of them. It’s very reflexive in that way.Peter Mitchell, Chemistry student, mid-1960s to early 1970s, discusses his dual identity as both a UCL and University of London student. Listen to Peter on UCL's SoundCloudDuration: 1 minuteSam: In terms of your identity as a student, were you a UCL student or a University of London student? Peter: Very much UCL, I mean, we used to... probably still do; you’d carry two Students’ Union cards. One was the UCL Student Union card, and one was the University of London. There’s an interesting story at the time. I used to commute. Well, in those days...I mean, these days, I don’t think you even buy season tickets but, you used to buy a season ticket so you had... you could come and go as you please on the train. And the University of London...I don’t think they ever really thought this one through, but the University of London Students’ Union card was a green card, about that big, which was exactly the same as a British rail season ticket card and if you went to King’s Cross, it always had a red cross across the middle, I think it was to identify you were going via King’s Cross, and a lot of students discovered the fact that if they got the ULU students card out and put a red cross on it, they could just wave it around… I think that’s the only thing that I ever used to do that was controversial.Jamie Gardiner, PhD student in Applied Mathematics, discusses setting up GaySoc in the early 1970s. Listen to Jamie on UCL's SoundCloudDuration: 1 minute 7 seconds The sort of typist, receptionist, Joan, was there and I looked in through the little window, like a ticket box sort of window and I said hello, I’m wondering how you set up a club, a society. Oh she said, you fill in this form and so we chatted a little bit about the form and she said what’s the name or what’s the society for and I said gay students, I don’t remember precisely what I said but anyway I definitely said it’s a gay society, or words to that effect. Oh she said, OK. And we continued chatting about filling in the form and having felt heart in mouth at actually saying the word ‘gay’ out like that, it was: good, well this is OK, this is easy. And so, I filled in the form and all of the Student Union societies were something Soc, so we were GaySoc … I have no recollection of any negative feedback, it’s a bit bizarre to say that isn’t it? Edward Fry was excluded from Oxford and Cambridge because of his Quaker religion but enrolled at UCL in 1848 at the age of 21. This extract is taken from a memoir compiled posthumously by Fry’s daughter. Agnes Fry, Memoir of Right Honourable Sir Edward Fry, CBE 1827-1918 (Oxford: OUP, 1921). Voiced by Mark Freeman.Listen to Edward's story on UCL's SoundCloudDuration: 1 minute 3 seconds In the end I made up my mind, with my parents’ full consent, to assume the Bar as my profession and to go to University College, London, for a year at least, to improve my general education. This last part of the plan was what really made me like the whole thing. For, for years, I had set longing eyes on a university education, and as Oxford and Cambridge were practically closed to me, I gladly accepted the prospect of London. I took the Law because it gave me a justification for asking to go to college; for indeed for the study of the law I entertained no predilection. I was plunged into an entirely new circle: of students at University College I knew none at first; I was somewhat older than the most of the entering students, and at first I felt very sad and lonely. Again, the first effect of the attendance at the classes was somewhat disheartening.Mary A. Adamson describes the segregation of men and women on the campus in the 1880s.This extract comes from a written testimony Adamson submitted in response to a request during UCL’s centenary commemorations. Mary A. Adamson, ‘University College and Women Science Students, 1884-1886’, 1926, College Archive, UCL Special Collections. Voiced by Morgan Cambs.Listen to Mary's story on UCL's SoundCloudDuration: 1 minute 33 seconds We were highly amused – I was not indignant but I was certainly a little contemptuous, that we should be subjected to a segregation which we did not undergo in any other public place. We were shy, quiet, earnest students. It was a chilly segregation. . . The only other room we entered in the College was a vast, semi-dark cloakroom stretching under the Portico and entered from the open air. It had hat pegs all round and some big, bare tables and a nondescript female was seated permanently by the fireplace. Quite a number of women students frequented it, largely Slade students who were all very lively and friendly with one another and the fireside woman. I think this must have been the only room available to women and that they had not then access to the dining room, for they used to take snacks of food in it and occasionally a seedy waiter would hasten in with a covered plate of food, dab it on a table and a beat a hasty retreat.M. T. Z. Tyau (Diao Minqian 刁敏謙), Law student, describes arriving in London as an international student from China in 1909.This extract is from Tyau’s account of his London years. M. T. Z. Tyau, London through Chinese Eyes (London: Swarthmore Press, 1920). Voiced by Yitao Qian.Listen to Tyau's story on UCL's SoundCloudDuration: 1 minute 20 seconds In those happy days, London loomed up in the narrow compass of my mental horizon as the city that possessed everything which human vanities could crave for – honour, fame, wealth and what not – with the ease, as we say in Chinese, of turning the palm of one’s hand. To be able to visit it would be the height of human happiness, to be privileged to live therein, for even just a few days would be to dwell in an earthly Paradise. . .But I was soon disillusioned. As a matter of fact, London or Paris or Berlin is no more a fairy palace than is either Peking or Canton. Each is just as prosaic and unfairylike as the other. No doubt I felt genuinely disappointed that the city of my adoption was nothing like the city of my dreams, but my respect for it increased none the less with the lapse of years. In fact, before I finally bade it a long farewell, I had also come to regard it as the ‘dear old London town’.Alwyn Davies, Chemistry student from the 1940s, discusses the impact of the Second World War on students at UCL.Listen to Alwyn on UCL's SoundCloudDuration: 1 minute 19 seconds The Physics Department right next to the Chemistry had a direct hit. Chemistry got damaged a lot but it had been unoccupied for, pretty well unoccupied, for the war and was in a dreadful condition and the first thing that all the research students did was to clear it up. We did a two-year degree compressed from the three years so it was pretty hard going but people appreciated they had a privilege in getting two years deferment of military service.Apart from work there wasn’t much to do. I mean we had lectures every day at nine o’clock including Saturdays then maybe a couple of more lectures in Chemistry or Maths, German and French we also did and Physics and when you weren’t in lectures you expect to be in the lab. So nine to five every day was occupied. Saturday afternoon was free. The only club running was the Athletics Club. We used sometimes to go out to Shenley and get involved in sport but there were so few people it wasn’t very competitive.Lyn Stone, Linguistics student in the early 1990s, remembers the dance music scene in London.Listen to Lyn on UCL's SoundCloudDuration: 46 seconds So very, very fortunate to have been in London when the club scene broke, you know. When everybody started getting into that. I was just really lucky to be there, what a great scene that was. That, you know, they called it the Summer of Love and all that sort of thing. And I was right there in the middle of it. So Kiss FM started to take off from being a pirate station to actually sort of being a legitimate radio station. So everyone was playing Kiss. And I went, I did the indie-dance crossover. I basically went from punk and indie straight, you know, right into getting into deep house and clubbing sometimes three or four nights a week because we were just right there, you know, in the middle of it all.Further Reading and ResourcesReading list On the history of UCL and its students James Bates and Carol Ibbetson, The World of UCL Union, 1893 – 1993 (UCL Union, 1994). Hugh Hale Bellot, University College London, 1826–1926 (London: University of London Press, 1929).Sam Blaxland, Students’ Union UCL: A Short History (2023)Negley Harte, John North and Georgina Brewis, The World of UCL (UCL Press, 2018). David Taylor, The Godless Students of Gower Street (London: University College London, 1968). On the history of universities and the University of London Robert Anderson, British Universities: Past and Present (London: Hambledon Continuum, 2006). Sheldon Rothblatt, ‘London: A Metropolitan University?’, in Bender (ed.), The University and the City: From Medieval Origins to the Present (Oxford: Oxford University Press, 1988).William Whyte, Redbrick: A Social and Architectural History of Britain’s Civic Universities (Oxford, 2015).  On student culture Georgina Brewis, Sarah Hellawell and Daniel Laqua, ‘Rebuilding the Universities after the Great War: Ex-Service Students, Scholarships and the Reconstruction of Student Life in England’, History, vol. 105 (2020): 82–106.Georgina Brewis, A Social History of Student Volunteering: Britain and Beyond, 1880-1980 (New York, Palgrave Macmillan, 2014).Jodi Burkett (ed.), Students in Twentieth-Century Britain and Ireland (Basingstoke: Palgrave Macmillan, 2018). Carol Dyhouse, Students: A Gendered History (London: Routledge, 2005). Jane Hamlett, ‘Nicely Feminine, Yet Learned’: Student Rooms at Royal Holloway and the Oxford and Cambridge Colleges in Late Nineteenth‐Century Britain’, Women's History Review 15, no. 1 (2006): 137–161. On student activism and campaigning Jodi Burkett, 'The National Union of Students and transnational solidarity, 1958–1968', European Review of History (2014): 539–555.Caroline Hoefferle, British Student Activism in the Long Sixties (London: Routledge, 2013). David Malcolm, ‘A Curious Courage: The Origin of Gay Rights Campaigning in the National Union of Students’, History of Education 47, 1 (2018): 73–86.Lieve Gevers and Louis Vos, 'Student Movements', in A History of the University in Europe: Universities in the Nineteenth and Early Twentieth Centuries (1800–1945), Vol. 3, edited by Walter Rüegg, 269–363 (Cambridge: CUP, 2004). Daniel Laqua, ‘Activism in the “students’ League of Nations”: international student politics and the Confédération Internationale des Étudiants, 1919–1939’, English Historical Review, 132, no. 556 (2017): 605–637.  On international students and the legacies of empireHakim Adi, West Africans in Britain 1900-1960: Nationalism, Pan-Africanism and Communism (Lawrence Wishart, 1998).M. Matera, Black London: The Imperial Metropolis and Decolonization in the Twentieth Century (Oakland, CA: University of California Press, 2015). S. Mullen, ‘British universities and transatlantic slavery: the University of Glasgow case’, History Workshop Journal 91, no. 9 (2021): 210–233.  Sumita Mukherjee, Nationalism, Education, and Migrant Identities: the England-returned (New York & Abingdon: Routledge, 2009)Sumita Mukherjee, ‘Mobility, race and the politicisation of Indian students in Britain before the Second World War, History of Education 51, no. 4 (2022): 560–77.Hilary Perraton, A History of Foreign Students in Britain (London: Palgrave, 2014).T. Pietsch, Empire of Scholars: Universities, Networks and the British Academic World, 1850-1939 (Manchester University Press, 2015). Primary sourcesUCL’s institutional archive dates from foundation in 1826, and covers most of UCL’s departments and activities. It includes records of UCL’s foundation, including the original Charter of 1836, minutes and correspondence, and records of students and staff. The catalogue is on UCL Archives, and a number of resources have been digitised and are available to read online on the History of UCL Digital Collections webpage.The Institute Archive comprises the records of the IOE from its creation in 1902 to the present day. Browse the IOE Archive via their webpage.The UCL SSEES Library holds over 200 archive collections, including its own records with student publications. Read more about the UCL SSEES Library Archive Collection on their webpage.Project ContributorsWe thank the following for permission to reproduce artwork:Becca Human is a director and artist. In 2019 Students’ Union UCL commissioned an artwork to celebrate Black History Month, which we have reproduced. Find out more via Becca's website.Guy Smallman is a freelance photojournalist who captured the protests against Eugenics outside the Provost’s office in 2018. See more of his work on his website.Senate House Library Victoria and Albert Musuem Getty Images Alamy  The curators would further like to thank:Mark Curtin, for collecting and donating many of the items on display.Daniel Rogger, for donating his collection of Iraq War memorabilia.Peter Mitchell, for loaning his scarf.Lalith Wijedoru, for loaning his sabbatical officer t-shirt.UCL Film and TV Society, for supplying historic film footage and David Parfitt for editing.Morgan Cambs, Mark Freeman and Yitao Qian for voicing written extracts.All the alumni interviewed for the project. Arthur Carey and Georgia Cherry from Polytechnic for design work.Sarah Okpokam, Samantha Manton, Helen Carney, Camilla Allibone and Kat Nilsson (UCL Museums and Cultural Programmes) together with Tobias Lumb and Matt Johnson (By the North Star) for overseeing the project.Katerina Alexandropoulou, John Dubber, Mary McHarg, Faris Suleiman and Guy Stepney from Students’ Union UCL.Robert Winckworth, Kathryn Hannan, Jessica Womack and Gillian Long from UCL Special Collections.Emilia Kingham, Graeme McArthur, Esther Cox, Angela Warren-Thomas, Ash & Harper, Audley Campbell, and Puck Studios for conservation and installation.Tannis Davidson and Hannah Cornish (Grant Museum of Zoology), Liz Eastlake (UCL Science Collections), Andrea Frederickson and Lucy Waitt (UCL Art Museum), Sarah Dwyer and Nacho Faccin (OBLL).Mary Hinkley and Teresa Baker of UCL Educational Media.UCL Art Museum   UCL Grant Museum of Zoology  UCL Special Collections: UCL’s institutional archive dates from its foundation in 1826.The Institute Archive comprises the records of the IOE from its creation in 1902 to the present day.  The UCL SSEES Library holds over 200 archive collections, including its own records with student publications. 
  1. previous
  2. 1
    ...
  3. 2
    ...
  4. next