Physick, John, The Victoria and Albert Museum, the history of its building. London: V&A, 1982 Pressmark: Ref 708.21 PHY Victoria and Albert Museum, A Grand design: the art of the Victoria and Albert Museum. London: V&A Publications with the Baltimore Museum of Art, 1997 Pressmark: Ref 708.21 VIC/GRA Further reading Barontini, Chiara, 'From the library of the School of Design to the National Art Library: 150 Years of art librarianship.' M.A. thesis, School of Library, Archive and Information Studies, University College London, 1993 Pressmark: 21.G.82 Barontini, Chiara, The National Art Library and its buildings: from Somerset House to South Kensington. London: National Art Library, 1995 Pressmark: NJ.95.0358 Barringer, Tim, 'The South Kensington Museum and the mid-Victorian moment.' In: Victorian: the style of empire; selected proceedings of the Fourth Annual Decorative Arts Institute. Toronto: Decorative Arts Institute, about 1996.

Pressmark: 47.Y.2319 Bonython, Elizabeth. "Index to the Henry Cole diaries, 1822–1882, held in the National Art Library, Victoria & Albert Museum." 5 vols. Unpublished typescript, National Art Library, V&A, about 1992. 5 volumes, alphabetically arranged by names and subjects. See entries under: South Kensington File and Schools of Art (Design) Pressmark: Ref 016.091 BON Bonython, Elizabeth, King Cole: a picture portrait of Sir Henry Cole, KCB., 1808–1882. London: V&A, 1982. Pressmark: 190.H.117 History of art education and the Schools of Design Bell, Quentin, The Schools of Design.

London: Routledge & Kegan Paul, 1963 Pressmark: 90.F.47 Denis, Raphael Cardoso, 'The Brompton Barracks: war, peace and the rise of Victorian art and design education.' Journal of Design History 8, no.1 (1995) Pressmark: PP.2.O Frayling, Christopher, The Royal College of Art: one hundred and fifty years of art and design. London: Barrie & Jenkins, 1987 Pressmark: 504.C.112 MacDonald, Stuart, The history and philosophy of art education. London: University of London, 1970 Pressmark: 22.F.104 Sparkes, John C.L., Schools of art: their origin, history, work, and influence. London: printed and published for the Executive Council of the International Health Exhibition and for the Council of the Society of Arts by William Clowes and Sons, Limited, 1884.

Published as part of the International Health Exhibition, 1884 Pressmark: A.44 (2) National competition prize winners and national scholars Wallis, George, Catalogue of the exhibition of works of manufacture: designed or executed by students of the Schools of Art in connexion with the Science and Art Department of the Committee of Council on Education, South Kensington, London. London: HMSO, 1858 Pressmark: 502.B.42 Includes indexes of manufacturers, schools and student exhibitors. Sparkes, John C.L., Schools of art: their origin, history, work, and influence. London: William Clowes & Sons, 1884 Pressmark: A.44 (2) Appendix F includes list of students, past and present, of the Training Class at South Kensington. Appendix G includes a list of National Scholars. Wallis, George, 'The work of the students of the Schools of Art in Great Britain and Ireland, in connection with the Science and Art Department, South Kensington.' In: International Health Exhibition, 1884. Section II. Education. London: William Clowes & Sons, Limited, 1884.

Lists students who passed through the National Training School (Central School, Marlborough House and South Kensington) from 1853 and a list of National Scholars Central School, South Kensington. Pressmark: A.44 (3) ; photocopies of lists of students at Ref 745.44941 CEN Report of the examiners on the works sent from various schools of art in competition for national medals (1857–1868), continued as: Report of the examiners on the national competition: together with the results of the examination of students in schools of art and of the examination of works sent up from schools of art in competition for prizes (1870–1882), continued as: Reports of the examiners on the results of the art examinations ... (1898–1899) Pressmark: 97.PP.75 Great Britain: Dept.

of Science and Art, National Competition ...: list of students rewarded, with the report of the examiners on the selected works of schools of science and art and art classes (1892–1898), continued as: Great Britain: Board of Education, National competition ...: list of students rewarded, with the report of the examiners on the selected works of schools of science and art and art classes 1899–1914 Pressmark: 97.PP.82 Fisher, John, An illustrated record of the retrospective exhibition held at South Kensington, 1896. London: Chapman & Hall, 1897. Contains 256 illustrations of the work of gold and silver medal winners. Pressmark: 21.F.60 Fisher, John, An illustrated record of national gold, silver and bronze medal designs, models, drawings, etc. London: Chapman & Hall, 1899. At head of title: National competitions 1896–97.

Pressmark: 97.E.3 National Competition, retrospective exhibition, 1908: illustrated list ...works for which gold or silver medals have been awarded during the years 1897 to 1906. London: HMSO, 1908. Pressmark: 97.E.2 NB Prize winners and National Scholars are also listed in Reports of the Dept. of Science & Art (see Official reports for details). National Competition reports also list National Scholars. Selected journals Journal of design and manufactures (1849–1852) Pressmark: 95.EE.

29–35 Victoria and Albert Museum bulletin (1965–1968) Pressmark: PP.8.0 Victoria and Albert Museum yearbook (1969–1974) Pressmark: PP.8.0 Victoria and Albert Museum album (1982–1989) Pressmark: PP.5.A In-View: news and events at the Victoria & Albert Museum (1992–1997) Pressmark: PP.44.U Victoria and Albert Museum, Strategic plan, 1991–1992 Pressmark: V&A Pubs Coll VS Victoria and Albert Museum, Corporate plan, 1993–1998 Pressmark: V&A Pubs Coll VS Victoria and Albert Museum: annual review, 2002– Pressmark: PP.600.H Press cuttings 227 volumes of press cuttings. Early volumes compiled by Henry Cole and containing contemporary references to the V&A, the Schools of Design and art education.

135 volumes cover the period 1837–1914 and 92 volumes relating to the period 1915–1955. Six index volumes. The collection appears on the NAL Online Catalogue under the title 'Press Cuttings'. Available by advance appointment only. Please contact the V&A Archive on: +44 (0) 20 7602 8832 or Contact us online . The National Art Library also holds a single volume of press cuttings relating to the opening of the V&A on 26 June 1909 (Pressmark: 50.A.52). In addition, the NAL holds press cuttings for the past ten years. They can be requested by month and year. Older press cuttings are kept at the V&A Archive. NAL information files Reviews and other articles relating to temporary V&A exhibitions are listed by date on the Online Catalogue, in the Title A–Z index, under the general heading: 'V&A Exhibition Reviews etc.' The Library has also compiled a number of information files relating to permanent V&A galleries.

V&A archives Unpublished material relating to the Museum's history is held in the V&A Archive at Blythe Road. Details of archival papers for the period 1844–1936 are given in a typescript list: 'Victoria & Albert Museum: Records, 1844–1936 (ED.84): key to arrangement' which is available at the Library's Counter (pressmark: CTR REF). The ED.84 files were formerly held at The National Archives, returning to the V&A in early 1995. For further information about access to ED.84 files, and to subsequent records, contact: V&A Archive, 23 Blythe Road , London W14 0QF. Tel: + 44 (0) 20 7602 8832 or contact us online .

The National Archives In addition to the ED.84 series, the following files held at The National Archives (formerly the Public Record Office) hold substantial material which either originates from the V&A or relates to the Museum, its early history and to the South Kensington site: ED.9 Miscellanea 1839–1906 ED.24 Surviving correspondence of the President and the Vice President ED.28 Science & Art Department minute books Works 17 Art & Science buildings Works 33 Art & Science buildings (maps and plans) Contact: The National Archives, Kew, Surrey, TW9 4DU. Telephone: +44 (0) 20 8876 3444 Searching the NAL online catalogue The following headings are particularly useful for undertaking comprehensive research on material relating to the history of the V&A and the Schools of Design. Do a Name (as Author or Subject) Browse search on the Library Catalogue under the following headings: Great Britain. Dept. of Practical Art Great Britain. Dept. of Science and Art Great Britain.

Board of Education Government School of Design (Somerset House, London) Central Training School (Marlborough House) National Art Training School (South Kensington) Royal College of Art (Great Britain) Museum of Ornamental Art Heythrop College (University of London) guide :: Jenkers Heythrop College (University of London) guide Heythrop College was founded in 1614 at Louvain in Belgium with the purpose of training young English Jesuits for the clergy. In the 18th century it moved to Stonyhurst, Lancashire, before moving again to Heythrop, Oxfordshire, in 1926. In 1970 it moved to London and became part of the University of London. Courses and Teaching The college has specialised in Philosophy and Theology since it opened in the early 17th century, and offers further degrees covering Ethics and Religion. Its most popular courses are Philosophy, Theology and the undergraduate programme in Philosophy, Religion and Ethics. It also offers the Abrahamic Religions course, where students can study Judaism, Islam and Christianity and their impact upon the contemporary world. All three years of the degree count towards its final classification.

Costs Full time undergraduate courses cost 9,000 annually. Student Life Students have access to the University of London's bars and Student Union venue, as well as the rest of London. Based in opulent Kensington, Heythrop's students can walk to the West End and catch the tube or bus around the city easily to reach their favourite clubs and restaurants. Facilities Heythrop College is based in Kensington, south west London, just behind Kensington High Street. Accommodation Catered accommodation at Heythrop costs 6,500 per year. Students can also stay in the University of London's intercollegiate halls of residence. Education The Heythrop Library is one of the oldest and most important libraries of theological and philosophical books in the UK and has approximately 180,000 volumes in its collections. Students can also make use of the University of London's academic facilities including the Senate House Library. Sport Heythrop itself doesn't have any on site sporting facilities but students are automatically members of the University of London's union, and can use those affiliated with the institution. Popular sports on campus include cricket and dance. Other 2016 sees Heythrop age to a ripe 402 years old.

The Institute of Cancer Research guide The Institute of Cancer Research, (ICR), was established in 1909 as a small research department of the Royal Marsden Hospital. Its mission is to make the discoveries that defeat cancer. Since its foundation the ICR has made a number of breakthrough discoveries. It provided the first convincing evidence that DNA damage is the basic cause of cancer, laying the foundation for the now universally accepted idea that cancer is a genetic disease. It also helped identify the link between smoking and lung cancer. Today, the ICR leads the world at isolating cancer-related genes and discovering new targeted drugs for personalised cancer treatment. As a college of the University of London, the ICR provides postgraduate higher education. Each year the ICR offers around 10 - 12 fully funded PhD studentships. Courses and Teaching The ICR has long-established provision for MPhil/PhD and MD(Res) students. Its Doctor of Medicine (Research) course is aimed at those in clinical practice, who are examined by thesis and oral examination. There are eight research divisions including Genetics and Epidemiology and Molecular Pathology. PhD studentships are usually funded for a period of up to four years.

Initially, students are registered for an MPhil and after the first year has been completed, an upgrade report and oral examination takes place. Successful students will then be transferred onto PhD registration. The institute also introduced an MSc in Oncology from which the first students graduated in 2009. This is designed for medically qualified candidates who intend to pursue a professional career in some aspect of clinical or medical oncology, either as a clinical academic or a clinician. The course provides for students who are currently working in the NHS (or similar clinical service provider) and will suit those who are planning to complete Specialist Registrar training. Costs The Home/EU fee for MPhil/PhD students is 4,000 per year, and the fee for overseas students is 16,760 annually. The Home/EU fee for the first two years of the MSc (Oncology) is 1,710 annually, or 8,675 yearly for overseas students. For the third year, the Home/EU fee is 1,050 per annum and 2,500 for overseas students.

Student Life The ICR's London campus is set in fashionable Chelsea, which means that students can make the most of the boutiques, bars and restaurants in the area. The second campus is set in Sutton, which is close enough to the capital to enjoy all of the benefits of the city, without living in the centre of the bustle. Facilities The ICRs research and teaching is carried out across two modern sites in London; one in the heart of Chelsea and the other in Sutton, Greater London. Both sites are next to The Royal Marsden NHS Foundation Trust, a hospital whose unique partnership with the ICR forms Europes largest Comprehensive Cancer Centre. Accommodation The Institute of Cancer Research does not have its own accommodation. However, current PhD students organise an Accommodation Day as needed to help new students find flat-shares or other arrangements. Education All laboratories are equipped with state-of-the-art instrumentation, and during the last five years, more than 8 million has been invested into new scientific initiatives including the development of a new cancer imaging laboratory. The onsite library provides subscriptions to an extensive range of scientific and medical journals, as well as specialised databases to support the ICRs research.

Sport Student can use recreational facilities on the Sutton site, including a swimming pool, gym, tennis and squash courts, and relax in the pH Bar after a hard day's work. All students have access to The University of London Union sports clubs, societies and facilities including fitness centres, swimming pools, cafes, bars and music venues. Other Studentships are funded by the ICR and funding bodies such as Cancer Research UK, the Wellcome Trust and EPSRC. Trinity Laban Conservatoire of Music and Dance guide The Trinity Laban Conservatoire of Music and Dance institution was formed in 2005 when Trinity College of Music and Laban came together. Trinity was founded in the Victorian age by Henry Bonavia to improve the standard of church music. The Laban Dance centre is where choreographer Matthew Bourne began his career. Courses and Teaching Trinity Laban's Music degree in Performance/Composition/Jazz is its most over-subscribed, with its MA in Dance Theatre similarly popular amongst prospective students. The nature of the institution's undergraduate Music degree is 74% practical, with 26% coursework. Costs Undergraduate degrees at Trinity Laban cost 9,000 per year.

Student Life Trinity Laban's two sites are in historic Greenwich, close to the redeveloped Docklands area, thus allowing students to sample the best of London's old character and new dynamism. Good transport links mean students have access to the West End and Southbank areas, which can cater to all their eating, drinking and partying needs. The Student Union also stages a number of events throughout the year, including boat parties along the Thames. Facilities The two original campuses of Trinity and Laban are within 10 minutes' walk of each other in south-east London. Accommodation Students can apply for rooms at the MacMillan Student Village which has a range of single rooms with shared facilities and twin bedroom flats. Rooms there cost 135 per week, or students can rent a room in privately owned accommodation for approximately 85-135 weekly. Education The Laban Building is the world's largest purpose built contemporary dance centre, and comprises of 13 studios. It also houses the UK's largest dance library and the world's largest dance science facilities. Sport The institution has no on-site sporting facilities, but students can join local gyms or jog in the area.

Other Trinity Laban's Summer Ball will take place in the Painted Hall at the Old Royal Naval College. School of Oriental and African Studies (SOAS) guide Founded in 1916 as the School of Oriental Studies (SOAS), the institution took its present name of the School of Oriental and African Studies in 1938. The school is a constituent college of the University of London and its early history was marked by the uncertainties of the wartime capital. Having moved for a short time to Cambridge to escape the Blitz, it moved to its present central London site in 1941. Courses and Teaching Popular courses at SOAS include LLB Law, History, Economics, Politics, Arabic and Social Anthropology. There are also options to study abroad, i.e. students who take the Modern and Classical Chinese programme spend their second year studying at the Beijing Normal University. Costs The courses at SOAS range in price from 3,000-9,000 per year for UK students, and 7,295-14,590 annually for international students. Student Life The Student Union organises events including music and art exhibitions, as well as running societies and representational groups.

SOAS is located central London and is surrounded by bars, clubs and galleries, with lively Islington and Camden nearby. Facilities The college has two sites, both of which are located in central London. Its main campus is next to Russell Square, and the Vernon campus is a short walk from Kings Cross station. Accommodation Dinwiddy House and Paul Robeson House are SOAS's halls of residence, both located within walking distance to the university's campuses. Prices at both sites are 139 per week, and all residences are self-catered. Education SOAS's library is one of just five National Research Libraries in the country. It also has its own exhibition and conference space, the Brunei Gallery, which presents events related to the cultures of Asia, Africa and the Middle East. Sport Many sports teams including five-a-side football, volleyball and snowboarding are organised through the Student Union. Other The university is celebrating its 100th birthday in 2016. Royal Veterinary College guide The oldest veterinary school in the English-speaking world, the Royal Veterinary School (RVC) was established in 1791.

The college styled itself Royal from 1826 due to the patronage of George IV and received a formal Royal Charter from Queen Victoria in 1875. Since 1949 the college has been part of the University of London. Courses and Teaching The most popular courses at RVC are VetMed, Bioveterinary Sciences and Veterinary Nursing. The institution also offers postgraduate programmes in Control of Diseases in Animals, Livestock Health and Production, Veterinary Epidemiology, Veterinary Epidemiology and Public Health, Wild Animal Biology, Wild Animal Health and Veterinary Education. Costs Tuition fees at RVC are 9,000 per annum. Student Life Camden Market and London Zoo are two of the attractions to be found close to the campus and with the large park of Hampstead Heath a short walk away, escaping urban life in Camden is easy. London is peppered with bars, pubs, restaurants and clubs which cater to a very diverse range of tastes and budgets. Facilities The historic original campus in London's Camden Town is now partnered by the Hawkshead site near St Albans in Hertfordshire.

Accommodation Charges in self-catering halls range from 136.50-146.23 a week, and 166.25-229.25 a week in catered accommodation. Education An equine clinic and referral hospital, farm animal centre, post-mortem hall and a number of other hospital units are available for students to use. Sport The RVC student union organises a number of sports teams including tennis, riding and mountaineering. Other Royal Holloway guide Founded as a women-only college in 1879 by Thomas Holloway, the college officially became part of the University of London in 1900 and started to admit male students in 1946. In 1985, it merged with Bedford College. The institution is based in Egham, Surrey, and has a total of 19 academic departments. Courses and Teaching There are a number of new courses available at the university starting from 2013, which include Applied Psychology, Multilingual Studies, Philosophy, Politics and Economics and International Relations. Costs All undergraduate degrees cost 9,000 per year for UK citizens.

International students' fees are variable according to the nature of their degree, and range from 12,600 to 14,250 annually. Student Life There are lots of opportunities to make music at the university, and The Choir of Royal Holloway broadcasts tours overseas every summer. With central London at students' fingertips as well as the leafy plains of Surrey, there is no shortage of things to do in the area. Facilities The Surrey campus, based in Egham 19 miles to the west of central London, is set in 135 acres of parkland. Accommodation Prices for Royal Holloway's halls of residence start at 83.96 per week, and cost 158.28 weekly for their most expensive rooms. There are 11 separate housing buildings which contain 3102 beds, all based around the main campus. Education Work begins this year on the final phase of redevelopment of the old Victorian Boiler House to create a multi-purpose cultural space to be used for performance and student events across the Arts Faculty and Students Union, due to open in September 2014. Many students are taught in the university's listed buildings.

Sport A 46 piece 'fitness suite', badminton courts and indoor cricket nets are amongst the facilities on offer to students. Royal Holloway hosted over 1,400 athletes during 2012's Olympic Games in its role as the official Rowing and Canoe Sprint Village. Other The central Founders building was inspired by the Chateau Chambord in the Loire Valley, and was opened by Queen Victoria in 1886. Royal Conservatoire of Scotland guide Royal Conservatoire of Scotland was previously known as the Royal Scottish Academy of Music and Drama. With roots dating back to 1847, the conservatoire is one of the most historic and busiest performing arts venues in Scotland. In 1962 it became the first drama school in the UK to have a full broadcast-specification television studio. It changed its name for the start of the academic year 2011/12. Courses and Teaching The conservatoire offers undergraduate degrees in Music, Scottish Music, Acting, Contemporary Performance Practice, Musical Theatre, Production Technology, Production Arts &amp; Design, Digital Film &amp; Television and Modern Ballet. It also offers a range of postgraduate qualifications.

Costs Undergraduate courses cost 1,820 per year for Scottish and EU (non-UK) students, and 9,000 per year for students from the rest of the UK. International students are charged 13,779 per year. Student Life Scotland's second city is a diverse and culturally active place which has attracted awards and recognition for its contribution to the arts. Located on the Clyde, Glasgow's major industry was historically ship building. Although the city has great deprivation and contains the area of lowest life expectancy in Europe, Glasgow's strong creative scene has seen it fare better than many post-Industrial cities. With Celtic and Rangers both based in the city, Glasgow is also the heart of Scottish football. There are over 700 bars, pubs and clubs to choose from and the University of Glasgow's large student population helps ensure that there is a host of options for those on a budget or looking for something trendier. Glasgow has produced some of Britain's most successful British chart-toppers meaning it's almost always visited by even the biggest bands and artists when they tour. From freshers week onwards, the student union organises events throughout the year.

Facilities The conservatoire is based in the heart of central Glasgow. Accommodation Accommodation is offered to all first year students. The academy has an arrangement with student residence company Liberty Living who charge from 103 per week for a room in their central Glasgow halls. A room in a four bed privately-rented student flat costs from 325 per week. Education There are rehearsal and performance spaces for students practicing a selection of different artistic pursuits. Sport Glasgow has many facilities for sports and fitness which can be accessed privately. Other Actors David Tennant, Robert Carlyle and John Hannah all attended the conservatoire. Royal College of Music guide Founded by the Prince of Wales (later Edward VII) in 1882, the Royal College of Music (RCM) has seen some of the greatest composers and musicians of the 20th century come through its doors, including Gustav Holst, Benjamin Britten and Andrew Lloyd Webber. Courses and Teaching As well as courses in Music, Performance and Composition for the Screen, the college also offers an undergraduate degree in Physics and Music Performance, which is taught jointly with Imperial College London.

Costs The undergraduate Music degrees cost 9,000 per annum, while Master's courses range between 8,960-11,190 annually for full time home students. Student Life Kensington is where many of the UK's most famous museums are based and is not far from Green Park and Buckingham Palace. From watching sports to visiting art galleries, there is always a variety of things to do, and those in search of livelier evening entertainment can catch a tube or bus to clubs and bars around the city. Facilities The college is directly opposite the Royal Albert Hall in Kensington, central London. Accommodation Fees for RCM's halls of residence range between 86-151 weekly, while private accommodation can usually be rented between the 100-140 mark. Education RCM's library is one of the foremost music libraries in the UK, with a wealth of scores and material dating from the 15th century onwards. Sport Students are able to use Imperial College's indoor swimming pool and gym facilities. Other The RCM Chamber Choir were the rain-soaked singers who sang Land of Hope and Glory through the torrential downpour at the Queens Diamond Jubilee Thames Pageant.

Royal College of Art guide The Royal College of Art (RCA) was founded in 1837, although it was then known as the Government School of Design and didn't incorporate art until after the Great Exhibition of 1851. At this point it became known as the National Art Training School and moved from Somerset House on the Strand to its new home in South Kensington. Approximately half a century later it changed its name again and became what it is now, the Royal College of Art. The college claims to have been behind many of the UKs foremost creative movements from the Arts and Crafts philosophy, Pop Art and more recently the Young British Artists, of which Tracey Emin and Jake and Dinos Chapman play influential roles. Courses &amp; Teaching RCA is an entirely postgraduate institution. It offers MA, MPhil and PhD degrees in fine art, applied art, design, communication and humanities. The college offers 21 different courses in total, also including fashion menswear, curating contemporary art, vehicle design and goldsmithing. The RCA's partners include Imperial College London, Tsinghua University, Politecnico di Milano, the Victoria and Albert Museum, British Film Institute, Cambridge University and the Science Museum.

Costs Tuition fees for UK/EU students starting at RCA are 9,500 per year. Non-EU students pay 28,400 annually for their first year of study. Student Life Kensington is in the heart of London and a variety of cultural and social opportunities lie at the feet of RCA students. High Street Kensington is renowned for its shops, ranging from standard high street names to the more exclusive boutiques. Further along from High St Ken is London's famous Harrods department store. Nearby South Kensington is one of the most affluent parts of London with a rather village-like feel. Despite being in the heart of London, the backstreets around South Kensington are quiet and quaint. Outside of the college, students can enjoy some of London's more swanky nightclubs including nearby Boujis and Public. The Anglesea Arms is a popular pub for the young crowd in South Kensington. The West End is within walking distance and all other parts of London a short tube ride away. Students have the college's vibrant, experimental ArtBar where they can enjoy regular late nights, cocktail promotions and various parties and events throughout the year, with the grande finale being the Convocation Ball.

A state-of-the-art projection system provides a good backdrop for dancing the night away. Facilities The college is divided up between the painting department, the sculpture department and the moving image studio. All three buildings are located on Howie Street in Kensington Gore, south west London. Plans are afoot for the departments of fine and applied art to move to a new campus in Battersea. Accommodation The college doesn't provide accommodation but it does provide assistance to students via its student support centre. Most RCA students live in private rented accommodation but there are other options such as hostels, student residences or lodging with a host family. London living isn't cheap, particularly in the Kensington area, and average private rents locally are upwards of 110 per week. Education A drawing studio, an innovation technology centre, a moving image studio, photography facilities and equipment, a digital media studio and training room are all available for student usage. Students can also use the facilities of Imperial College London. Sport Students and staff at the Royal College of Art Students and Staff at the RCA are entitled to join the Ethos Sports facilities at Imperial College London, which is located on Exhibition Road and the surrounding campus.

Facilities include swimming pool, gym, squash courts Other Famous alumni include artists David Hockney and Tracey Emin, film director Sir Ridley Scott, illustrator Quentin Blake, musician Ian Dury and Burberry creative director Christopher Bailey. Transport Bus High Steet Kensington is a hub for the bus network in London, as is Gloucester Road, which is a short walk away. For more information, see bus routes on the Transport for London website. Train RCA's nearest tube station is High Street Kensington, which is in Zone 1, on the Circle and District lines. You can travel to all London's main tube and train stations within 45 minutes Air Heathrow Airport and London City Airport are the nearest to the RCA and can be reached within one hour by public transport. Coach National Express serves all of London's major stations Contact information Website: Address: Royal College of Art, Kensington Gore, London SW7 2EU Telephone: +44 (0) 20 7590 4444 Royal Academy of Music guide Founded in 1822, the Royal Academy of Music (RAM) has almost two centuries of experience in training musicians from very young children to adults.

The academy, which moved to its current home in 1911, is part of the University of London. Courses and Teaching RAM offers one undergraduate course, in Music, while Master's subjects include Arts, Vocal Studies and Opera. Costs The academy's undergraduate Music course costs 9,000 per year, while most postgraduate courses cost around 10,000 annually. Student Life With the entire city of London at their fingertips, students will never be short of things to do. There are bars, pubs, clubs, restaurants, galleries, cinemas and more on every corner around the city, and good tube and bus links make it easy to get around. Facilities RAM is near Regent's Park in central London. Accommodation The school doesn't have any accommodation of its own, but there are spaces available at the University of London's Intercollegiate halls of residence, which range in price from 123.90-441 per week. Education As well as performance spaces and musical equipment, the academy's collection of historic instruments is of international significance. Sport Students have full access to the University of London's many sporting facilities including its private health club, Energybase.

Transport Local bus Bus numbers 27, 30, 88, 205, 453 stop immediately outside the Royal Academy of Music. Buses 2, 13, 74, 82, 113, 139, 189, 274 stop at nearby Baker Street Underground Station. For more information see Transport for London. Train The nearest tube stations are Regent's Park on the Bakerloo line or Baker Street (Bakerloo, Jubilee, Metropolitan, Hammersmith &amp; City and Circle lines). Both are a short walk away along Marylebone Road. See Transport for London for details of London's tube network. See National Rail for more details of services from outside the city. Air Heathrow and Gatwick Airports run many services to and from the rest of the world and are well-connected to central London. London City Airport serves the UK, Europe and the USA and is closer to Regent Business School's central location. Coach See National Express for more information on services into and across London.

Contact information Website: Address: Marylebone Road, London NW1 5HT, UK Telephone: 020 7873 7373 Ravensbourne guide Although it might be able to trace its origins back to the 19th century, Ravensbourne is an institution firmly entrenched in the modern. Specialising in digital media and design, Ravensbourne opened a new campus in September 2010 which is designed to simulate professional media environments. There are 1,900 students at the institution. Courses and Teaching All of the qualifications at Ravensbourne are vocational, and their digital media and design programmes can be taken at pre-degree, undergraduate, postgraduate and professional short course level. The teaching style is practical, rather than academic, which Ravensbourne believes best prepares their students for the workplace. Costs British citizens who are under the age of 19 by the time the course begins are able to take Ravensbourne's Further Education programme without having to pay fees. A 140 registration fee is payable on enrolment.

Undergraduate courses cost between 8,750-8,850 for the year for home students, while international students pay between 10,200-10,300 annually. Postgraduate courses are cheaper for home students at 8,500 per year, or 12,500 annually for those without British citizenship. Student Life The nearby amenities of Greenwich are easily accessible for students, who study next to the O2 Arena. Central London can be reached quickly by tube, bus or boat for those who want to venture into the city centre. Facilities Ravensbourne moved to its new location on the Greenwich peninsula next to the O2 Arena in an effort to bring students closer to potential employers and the media events of the capital. The Greenwich Peninsula building cost 70m to create. Accommodation An en suite room in university halls costs 174 per week at Space Greenwich, the institution's closest accommodation. Ravensbourne has a partnership with the University of London Housing Service which provides housing advice and guidance on private accommodation. Visit The London Student Housing Guide (LSHG) website for more information.

Education The institution has a TV studio, an audio control studio and studios for rapid prototyping. Students can also borrow a range of equipment for free throughout their course including cameras, lighting, microphones, laptops and leads through the Central Loan Resource. Sport Ravensbourne doesn't have its own sports facilities, but encourages students to make the most of those nearby. Other Students and staff benefit from discounts at a number of shops and restaurants in the O2 complex. Transport Bus London's public transport offers cheaper rates for students. For more information see Transport for London. Train As well as all of the usual options, London has the oldest underground rail network on offer for fast and convenient travel between all major transport hubs and districts throughout the city. See Transport for London for details of London's tube network. See National Rail for specific details on journeys to and from any London station, including prices and times. Air Heathrow and Gatwick Airports run many services to and from the rest of the world and are well-connected to central London. London City Airport serves the UK, Europe and the USA and is close to Ravensbourne's East London location. Coach See National Express for more information.

Contact information Website: Telephone: 020 3040 3500 Address: Ravensbourne, 6 Penrose Way, London SE10 0EW Website: London School of Hygiene & Tropical Medicine guide The London School of Hygiene &amp; Tropical Medicine (the School), was founded in 1899 as the London School of Tropical Medicine. The School of Hygiene united with the founding institute in 1924, and is part of the University of London. Courses and Teaching There are three faculties at the School: Epidemiology and Population Health, Infectious and Tropical Diseases and Public Health and Policy. The School specialises in postgraduate training and research, with available courses including Veterinary Epidemiology, Medical Parasitology and Global Health Policy. Costs Full time Master's courses at the School cost between 8,320-10,530 per annum for UK/EU, with the fee rising to between 18,290-22,000 annually for international students.

Research studies cost 4,850 per year for full time Home/EU students, and between 14,450-17,550 for overseas students. Student Life Set in the heart of London, there is never a shortage of ways for students to entertain themselves. From clubs to museums, there are establishments to suit all tastes, and the tube makes travelling around the capital easy. Facilities Teaching at the School is divided between 2 buildings in Bloomsbury, London. The School doesn't have its own sporting facilities, but students are able to use those at other institutions affiliated with the University of London. There is also 24 hour access to computing facilities on site. Accommodation The School doesn't have any accommodation of its own, but has an allocation of rooms University of London's Intercollegiate Halls of Residence, which range in price from 123.90-441 per week. Education The library at the London School of Hygiene &amp; Tropical Medicine holds one of the world's most comprehensive collections of books and journals relating to the fields of international public health and tropical medicine. Other The school houses the world's longest-established mosquito colony in the vaults under Gower Street.

London Business School guide London Business School was established in 1964 and gained a Royal Charter in 1986, changing to its current name. Courses and Teaching The school's most popular course is the MBA, a 20 month programme with a suggested internship in the summer between the years of study. Also on offer is the Executive MBA, where students are taught between London and Dubai, and the EMBA, which spans across London and New York. There are a number of Master's programmes on offer in Management and Finance, which last for 22 months. Costs The MBA costs 70,800 in total, while the Master's in Management costs 28,900 overall. Student Life Being based in London, there's always a wealth of things for students to get involved with both on and off campus, from bars to theatres, and football stadiums to museums. Facilities This school is located in central London, and its 19th century Nash Terrace base is close to Regent's Park. Accommodation There are no halls of residence on site but students can stay in the hotel suites.

Education London Business School has an Alumni Business Centre alongside its library where alumni can make use of the facilities after they've graduated. Sport The school has over 25 sports clubs that compete in tournaments around the world. It also has a fitness centre with a gym, swimming pool, sauna, steam room and jacuzzi. Other Tony Wheeler is an alumnus of London Business School, who founded Lonely Planet with his wife Maureen. Your ultimate guide to Cindy Sherman Cindy Sherman, Untitled #92, 1981, chromogenic color print, 24 x 48 inchesThe Eli and Edythe L. Broad Collection, courtesy of the artist and Metro Pictures Cindy Sherman has spent most of her 62 years using her camera as a way to explore concepts of identity, sexuality, and largely, femininity. Starting out as a painter in 1972, she moved towards photography and began using make-up and costume to create images of herself as various societal archetypes. Usually shooting solo in her New York studio, Sherman assumed the role as author, director, designer and model, often with no knowledge of what she was trying to say but arriving at perceptive social critiques nonetheless.

A contemporary master of the cultural zeitgeist, Sherman is now known as one of the most influential and pioneering photographers of her generation. Pulling inspiration from pop culture imagery, film and television, the artist challenged the restrictive roles of women in the media and the perpetual objectification of female sexuality. Often hailed as a feminist, postmodernist, post-structuralist, and many other labels, but Shermans resistance to categorisation has often left somewhat of a question mark over her work. Rising to international notoriety with her seriesUntitled Film Stills, a Hollywood shape-shifter was born and the world couldnt help but take notice. While there is a plethora of literature documenting the life, the love and the artistry of Sherman including her current exhibition Imitation of Life at LAs The Broad, as well as an upcoming book published by Prestel this guide will serve you as a handy overview. Its amusing how far someone can stretch my intentions and make a concept that fits their theories Cindy Sherman A IS FOR ALIENATION, ARTIFICIALITY AND AMBIGUITY Shermans work was born out of an almost crippling shyness and fear of the outside world.

After moving to New York art college, she became aware of how performances outside the home and on the street differed immensely from the comfort of her own apartment. During the 70s and 80s, the photographer withdrew to the safety of her own studio, shooting alone to battle with what she referred to as a social depression. While her images have captured the attention of art critics, scholars and fans alike, an ambiguity that feeds into all of her photographs is perhaps their only homogenous characteristic. Speaking in 1994, Sherman explained: I often dont know what Im going after until after its shot. Its amusing how far someone can stretch my intentions and make a concept that fits their theories. Furthermore, the artists ability to demonstrate the theatricality and artificiality of gendered performance is widely credited her as being a key player in post-structuralist thought. B IS FORBUS RIDERS Bus Ridersset a precedent for Shermans future projects. The series which came to fruition in 1976 was a collection of black and white photographs of herself as a variety of closely observed subjects. As a young woman grappling with big city life, the photographer would meticulously examine fellow commuters on New Yorks public transport.

Shermans capacity to be both the object and the looker is what marked her work from its inception; a narrative that unravels the voyeur-gaze paradigm. Far from trying to be a true replication of reality, Shermans crude use of black face, hammy costumes and clearly staged scenes disrupts clear processes of self-identification and explores the act of portraiture itself. The images were first exhibited in 2000, 24 years after their creation, at Glen Horowitz Booksellers, along with another series entitledMurder Mystery People. C IS FOR CHANGING FACES Although Sherman consistently takes photographs of herself, she has always maintained that they are not self-portraits. Growing up in the suburbs of Long Island, she always loved to play dress-up, and when she was just out of Buffalo State College she abandoned painting and decided to focus on the camera. Surrounded by media images purporting restrictive archetypes of female subjectivity, Sherman began to use the lens as a medium for social critique often unwittingly.

In what grew to be a series of 69 photographs in her genre-definingUntitled Film Stills,the artist assumed the role of housewife, career girl, siren, to name a few, and almost without knowing gave voice to the struggle of second wave feminism. While the movement focused on suffrage and overturning legislature in the 60s, the 70s and 80s saw a move towards the home and the workplace, battling against the labels foisted upon women during this time. D IS FOR DEATH Shermans fixation on the lineal space between life and death has permeated almost all of her photo collections. As she tends to focus on the plight of the Caucasian woman, many scholars have taken this to be a comment on both domestic and sexual violence, but its more than that. Fear of the unknown and the dark abyss lingers throughout her work and it leaves an uncomfortable taste in your mouth. She previously said: I guess death is a partial theme Im not afraid to die, its just the unknown. While others may find such explorations troubling, Sherman finds them comforting.

"Untitled #153", which was auctioned for $2.7 million in 2010, sees a blonde woman lying on the grass, covered in mud, having just been (presumably) killed. Reminiscent of film noirs punishment of the femme fatale, Sherman opens up a dialogue about societys voyeuristic obsession with brutality and death. "Untitled #512", 2010/2011 Chromogenic color print 79 3/4 x 136 7/8 inches© Cindy Sherman Courtesy of the artist and Metro PicturesE IS FOR EXHIBITIONS Shermans first solo exhibition was in New York in 1980 at a non-commercial space called Kitchen. As she often challenged the capitalistic drive of the art world, much of her work was initially showcased in non-profit organisations.Untitled Film Stillsperhaps the artists most famed collection was debuted at a grass roots gallery named Artists Space where Sherman herself worked as a receptionist.

Among many other notable shows in her unrivalled career, the Museum of Modern Art presented a show in 2012 calledCindy Sherman, which chronicled her work from the 1970s and included more than 170 photographs. Additionally, Shermans archives are held at the Tate Gallery in London, as well as many more prestigious institutions such as the Art Institute in Chicago, the Museum of Contemporary Art in Los Angeles and the Hamburger Bahnhof in Berlin. Her latest exhibition, Imitation of Life,which engages with the 20th centurys fascination with fame and celebrity, is currently being shown at The Broad, Los Angeles and Queensland Gallery of Modern Art, Brisbane. F IS FOR FEMINISM The assimilation of feminism with Shermans art is problematic, but not incorrect. Her entire lexicon of feminine identities and aversion to objectification clearly champion her as a feminist role model, but she has always maintained that the product precedes the intention. In each picture, rather than deconstructing the relationship between image and identity, Sherman leads the viewer to construct it in their own terms.

Judith Williamson, the author ofImages of Women,argues: I dont think Sherman is a feminist artist or a non-feminist artist. I dont think it really matters if she has set out to be either. The ambiguity and performativity of her work means we, as lookers, place our own ideology onto the portraits rather than there being a conscious authorial rhetoric. As a person, Im not overtly political, Sherman told to BBC2. I think of myself as too wishy-washy to be this heavy feminist, political person. But it does come out in my work. I dont think Sherman is a feminist artist or a non-feminist artist. I dont think it really matters if she has set out to be either Judith Williamson G IS FOR GROTESQUE Abjection, monstrosity and the grotesque began to appear in Shermans photographs more intensely when she moved away from self-portraits and starting playing with plastic and prosthetics. AfterUntitled Film Stills,Shermans work took an arguably darker turn and she started to utilise props and mannequins more heavily.

The monstrous feminine began to take form in both herSex Picturesseries andFairy Tales.Grotesque images of dismembered bodies, pubic hair and traumatised genitalia were just some of the themes that the artist touched on. Exemplified by her 1985 image "Untitled #140", which features her lying on the ground with a pig snout covered in blood, Sherman articulates the uncanny and carnivalesque qualities that are conveyed through fairy tales. During this time, many critics were turned off by the direction her series were taking. H IS FOR HOLLYWOOD, HORROR AND FILM NOIR Hollywood and pop culture imagery is the lynchpin of almost all of Shermans collections. Growing up in the 50s when television and film were becoming more widely available, she felt there was a limitation to the way women were being represented. The Hollywood starlet platinum, bored, angry came to be a central figure in herUntitled Film Stills("Untitled #122" in particular).Any woman was a role model, but not in a positive way, Sherman said. It frustrated me in terms of what was expected of me as a young girl turning into a woman.

Furthering her interest in film as a medium, Sherman turned to horror and film noir to create unsettling, but undeniably artistic, photographs of the Final Girl or femme fatale as a victim of the darkness. Incorporating Italian neorealism from the 40s, 50s, and 60s, as well as taking inspiration from cult classics such asHalloweenandNight Of The Living Dead, she used the contrast of black and white light and dark to create fear in the viewer. As Shermans favourite genre, she argued that horror makes you feel secure about your life. Untitled Film Still #47, 1979 Gelatin silver print 8 x 10 inches© Cindy Sherman Courtesy of the artist and Metro PicturesI IS FOR IMITATION AND IDENTITY Imitation is what makes Shermans work so influential: she is able to create portraits of herself but still throw off the binary relationship between author and subject, as well as being able to de-centre the Self from her photographs.

She has always said that the shots taken are not of her, but are a replication of varying subjectivities and archetypes, posing important questions about identity, representation and the role of imagery in contemporary culture. And, this seems to be more relevant now than ever with the creation of social media and how we carefully manufacture a mediated version of ourselves online. Sherman should be championed as the ultimate Selfie queen. Her exhibitionImitation of Life,now being shown in Los Angeles and Melbourne, celebrates the photographers expansive use of imitation as an art form and the ways it displaces identification with its subject. J IS FOR JUXTAPOSITION Shermans career, in its entirety, could arguably be read as one huge juxtaposition. Challenging the capitalistic drive of the art world yet being one of the most successful and highly paid photographers of a generation; creating self-portraits that should be viewed as anything but that; being a feminist icon without ever truly engaging with the movement; finding comfort in life by examining death. Far from being like a book that can be studied from cover-to-cover, it seems Sherman herself is as unsure about what it is shes trying to say through her art as critics who have spent years asking the same question are.

K IS FOR KILLING CENSORSHIP Censorship in the USA in 1990 became a huge issue for artists who pushed the boundaries of social acceptance. The National Endowment for The Arts pulled its funding for controversial art projects in the country, making it harder for creatives to express themselves outside the rigid barriers that were set. Shermans answer to this was to create outrageous and perverse portraits of pornography and genitalia using plastic. As a way of mocking the conservatism of America at the time, and the art world more specifically, she refused to inhibit her work by instruction of governing institutions. Through her use of broken and disfigured mannequins and dolls, and explicitly haunting imagery, Sherman put two fingers up to the system. L IS FOR LYNDA BENGLIS AND POSTMODERNISM Influenced by postmodernism and conceptual art, Sherman took influence from other artists who were not only challenging the status quo, but were also challenging what was actually perceived as art. Lynda Benglis, an American sculptor and visual artist, is emblematic of the postmodern movements self-referential treatment of photography as a medium.

Famed for her advert inArtforumwhich featured her completely naked except for a dildo and a pair of sunglasses, as a way of satirising pin-up girls and the male ethos, Benglis would go on to motivate Shermans 1981Centerfoldseries in the same publication. Using the centrefold of the magazine to convey a victim-like Sherman in a range of styles, costumes and poses, the collection is widely thought of as one of her most feminist narratives. She said of the series: The horizontal pictures I did were meant to resemble in format a centrefold, but in content a man who was opening up the magazine and feel like the violator that they would be. Im trying to make someone feel bad for having certain expectations. Cindy Sherman, Untitled #122, 1983, chromogenic color print, 35 1/4 x 21 1/4 in.

(89.54 x 53.98 cm)© Cindy Sherman, courtesy of the artist and Metro PicturesM IS FOR MALE GAZE The male gaze a concept theorised by Laura Mulvey in 1975 has become instrumental in examining film and image in terms of gender, sexual identity and human relations. Shermans utilisation of the male gaze is complex: in one sense she diverts her passivity by being both the looker and the looked at, but in another way she consistently re-establishes the gaze by playing the victim or sexualised object. Take "Untitled Film Still #6", taken in 1977, the artist exposes herself in her underwear, holding a mirror in one hand as she dons her usual emotionless expression. While the image is clearly sexualised, Sherman also demonstrates how femininity is a disguise, a performance, and then so too becomes the commander of the gaze. N IS FOR NEW YORK CITY The Big Apple, New York City, is the backdrop in which all examinations of Shermans work should be centred around. After studying the visual arts at Buffalo State College, she moved back east in the 70s to pursue her interests in photography.

Admittedly, Sherman found New York isolating, dangerous, yet inspirational, and became almost reclusive in her notorious studio. Feeling victimised outside the comfort of her walls, she observed the motions and performances of everyday life at a time when womens civil liberties were limited. New York, in and of itself, serves as a central character in Shermans collections. She married French photographer and filmmaker Michel Auder in 1984, but they divorced 15 years later. Sherman now lives in Soho where she continues to make conceptual art. Untitled #70, 1980 Chromogenic color print 20 x 24 inches© Cindy Sherman Courtesy of the artist and Metro PicturesO IS FOROFFICE KILLER Shermans 1997 feature film directorial debut came in the form ofOffice Killer,a film noir pastiche and comedy-horror which follows the story of Dorine (Carol Kane),a magazine editor with a thirst for blood who goes on a murdering rampage. Although badly received by critics for its poorly-executed plotline and seemingly out-dated cinematography, it can be widely read as classic Sherman.

Incorporating her favourite genres and themes horror, death and the female she created a humorous ode to slasher films of the 80s, with no apologies for its unconvincing gore and schlocky aesthetic. P IS FOR PORNOGRAPHY AND PROSTHETICS ShermansSex Picturesat the beginning of the 90s took a turn towards the pornographic in what can be described as an almost medical or anatomical examination of sexuality. Living through the AIDS crisis in the previous decade, particularly in New York City, she felt it was important to scrutinise the body as a way of understanding society. Filling her studio with life-sized dolls and prosthetics, Sherman dissected, and mutilated, humanity itself by posing questions about sex, gender and disease through plastic. One image that usually stands out in the minds of Sherman enthusiasts is Untitled #263, which saw a fusion of male and female genitalia in a deeply de-eroticised form. The hermaphroditic portrayal of sexuality as fluid or seamless is typical Sherman, as well as the recognition that it is not reality.

Untitled #258, which features a mannequin from behind with a gaping hole where her anus should be, should be examined under the conservative lens of the US at the time. Q IS FOR QUESTIONING MARKETABILITY I got nervous when my work starting to become popular, so I started making things that would challenge someone to hang it over their sofa, Sherman said of her deviation from portraiture and towards a pictorial theatre of the perverse. In an almost deliberate act of regression, she started to venture into unmarketable territory in what many have theorised as a protest against the traditionalist values of the 80s. With Regan and Thatcher at the helm of foreign politics, there was a sense that society yearned for the past and a stunted nostalgia reared its head. Artists returned to painting and an expressionist onslaught, largely by male painters, withdrew support for work such as Shermans. Pictures of vomit, condoms, dildos, pubic hair and women with their heads and genitalia chopped off challenged the nature of capitalism in the art world. However, she was named the recipient of the MacArthur Fellowship in 1995 regardless.

R IS FORREAR SCREEN PROJECTIONS In 1980, Sherman moved from black and white to colour in her series entitledRear Screen Projections.In the collection, she would pose in front of projections of various cityscapes and backgrounds, creating a surreal and abstract aesthetic. In Untitled #66, the artist poses in the middle of a highway holding her bike, giving the impression that she could be killed at any moment. Although this series is lesser known, it provides insight into the introspection of Sherman and work. I got nervous when my work was starting to become popular, so I started making things that would challenge someone to hang it over their sofa Cindy Sherman S IS FORSEX PICTURES Sex Pictures, shot in 1992, is Shermans most controversial project and the first in which she did not appear in the images. Using a mix of prosthetics, dolls and mannequins, she dissected the body and problematised the relationship between physicality and sexuality.

One figure posed with a tampon in its vagina, another with sausages excreted from the vulva, and others were arranged in ways that art critic Jerry Saltz dubbed anti-porn porn, the unsexiest sex pictures ever made. Some saw the series as a progressive exploration of anatomy and cultural conceptions of sex and the body, while others viewed them as a tasteless departure from her previous work. T IS FOR TELEVISION AND POP CULTURE Shermans capacity to bridge the gap between low culture and high culture is demonstrated by her use of pop culture imagery and television. A dream for students of cultural and gender studies, the artist drew inspiration from whatever was available to her as she grappled with becoming a woman through the revolution of the 50s and 60s. Visiting thrifts stores, dressing up as pin-up girls seen on poorly made adverts, Shermans style evolved as one that is all-encompassing at the same time as being utterly inaccessible. The simple concept of dressing up and taking pictures that resemble something she has seen on the small screen are far more puzzling in practice.

Cindy Sherman, Untitled #140, 1985© Cindy Sherman via moma.orgU IS FORUNTITLED FILM STILLS Untitled Film Stills (1977-80),which catapulted Sherman into global notoriety, consists of 69 black and white photographs where she poses in a number of different settings, characters, and costumes. Leaving the images untitled, the artist was able to preserve the ambiguity of the scenes that she created. Sherman hoped to tell a moving narrative through the use of stills, re-creating iconic films and imagery as a way of re-imagining mainstream forms of storytelling. Many in the series were fiercely critical of the way women were portrayed in the media, while others were simply shot to evoke an ambivalent reaction from the spectator. Taken in a mixture of locations, ranging from her studio, Long Island, Arizona and New York, the series continued until Sherman had ran out of clichs. The Museum of Modern Art boughtUntitled Film Stillsin 1995 for $1 million. V IS FOR VOYEURISM The voyeuristic quality of Shermans photographs is as unsettling as it is captivating.

Capturing the sadistic pleasure of the viewer in the way that we intrude into uncomfortable depictions of violence as sexual pleasure is a testament to the artists staging, camera placement, lighting, and so forth. Presented to us in an arguably peep show fashion, we are no longer invisible voyeurs but are active participants in critical viewing. Critic Therese Lichtenstein writes: By self-consciously watching ourselves watching, by catching ourselves in the act, we interrupt the gazes of voyeurism, fetishism, and even narcissism. This meta-narrative is a heavily embedded throughout Shermans photographs: a postmodern self-awareness that blurs the boundaries between looking and being looked at is ever-present. Shermans career, in its entirety, could arguably be read as one huge juxtaposition. Challenging the capitalistic drive of the art world yet being one of the most successful and highly paid photographers of a generation; creating self-portraits that should be viewed as anything but that W IS FOR WOMEN It seems like an obvious one, but W is definitely for women. Although Shermans first seriesBus Riderssaw her assume the roles of both male and female, almost every photograph after this would focus on the white woman.

While some of her critics have assimilated this with the white-washing of second-wave feminism, it seems Shermans images have somewhat unintentionally become a core narrative for both the subordination and emancipation of 20th-century women. X IS FOR XL The size of Shermans portraits became larger as she became more successful, which is perhaps a fairly straightforward correlation. Her first breakout collection,Untitled Film Stillswere all 8 by 12 inches, displayed in simple black frames.Centrefoldsa year later made a jump to 24 by 48 inches, and the pattern continued. Now, Shermans exhibitions feature wall-length pictures of the artist, and many of her original works have been enlarged to fit the demand for her work. Y IS FOR YEARNING FOR LOVE Although her work is marked by alienation and isolation, particularly as much of it was shot alone in her studio, Sherman insists that she has a fear of being alone. Growing up as the youngest of five in the suburbs, with one brother tragically committing suicide at the age of 27, she admitted to finding comfort in relationships when she moved away from home.

Sherman was married to Michel Auder for 17 years, who was addicted to heroin for much of the time. She entered into another ill-fated romance with filmmaker Paul H-O, which came to an abrupt end when he made a documentary,Guest of Cindy Sherman,about being the insignificant other to Shermans fame and success. Z IS FOR ZEITGEIST One of Shermans greatest abilities is to voice the mood and spirit of a particular generation. Whether it be the disturbing broken sex dolls, or funny clown series, or the large photographic murals that popped up at the 2011 Venice Biennale, she has always mimicked, and often anticipated, the cultural zeitgeist. As with feminism, Sherman almost accidentally stumbled into a more nuanced dialogue about female representation than many vehement second-wavers managed to. Far from an active trendsetter, she shot photographs through no-ones lens but her own, but always embodied the soul and anguish of the time. For the full Guest of Cindy Sherman documentary, click here Cindy Sherman: Imitation of Life is set to be published by Prestel. Shermans exhibition at Los Angeles The Broad is on until 2 October 2016

Question: Which London university was founded in 1837 as the Government School of Design?
Answer: Royal College of Art