A banner made during a workshop at West Dean College is currently on exhibition as part of the British Textile Biennial 2019. Banner Culture presents a retrospective history of protest in the UK, from traditional processional banners from heritage collections to contemporary DIY messages from local campaign groups.

West Dean College's artist-in-residence, Renee So, will exhibit an entirley new body of work at the De La Warr Pavilion from September 2019 - January 2020.

The MA Show 2019 showcases artworks by graduating students from the Visual Arts MA programme at West Dean College of Arts and Conservation.

In 2018, we were delighted to be asked by The Courtauld Gallery in London during their temporary closure for a major refurbishment known as 'Courtauld Connects', to treat a large maiolica dish, possibly made in the 17th century in Savona, Italy. The dish had been previously restored, and after an unknown number of years, the adhesive had begun to fail. Read the full blog by students Derrin Compton, Rosie Blay, Kate Galatian and Shawn Kwan.

The Visual Arts programmes were recently showcased with an exhibition on Margate seafront, hosted by a brand new space, Artgame, a short walk from Turner Contemporary

MA Conservation Studies: Books and Library Materials student Maria Borg, alongside her colleague Nayla Maaruf, worked on the conservation of a Cartes-de-Visite Victorian photo album. Find out more about the project in this blog post.

Blog by Emma Straw, student

After creating my own marbled papers, fabric and books, it made perfect sense to weave one of the images. It was from this marbled imagery that I decided to enter the Australian Tapestry Workshops open call.

The West Dean Summer Show 2019 will showcase original work by emerging artists studying for their Diploma in Art and Contemporary Crafts, Graduate Diploma and MFA qualifications. The free exhibition, held in the College's Edward James Studios, will display a diverse range of practices including sculpture, installation, print, painting, film, ceramics, and textiles.

Book conservators are often faced with the challenge of working with unfamiliar, idiosyncratic, and complex books. In such cases making a model of a binding can be of great benefit and insight into previous binding practices. This is especially true when presented with a book found in a fragmented state.