In 2018, London Art Studies launched the world's first online arts subscription platform. LAS has, since 2011, provided accessible and informative art lectures.

If you've ever wondered "why is this pile of bricks/unmade bed/neon sign, art?", if you've ever thought "my child could do that" then our online classes are for you.

We believe:

Art is for everyone

Inspiration is all around

Everyone is creative

Good manners count

Brilliant people never stop learning

You can do well by doing good

In short meetings and jargon-free life

How you do one thing is how you do everything

In asking questions

In admitting mistakes

In being prepared

In doing your best work every day

I do not want art for a few any more than education for a few, or freedom for a few.
Learn only from the best
Meet the Lecturers
Image of Ben Street, lecturer and art historian

Ben Street is an art historian, writer and lecturer. He is the author of catalogue essays for numerous museum exhibitions across the UK and Europe and a contributing critic for Art Review, Apollo and Art Quarterly magazines. Ben was a contributing writer for the Phaidon books ‘Body of Art’ and ‘Flying Too Close To The Sun’ and is the author of ‘Art Unfolded: A History of Art in Four Colours’.

Image of Lizzie Perrotte, lecturer and art historian

Elizabeth Perrotte is a specialist in modern and contemporary art and has designed art education programmes for museums, galleries and university accredited postgraduate degree courses. She has worked at the National Gallery, Tate St. Ives, Institute of Contemporary Arts and Christie’s Education. Elizabeth’s doctoral research was shaped by postcolonial studies, focussing on the work of modern British artists such as Jacob Epstein.

Image of Colin Wiggins, lecturer and art historian

Colin Wiggins was Special Projects Curator at the National Gallery until 2016. Before taking up this post in 2011 he worked in the Gallery’s Education Department where he had special responsibility for the Associate Artist scheme, working with artists such as Paula Rego, Peter Blake, Ana Maria Pacheco and Michael Landy. He has also curated exhibitions at the National Gallery of, amongst others, Frank Auerbach, Anthony Caro, RB Kitaj, Ed and Nancy Kienholz and Bridget Riley. He has lectured widely in the United States and Europe and is a practising printmaker, with work in various collections including the Los Angeles County Museum and the Fitzwilliam Museum, Cambridge.

Image of Richard Stemp, lecturer and art historian

Having read Natural Sciences and History of Art at Cambridge, Dr Stemp went on to complete a PhD in Sculpture in Ferrara in the 15th Century before studying acting at the Academy of Live and Recorded Arts. Richard works as a Freelance Lecturer, and has taught at most of the major art museums in London. He has written and presented two series for Channel 4, Art in the National Gallery and Tate Modern, and his books include The Secret Language of the Renaissance and Directions in Art: Painting, one in a series about contemporary art for children.

Georgina Adam has spent more than 30 years writing about the art market and the arts in general. She was editor of the Art Market section of The Art Newspaper 2000-2008, then editor at large. She writes a weekly column on Saturday for the Financial Times. In addition to her specialisation in the art market, Adam is particularly interested in emerging cultural centres.

Georgina is author of “Big Bucks, The Explosion of the Art Market in the 21st century” published by Lund Humphries in June 2014 and "The Dark Side of the Boom", published in 2018.

Behind the scenes at las
Meet the Team

Kate Gordon is the founder and CEO of London Art Studies. Having produced arts programming for CNN and Carlton, Kate launched London Art Studies in 2011 (after heading up Sotheby’s Public Programmes Department), which provides educational courses on art for individuals and for corporate events. In June 2018, London Art Studies launched online classes, now available worldwide. Educated at St Paul’s Girls' School, Amherst College USA and University of Moscow, she has worked in the art world for over 20 years. Kate co-founded the Association of Women in the Arts (AWITA), and writes a regular column about the art world for London’s Evening Standard newspaper. After chairing the fundraising group ‘Foreign Sisters’ in 2017 and 2018, Kate remains a Senior Arts Advisor to Cancer Research UK and is also on the board of the Chelsea & Westminster Hospital Art and Design Advisory Group. Previously at Tate she was a member of the Tate Patrons Executive Committee (2014-2018) and is now a Gold Patron Ambassador for Tate.

Gillian Bayston joined London Art Studies in January 2014. A History of Art graduate from the University of St. Andrews, Gillian has over fifteen years' experience of working in the art world, at Christie's, Sotheby's and, most recently, Sotheby's Institute of Art, where she was Public Programmes Manager for seven years. Gillian has a wealth of expertise in organising and delivering high quality short courses both in the UK and overseas.

As a creative, fast thinking , visual problem solver Lindsay has spent over twenty years as a commissioning picture editor working on national newspapers and magazines including The Economist’s, Intelligent Life, The Times, The Guardian and The Financial Times. The subject matter has been wide -ranging from the technical to the esoteric. Lindsay is a skilled and innovative commissioner and director of photography, maintaining a great rapport with both award winning photographers and emerging talent.

She also enjoys the “treasure hunt“ of picture research to uncover the very best picture to fit the job

hannah Clynch

Hannah joined London Art Studies in November 2017. Before joining London Art Studies, she worked for the Association of Women in the Arts (AWITA) where she continues to work part-time. Hannah studied History of Art at University College London and will be starting a masters degree in the same subject at the University of Oxford this autumn, focusing on the role of women in Early Modern Europe.