Critical Art can be hard to understand – it’s designed to be challenging after all – but the bracing experience of having one’s expectations re-calibrated so that we can understand everything anew, or at least from a different point of view is to be encouraged.
Writing about works of art can be tricky, especially if you’re trying to build up a body of knowledge from a standing start as well as link it — perhaps at the repeated behest of your tutor — to work that you’ve made. Finding a way to turn the experience of looking at something into meaningful text isn’t easy, but developing a way of clearly writing about the visual is an important skill to acquire when studying art.
Imagine if the next feedback from your tutor simply said ‘great’ or ‘I like it all, carry on’. I’m betting that you wouldn’t quite…
This blogpost is an attempt to pass on some of what I’ve learned about drawing in a gallery. It’s not the only way to go about it, and it isn’t for everyone, but I hope that after reading it you feel that it might be something you want to try.
Join drawing and painting tutor Bryan Eccleshall on Saturday 16 June in Liverpool to see the work of Austrian Egon Schiele alongside the work of American Francesca Woodman
Bryan Eccleshall is delighted to announce that he will be having his first solo London show at the Green Rooms Hotel in March. On display will be around forty of the Digital Rain images that he has produced since autumn 2016.
Anyone interested in pictures and representing the world ought to find something here of value. As an accessible primer on those issues it’s hard to beat. Read it, go and look at some of the work discussed in it, then re-read it.
Sketchbooks are personal and can reveal much about how a student goes about the business of discovering and learning. I like to see books that are bursting with work as it is generally evidence of a submission full of speculation and discovery.
Join OCA’s Bryan Eccleshall on the 9 December in Leeds.
A New Dictionary of Art is an absurd project, but a serious one and, to paraphrase a final definition from page 131, ‘makes the ordinary seem extraordinary’.
I’ve been home from the Venice Biennale for almost three months now and I’m thinking about the work I saw and what impressions have stayed with me.
At the recent assessment a large drawing caught the eye of the assessment team and I wanted to single out this piece as an example of what can happen when a student follows the logic of their research. I was lucky enough to be Gwenyth’s tutor for Drawing One and during a Google Hangout session for the third submission it was clear that one subject — a large rock near her home in Sweden — meant a lot to her.