To find out more details about the transfer to The Open University see A New Chapter for OCA.
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Aftermath explores the response of artists from 1918 -1940. While some wanted to return to more traditional forms of representation, others were committed to experimentation and to criticising the unequal society which they believed had caused the war.
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Join OCA’s Gerald Deslandes on the 14 July at Tate Britain in London. This must-see exhibition brings together the giants of 20th century British figurative painting
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Join OCA’s Gerald Deslandes on the 23 June at Tate Modern.
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The recent publication of a book by the White House photographer, Pete Souza,and the concurrence of two exhibitions at the Royal Academy and the Queen’s Gallery have made me wonder what President Obama’s resident court photographer might have taught the Stuarts.
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This exhibition looks at the visual language of Soviet posters, prints and photographs from the October Revolution to the death of Stalin. It shows how in the first ten years Soviet designers created a revolutionary narrative that linked the events of 1917 to turning points such as the storming of the Bastille and Delacroix’s image of Liberty Leading the People. The exhibition is particularly relevant to students studying the OCA Visual Studies course.
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I have always thought of Modigliani as the sort of artist that can get you into trouble. Remembering the raised eyebrows with which my tutors greeted my proposal that I write my first long essay as a student about the relationship between his sculptures and his nudes, I was half-expecting there to be a warning sign at the entrance of his exhibition at Tate Modern. Instead the visitor is met by four galleries of sensational portraits – not to mention a film about his life in Paris and a queue for a virtual tour of his studio – before being treated to even a glimpse of an ankle. Join Gerald on the 3 February.
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All perfectly logical, as it turned out, but it got me thinking about the links between the places that I was visiting and the talks that I was giving as well as about the idiosyncratic relationship that Australia seems to have with maps.
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Perhaps this is proof, if proof were needed, of the fact that contemporary art continues to reflect the times in which it is made.
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Last week I bumped into myself near Oxford Circus. Well, not me exactly but a slightly older and much cooler version of my teenage self: strap-hanging in the rush hour with one finger tucked into the first few pages of Proust and with his thumb in the Appendix.
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Marilyn’s capacity for self-caricature had always been an essential part of her role as an American icon. In her early photographs she appears upholstered and underwired like a cross between Mae West and the Statue of Liberty.
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