The overall aim of this weekend is to bring together textiles students from across the UK and further afield to focus on practice, critical thinking, a critical evaluation and the impact on the standards of student work. Join OCA tutors Rebecca Fairley and Neil Musson in Bristol on the 9 and 10.
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.
We all use – and therefore copy – artworks to illustrate our own research, but as we have seen taking and using these images is complicated. In this post I am using the primary source of artworks – galleries – as a case study to examine the post-digital shift in how copyright is thought of and applied.
Thea Anning’s creative journey finding hidden gems through ‘Everyday’ experiences. The Tate Modern has just launched the first major exhibition of Anni Albers’ life…
…and as part of this we asked OCA programme leaders to share some important practitioners to point students towards and remember artists and events in the history of the African diaspora. This is list is just the beginning of a longer one we hope, please add to it in the comments below.
The UK publishing industry has not moved fast enough to reflect our current society. And when you’re talking about children’s fiction, it’s particularly white.
The question of copyright is one that has recently perplexed the student forum: a tangle of legal, moral and financial issues. Creative talent occupies quite a rare position in society, one deemed worthy of automatic protection against duplication and exploitation. In a series of blog posts I will attempt to clarify three related issues: the capture of images that may infringe copyright, the use of other people’s images as illustrations and the appropriation and altering of artworks to produce ‘new’ work.
Come and see what you can be part of!
On a very busy Saturday in Cambridge five students and I visited several locations to see work in a variety of contexts.
Join Music Programme Leader Carla Rees and fellow music students for a series of informal web chats from your own home.
I decided to be a night owl, because a lot of the time I’m on my phone when the football’s on and it’s just something else to do while my partner is watching that. I thought if I put that away then I could do something else more productive. I thought I’d be good at it!
October is Black History Month and I am not black. And as far as I know, the OCA has no black Creative Writing Tutors. So how do we write about Black History Month?