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.
This study visit brought together three very different gallery spaces, each with their own structure and agenda and a variety of work from emerging and established artists. There is value in exploring the many ways that artwork is seen, we can become more aware of the journeys that artists take and the way a practice can develop through public presentation of work.
The idea of art and design as an agent for social change is vital if we relate it to contemporary debates and approaches that artists are adopting in these effervescent times.
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.
The first three posts covered the basics of the programme through to working with large, complicated scores. I’m going to continue the series with several posts dealing with advanced techniques and non-standard notation. This post deals with issues of spacing in complex scores.
Join OCAs Ruth Maclennan at Manchester HOME on the 16 December.
Join OCA students for a two day workshop in Ipswich.
There are many challenges for students to overcome through distance learning; engaging with other likeminded students to create your own peer network has to be one of the trickiest. I believe that if students can find the time, the use of OCASA funded workshops has to be a tangible benefit to a student’s learning across all programmes.
Last week I attended a day course at the Whitechapel Gallery called ‘Writing about Art’ it was led by author of the little red book of near enough the same name – Gilda Williams. It was a loaded day full of useful tips and advice and importantly diminished our pre-conceived ideas of what good art writing should look like.
In this third post I’ll be moving on to music for large ensembles and orchestras, and using Sibelius to extract parts for players. I’ll be covering some advanced techniques and Sibelius-specific workarounds.
OCA tutor Julia Biggs will be one of the speakers at the first Wellcome Trust funded Renaissance Skin interdisciplinary conference – The Porous Body in Early Modern Europe. Running from 30 November – 1 December at King’s College London.
Hearing one’s music is a very important part of learning how to compose. It can be difficult for fledgling composers to secure performances, but it is worth exploring whether there are any local ensembles willing to look at your music.