I never fail to be amazed at how much a single poem can sometimes contain. It might contain ideas, images, ambiguities and multiple interpretations. It can be full of sound and music, and give the reader a powerful narrative. There is so much a poem can do.
In 2005 an 8 year old girl was told by a security guard to stop sketching Picasso and Matisse paintings as ‘they’re copyrighted’ (Jardin 2005). So what is a copy and how much new, creative work is required to term the work as ‘influenced by’, or an ‘homage’? Is her version in a different medium a copy?
We human beings love to try and predict the future, from the football scores to the next world conflict. Authors including Margaret Atwood, George Orwell and Kurt Vonnegut are amongst those who have famously done so. Futuristic, speculative fiction is big business, especially at a time when even the news can sound dystopian.
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.
I hope you’ve all been getting your work out into the world following my short blog series on ‘Getting Your Poetry Out There’ but it seems only fair to come back with some tips for dealing with the one inevitability of a writer’s life: rejection.
Looking at Penny’s submission there is a real sense of enthusiasm in her tackling of unfamiliar and combination materials in new and unusual ways.
OCA tutor Nina Milton in conversation with student Gigi about her Foundation in Creative Writing course experience.
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…
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!