The Guerrilla Girls’ coolly ironic salvo not only challenged the art world powers-that-be, but also called on artists to start agitating for changes. Which brings us back to Michael Young’s original, distinctive, radical and optimistic conception of the OCA as a means of transforming people’s lives, of affecting real purposive change.
This is my first post as Principal here at the Open College of the Arts and I’m very pleased to be able to share some exciting news. Last week we launched a campaign to celebrate 30 years of creativity through distance learning with OCA. OCA became part of the University for the Creative Arts, the UK’s number one specialist university for the creative arts, in 2016 and the University of the Creative Arts is coincidentally celebrating it’s 150 anniversary this year.
“Take your writing seriously. If you don’t, no one else will. Don’t try to do a perfect first draft. You should see mine – they’re pathetic. Writing is re-writing.”
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.
The first meeting of the London Group will be held on Saturday 14 April 2018, starting at 10.00am and finishing at 16.30pm This interactive day will be led by Fine Art Programme leader Caroline Wright.
The nine-month campaign, which coincides with UCA’s 150th anniversary, will give students and alumni the opportunity to feature in films, exhibit in the #weareoca30 online gallery, and download special release online courses on subjects from photography to fine art.
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.
OCA tutor and assessor Liz Cashdan looks at the work of BA (Hons) Creative Writing student Lindsay Peaston.
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.
If you’re going to write disabled characters, try putting one arm in a sling or wearing an eye-mask or ear plugs all day. Remember everything. And then feel thankful that your disability was only temporary.
If you aren’t too busy and find yourself at a loose end in New York, the exhibition runs until the 25 January, and as an added bonus, for the same entry fee you can see the “Demoiselles d’Avignon” by Picasso, “Starry Night” by Vincent and a host of other modern masterpieces too numerous to mention, five floors above “Greenberg Contradictions 1”, Mickos is on the low floor, of course, to catch the passing trade.
If we think of art only as visual – and not as something that can address all the senses – we miss fundamental parts of the way sensation in representation generates space and meaning. Multisensory, interactive experiences of art can create innovative imaginative environments, and artists, designers and researchers are increasingly looking for new ways to understand and explore the creative significance of the senses. So how are practitioners and galleries today making the most basic perceptions of sonic communication and scented air visible to the mind of their audience?