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.
Investigative and experimental sampling requires both an open-mind and a focussed approach to ensure the work created is coherent, exciting and new.
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.
Join Hayley Lock on the 17 March at Victoria Miro Mayfair in London.
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.
Join OCA tutor Priscilla Jones on the 3 and 4 March in London. On Saturday we will visit Embellishment in Fashion at the Royal School of Needlework and on Sunday we will take in the Spring Knitting and Stitching Show at the Olympia.
The New Music Collective will meet again on 17 March 2018 at Iklectik Art Lab, in London. Following on from our work on group composition, individual performance and improvisation, the theme of this meeting is collaboration
OCA Writing Skills and Scriptwriting tutor Guy Mankowski’s novel ‘An Honest Deceit’ has been chosen as a New Writing North Read Regional 2018 title. As a part of this scheme he will be undertaking talks, library events and book groups across the North of England.
OCA tutor and assessor Liz Cashdan looks at the work of BA (Hons) Creative Writing student Lindsay Peaston.
My love-affair with Soviet cinema was cemented at film school when, literally frame by frame, we dissected Sergei Eisenstein’s 1925 propaganda masterpiece Battleship Potemkin. Back in the late sixties and early seventies as British cinemas fell into decline one or two flee-pits survived in some small towns, included mine, Reigate. It was there I first saw Andrei Tarkovsky, starting with his 1966 classic, Andrei Rublev, showing to an empty theatre. At film school I spent seven hours watching – and dozing – through Sergey Bondarchuk’s epic War and Peace and of course, plenty of Tarkovsky.
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.