It’s something to take your time over, both in appreciating it, and developing your own art. Because, Fine Art is experimentation, how far can you push something, how far can you take it until it meets what you want it to do. It’s only through experimentation and trying new things and combinations that you’ll get there.
Our group comprised textiles, painting/drawing and photography students at all three levels. This, in itself, was an important factor contributing to open and critical discussion. Added to this was Rebecca’s excellent talk on her own practice and formation as an artist and tutor. Following this she led a discussion on work that several of us had brought along.
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?
Michelle Keegan, OCA Printmaking tutor will be exhibiting etchings from the series Listening for the Past with Gallery 57, Arundel West Sussex as part of the…
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.
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.
Join OCA tutor, artist, and Moving Image Unit Leader (Fact + Fiction) Ruth Maclennan on Saturday 15 December at Tintype Gallery in London.
Often when thinking about textiles utility comes to mind. This connotation is largely attributed the medium’s rich history across a variety of cultures, from decorative medieval unicorn tapestries woven from wool and silk thread; to the Kente fabrics of 17th century Ashanti weavers today in Ghana; to Peruvian woven rugs and tapestries of the Quechua tradition. An integral part of community and daily life, textile fabrication has provided people with shelter, costuming, decoration, protection comfort… and has also been used to document and express narrative.
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.
Being elected a member of the Royal Society of Sculptors is both professional validation and also a chance to expand my network of support.