To find out more details about the transfer to The Open University see A New Chapter for OCA.
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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.
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Join OCA’s Bryan Eccleshall on the 9 December in Leeds.
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A New Dictionary of Art is an absurd project, but a serious one and, to paraphrase a final definition from page 131, ‘makes the ordinary seem extraordinary’.
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I’ve been home from the Venice Biennale for almost three months now and I’m thinking about the work I saw and what impressions have stayed with me.
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At the recent assessment a large drawing caught the eye of the assessment team and I wanted to single out this piece as an example of what can happen when a student follows the logic of their research. I was lucky enough to be Gwenyth’s tutor for Drawing One and during a Google Hangout session for the third submission it was clear that one subject — a large rock near her home in Sweden — meant a lot to her.
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The underlying theme of this work — migration — is to be found throughout the Biennale but Dawood filters it through a lens of dystopian fiction and biology which has the effect of questioning rather than recounting stories of exodus and displacement.
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Phyllida Barlow’s work has been seen throughout the UK recently — at the Hepworth as part of the inaugural sculpture prize, and filling Tate Britain’s Duveen Gallery and Edinburgh’s Fruitmarket. Her work is on show until late November in the British Pavilion at the Venice Biennale. Much of the work on display in Venice speaks of migration, ethnicity, and post-colonialism — I’ll cover this in other posts — but Barlow has produced a work that is concerned with traditional sculptural concerns: space, weight, scale, and so on.
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Truman Capote described Venice as ‘like eating an entire box of chocolate liqueurs in one go’. That counts double when you’re trying to absorb a lot of art as well as admire the place. This is the third time I’ve visited the Biennale and the first time I’ve done so outside of Press Week. Frankly it was a relief to spend time looking at the work and not searching for free food and/or Prosecco.
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I’m not sure I’ve ever seen Petherbridge’s work in the flesh before. There’s a patient, meditative quality about the meticulous ink drawings she makes…
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‘Drawing is […] the most democratic and the most apparent of media’ Join OCA tutor Bryan Eccleshall on the 22 April.
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