This second digital assessment event for creative arts followed up on all the successes achieved in running the summer assessment online whilst allowing room to progress. I was keen to gain further insight into the approaches CA students take to developing their work and understand more about their learning journeys. The creative arts programme is […]
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When encountered in an art institution like Tate and reimagined in this way, we have no choice but to engage with this darker side. Events of the past few years, such as Brexit and BLM have really started to change that – I think people are noticing public monuments and statuary a lot more.
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A student recently commented to me that trying different techniques out, although unrelated, had improved the quality of their work and they enjoyed the feeling of connection within a broader student body.
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Earth Day has its 50th Anniversary this year, and we invite you to join us to mark this significant day. At these times of self-isolation, online interaction and social distancing, we take a moment to celebrate, share and explore the creative possibilities of the home-garden work space.
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Your choice of words, ‘active slow-creative journey’, really resonates. I feel that there is a direct link between the length of time I have been allowed to engage with this learning experience to its fullest extent at my own pace and how much of that acquired knowledge I’ve durably assimilated and integrated into my own creative practice.
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Creative Arts level 1 student, Ramona Mason, has employed text, place and a personal perspective of her life in London to significant effect in the completion of her work on Printmaking 1. I spoke to Ramona about her prints, at the start of her creative arts journey, and wanted to share these with you now.
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I enjoyed the way that art history and context was interwoven throughout the course. As each unit was presented, different artists and works were introduced in a way that was relevant to the project at hand. I found this to be a refreshing approach, in contrast to a timeline-based introduction to the history of art.
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Interdisciplinarity – is the study of two or more disciplines alongside a critical engagement with subjects in the wider world, that aims to communicate connections through thinking and practice. So, why might we need to engage with the wider world as part of interdisciplinary thinking? As we look beyond the confines of a Western orientated art history towards ideas and influences that emerge from a context of globalisation and cross-cultural engagement, creative artists respond to this in a variety of ways and some common strategies emerge.
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With such a large multidisciplinary group, I wanted to start the day with a lecture on ‘Global Perspectives in Contemporary Creative Arts’. I’m aware that teaching and learning around a historical context for the arts can have a Western bias that feels out of touch with the much broader globalised discourse that is happening today.
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Being elected a member of the Royal Society of Sculptors is both professional validation and also a chance to expand my network of support.
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