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Victory in Europe Day – 8 May 1945 – 75th Anniversary 2020

This Friday Bank Holiday, 8 May 2020, marks the 75th Anniversary of Victory in Europe Day (VE Day), the end of fighting in Europe in 1945. Fighting in the Far East against Japan would continue for a further three months, costing the lives of many more servicemen and women, and civilian deaths in the destruction of Hiroshima and Nagasaki before the final surrender on August 15 1945.

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Unmasking the everyday: part one

Queues outside supermarkets have become strange symbols of this, epitomising how one of life’s most everyday activities has come to feel risky and dangerous. The usually unnoticed has become unsettlingly conspicuous. 

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Edge-zine issue 9: Inside

From Vicky Mackenzie’s ‘Tutors thoughts’ through Steve Cusson’s work ‘Prison Cinema’ and onto Therese Livonne and her self portrait the 9th edition of Edge-zine is packed with thought provoking work and articles from across the Open College of the Arts range of disciplines.

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Stay creative

Choosing and continuing to be creative is a really important act of self-care.  Whether you write, draw, sew, sculpt, paint, photograph or play an instrument, you can improve your mental wellbeing.  Over the coming weeks OCA will post open, creative content that everyone can get involved in.

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A series of triptychs

In this post OCA tutor Jim Cowan presents a digital visit of his current exhibition featuring a number of paintings constructed in the format of a Triptych beside others that have been painted separately but seem to belong in groups of three.

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Student stories: In conversation with Andrew Howe. Part 2.

Edgeland landscapes are diverse, ranging from non-places, like industrial estates and retail parks, to degraded post-industrial sites. There is often a duality in places like urban woodlands or derelict sites because they can be places of peaceful refuge and biodiverse wildlife habitats, places where young people can experiment away from adult gaze, whilst also being perceived as places of threat

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Student stories: Walking, Psychogeography, Collaboration…..

Through a conversation between tutor Lydia Halcrow and former OCA student Andrew Howe, this blog post explores themes around making through walking and Psychogeography in relation to Andrew’s socially engaged, collaborative and multi-disciplinary artistic practice. The blog post is in two parts with some recommended reading that has shaped the development of Andrew’s practice during and since his time at the OCA

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Student work: Cathie Lloyd, Mixing traditional and digital techniques.

Cathie Lloyd has just completed Painting 2: Concepts in Practice while studying for a Painting Degree. While studying this unit she has developed a method of making that incorporated traditional drawing and painting techniques with those offered by digital image-editing software. Her tutor, Bryan Eccleshall, asks her a few questions about this workflow and how it has impacted on her approach to making and thinking about that making.

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In conversation with: Joanna Whittle

Joanna Whittle is a painter based in Sheffield. Joanna studied at Central St Martin’s and the Royal College of Art and her work has been included in the Royal Academy Summer Show (2019) and the John Moores Painting Prize (2018). She recently won (jointly) the Harley Gallery Open Prize and the Contemporary British Painting Prose (both 2019). Her work is exhibited widely and is held in many collections. Joanna was recently awarded one of five career development bursaries granted by the Freelands Foundation in conjunction with Site Gallery in Sheffield.

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TWO-FOLD

At HE6, students on the painting degree are required to consider what the public or wider relevance of their work is and how they might explore and develop that through some form of presentation – usually an exhibition. They are also asked to consider the importance of their peers in terms of their degree but also in sustaining a practice post graduation. Here, new painting tutor Keith Ashcroft describes an exhibition he curated recently. He details how he arrived at the curatorial premise and how setting up the exhibition allowed for a development and further chance to investigate the shared theme of representation through twofoldedness.

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