To find out more details about the transfer to The Open University see A New Chapter for OCA.
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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.
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Investigative and experimental sampling requires both an open-mind and a focussed approach to ensure the work created is coherent, exciting and new.
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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.
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If you aren’t too busy and find yourself at a loose end in New York, the exhibition runs until the 25 January, and as an added bonus, for the same entry fee you can see the “Demoiselles d’Avignon” by Picasso, “Starry Night” by Vincent and a host of other modern masterpieces too numerous to mention, five floors above “Greenberg Contradictions 1”, Mickos is on the low floor, of course, to catch the passing trade.
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If we think of art only as visual – and not as something that can address all the senses – we miss fundamental parts of the way sensation in representation generates space and meaning. Multisensory, interactive experiences of art can create innovative imaginative environments, and artists, designers and researchers are increasingly looking for new ways to understand and explore the creative significance of the senses. So how are practitioners and galleries today making the most basic perceptions of sonic communication and scented air visible to the mind of their audience?
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This exhibition looks at the visual language of Soviet posters, prints and photographs from the October Revolution to the death of Stalin. It shows how in the first ten years Soviet designers created a revolutionary narrative that linked the events of 1917 to turning points such as the storming of the Bastille and Delacroix’s image of Liberty Leading the People. The exhibition is particularly relevant to students studying the OCA Visual Studies course.
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This study visit brought together three very different gallery spaces, each with their own structure and agenda and a variety of work from emerging and established artists. There is value in exploring the many ways that artwork is seen, we can become more aware of the journeys that artists take and the way a practice can develop through public presentation of work.
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I have always thought of Modigliani as the sort of artist that can get you into trouble. Remembering the raised eyebrows with which my tutors greeted my proposal that I write my first long essay as a student about the relationship between his sculptures and his nudes, I was half-expecting there to be a warning sign at the entrance of his exhibition at Tate Modern. Instead the visitor is met by four galleries of sensational portraits – not to mention a film about his life in Paris and a queue for a virtual tour of his studio – before being treated to even a glimpse of an ankle. Join Gerald on the 3 February.
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Lunch and further lively discussions were held in the café before we moved on to Princes Quay and the photographs of the HIP International Photography festival.
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Over the past ten months, OCA Programme Leader Caroline Wright has been Artist in Residence at the Cambridge Judge Business School
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