Archive

Some thoughts on criticality

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.

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Penny Rowe

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.

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Study event: Essex Road V

Join OCA tutor, artist, and Moving Image Unit Leader (Fact + Fiction) Ruth Maclennan on Saturday 15 December at Tintype Gallery in London.

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Using traditional textiles today

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.

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Posting images post-digital

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.

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Unexpected discoveries in routine environments

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 works.  Albers study at the Bauhaus during the early 1920’s led into textiles due to her being refused entry to painting on the grounds of being female.  She became one of […]

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October was Black History Month…

…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.

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What is your tutor up to? Chapter 26: Doug Burton

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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Study event review: Ways of Seeing

On a very busy Saturday in Cambridge five students and I visited several locations to see work in a variety of contexts.

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Study event review: Developing sketchbooks with artist Karen Stamper

For anyone thinking about setting up similar opportunities, I would say go for it as there is a lot of support available.  As well as working with an artist and developing sketchbook work everyone was pleased to be able to get together with other OCA students to talk, work and learn with each other. Everyone left wanting to do another workshop!

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