To find out more details about the transfer to The Open University see A New Chapter for OCA.
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Research for this assignment has led me to a personal discovery about my family. Little did I know that my first essay for my degree would be so exciting and revealing.
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Day three begins bright and early(ish) with a chilly introduction to tutor Les Monaghan’s commission for Brighton Photo Fringe, the parallel biennial to the Biennial.
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Brighton Photography Biennial: A Photoworks Guided Tour Day 2 of the study visit to Brighton saw the group meet first thing at the University of Brighton main campus for a bespoke guided tour with Lynn and Lisa from the Biennial’s organisers, Photoworks. The theme of the Biennial for 2018 is positioned as: Examining the current […]
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OCA made its fourth student group visit to Brighton Photo Biennial at the end of October this year. The trip took place over three days, from Friday afternoon to Sunday afternoon, around an itinerary planned in response to generous feedback from students who’d attended in 2016.
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Join OCA tutor Jayne Taylor on the 12 January at the Wellcome Collection.
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A picture is worth a thousand words. It’s a famous phrase, and the more I think of it, speaks directly to the access principle at the heart of what OCA is. Text, essays, blogs, articles, may not be easy for everyone to digest, so why not offer the same message but in a visual context?
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Expanding people’s perceptions and understanding of photography by ‘getting people looking, thinking and talking’. So, goes the ‘strap-line’ of Impressions gallery in Bradford, where I attended an exhibition study visit and portfolio review, along with a small cohort of committed and inquisitive students.
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Our group comprised textiles, painting/drawing and photography students at all three levels. This, in itself, was an important factor contributing to open and critical discussion. Added to this was Rebecca’s excellent talk on her own practice and formation as an artist and tutor. Following this she led a discussion on work that several of us had brought along.
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In 2005 an 8 year old girl was told by a security guard to stop sketching Picasso and Matisse paintings as ‘they’re copyrighted’ (Jardin 2005). So what is a copy and how much new, creative work is required to term the work as ‘influenced by’, or an ‘homage’? Is her version in a different medium a copy?
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Join photographer Paul Hill on the 6 April in Birmingham in the library.
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