SCHOOL OF FINE ART - Royal College of Art · PDF filenew programme in Contemporary Art...

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Transcript of SCHOOL OF FINE ART - Royal College of Art · PDF filenew programme in Contemporary Art...

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  • This is an exciting time for the school, with our new programme in Contemporary Art Practice extending our range and enabling us to remain at the forefront of debates and discussions in the broad and ever-expanding field of Fine Art. As the largest and most international concentration of postgraduate Fine Art students, researchers and academics in the world, the School of Fine Art at the RCA is the key international point of reference for anyone trying to understand what Fine Art is about today.

    Juan Cruz is an artist and writer with a long-standing commitment to Fine Art education. Prior to joining the RCA in 2014, Professor Cruz was Director of Liverpool School of Art & Design, and a Senior Lecturer in the Department of Art at Goldsmiths, University of London.

    Professor Cruz is a member of the Tate Liverpool Council, and a trustee of the Liverpool Biennale and the John Moores Painting Prize. His work as an artist is represented by Matts Gallery, London, and Galeria Elba Benitez, Madrid.

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    We are committed to examining the means by which art is made the rich array of positions, methods and materials that artists use and have used, as well as the subjects, ideas and issues that are successfully articulated by art.

    While supporting the research and study of specific disciplines, the School identifies Fine Art as the overarching subject within which all our work takes place. Our School-wide lectures and workshops will seek to define an understanding of both the contemporary context and of what the future might hold, with renowned artists, writers, curators, critics and theorists from a range of fields including economics, sociology, politics and linguistics helping us to look at our work from an expanded range of perspectives.

    Staff Students are taught by highly regarded and active practitioners, who are also academically qualified to provide a critical context for their work. For further information on staff, including research interests, exhibitions and publications, please visit:rca.ac.uk/staff

    Applications are welcomed from Graduates with a good BA degree in Fine Art or a related subject, who are able to demonstrate an original and critical approach to their work, as well as an ability to engage with current theories of art and culture. For College-wide and programme-specific requirements, please see: rca.ac.uk/entrance-requirements

    Alumni The Royal College of Art is rightly proud of its graduates achievements. Alumni from the RCA form part of an international network of creative individuals who have shaped and continue to shape our culture. Well-known Fine Art alumni include: Frank Auerbach, Christiane Baumgartner, Peter Blake, Victor Burgin, Jake Chapman, Tony Cragg, Dexter Dalwood, Adam Dant, Richard Deacon, Tracey Emin, Ori Gersht, Barbara Hepworth, David Hockney, Tom Hunter, Idris Khan, Henry Moore, Tim Noble, Chris Ofili, Marilne Oliver, Chris Orr, Bridget Riley, Hannah Starkey, Gavin Turk, Nick Waplington, Richard Wentworth and Carey Young.

  • Contemporary Art Practice Led by Dr Mel Jordan, Reader in Art & the Public Sphere, Contemporary Art Practice incorporates practices that exceed the specificity of the well-established disciplines at the Royal College of Art, facilitating students engagement with the histories, theories and expanded practices of Fine Art. Students will be committed to developing and foregrounding the conceptual and social ideas in their practice, while engaging with appropriate material and technical concerns for making contemporary art now. The programme is delivered through four distinct pathways: Critical Practice, Moving Image, Performance and Public Sphere, and your application should stipulate which pathway you wish to study. Critical Practice is delivered with MA Critical Writing in Art & Design in the School of Humanities. Contemporary Art Practice students have access to all facilities within the School of Fine Art. The programme has specialist pathway leaders in order to facilitate a distinct engagement with specific areas of contemporary art practice. Studio-based and focused on supporting the artistic practice of its students, Critical Practice, led by Jeremy Millar, offers regular seminars exploring emerging ideas and bodies of theory as well as opportunities to work with organised forms of knowledge such as public archives and institutions.

    Moving Image, led by Jane Wilson, is aimed at artists using film and video, and practitioners working in the areas of documentary film, film and fiction cinema practitioners who wish to draw upon, challenge and re-map established realms of practice. The diversity of approaches employed in the pathway reflects the new reality of contemporary moving image. Performance, led by Professor Nigel Rolfe, happens in the here and now and not the there and then. Unlike many practices, where time is historic, and the image presented is necessarily an archive or record, being and doing are more immediately significant in live time, and the expectation is that in the contemporary artists are often presenting work that is not made in advance but rather happening now. Public Sphere, led by Dr Mel Jordan, is a major research area in the School, and the pathway supports expanded engagement with art and its publics as well as arts social function. Social art practices have featured as a key force in the rise of the global biennale as well as being utilised by the Occupy movement. Therefore questions about public space, participation, collaboration and collective action are becoming essential principles within the production of contemporary art both in terms of practice and theory. ca

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  • Painting Led by Professor David Rayson, the Painting programme is committed to broadening the understanding of the discipline in all its forms. Paint is a fluid material and ideas surrounding what painting is, has been and can be are being continually reflected upon, and actively explored. Students and staff rigorously, critically and supportively engage in personal tutorials, group critiques and presentations. These discussions and critical forums take place in the Painting studios, across the College, through visits to galleries and major exhibitions both in this country and abroad, and through collaborations with partner institutions. Our students are here to reflect upon and play out what kind of artist they want to be how best to serve and challenge their personal agendas in relation to current discussions and developments within the scope of contemporary painting, and the broader cultural realm. The student experience is supported by the Painting programme, the opportunities and events that are timetabled across the School of Fine Art, and the Critical & Historical Studies schedule. The programme is designed and delivered to support our graduates in developing art practices that are sustainable and meaningful to each artists particular ambitions and operate at the highest levels of the contemporary art world.

    Photography Led by Professor Olivier Richon, the Photography programme provides a critical and educational environment in which students develop as artists with photography at the core of their practice. Our approach to photography relates to practices and theories of contemporary art, rather than media and communication. We have a fluid approach to image making; whether still or moving, analogue or digital, the photographic image is for us a visual form that aims to be thoughtful as well as playful: an allegorical and thoroughly visual form. The programme understands photography as a medium with no fixed identity. This disregard for a fixed essence is photographys strength: no aesthetic purity but a multiplicity of rhetorical forms used for the creation of fact, fiction and fantasy. Our students have developed ways of working to address questions of narrative, signs and meaning. Central is a fascination with the power of the image to disrupt language and reason, an iconophilia that celebrates the imaginary. For many, photography engages with the mind an art of imaginary solutions. An informed practice of photography acknowledges the heterogeneous traditions of fine art and visual culture. It also engages with practices of reading and writing about the image. Here, theory and practice inform each other and this dialogue characterises committed study at postgraduate level. p

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