A student, lecturer, and Fellow at The Royal College of Art and Committee member and friend to the RCA Society.
Exorcising the Fear: British Sculpture from the 1950-60s, 11th Jan - 3rd Mar 2012
During 1971 the students, staff and ancillary workers contributed towards an analysis of the RCA, which after much discussion and amendment was published as the RCA-Redefined, which proved an important catalyst in changing the educational opportunities and social structure of the college.
It followed the many challenges to the old divisions that dominated art education, allowing for the development of mixed-media collaborations and conceptual notions that are now commonplace, even creating a new orthodoxy that has provoked challenges.
This giant relief is also in the round. The ambiguity is intended as a response to the clear but complex subject matter. The subject is the late painter Lucian Freud, my father. This portmanteau of equal forms joins with a cobra like rim bringing the obverse and reverse together. A hollow inverse inhabits the interior leaving space for the imagination: the projections packed in by so many artists, admirers and his fascinated entourage.
The RCA Society were sad to hear of the death of Kim James (2011). Kim took an active part in the Society and was a dynamic “judge” in the RCA Society and Thames & Hudson Art Book Prize (2002).
That year he also had a retrospective exhibition at St Mattews Church in Bethnal Green where he had completed his first commission in 1960:
In the wake of the current economic crisis the government’s response was to make massive cuts throughout public services, damaging health, welfare and education. It has prompted a massive political protest from students, trade unionists, and pensioners to professional bodies, community organisations and religious organisations. All forms of action have been developed from strikes, sit-ins and occupations that have inspired many who would otherwise have not become involved..
May Ayres studied Illustration at the RCA during the early 1970s. For a number of years she has transposed her illustrators skills to ceramics. At the same time both the strength and fragilityof the fired material lends itself to the subject matter she has pursued - the human condition in extreme situations - not natural conditions but cruel situations - ones manufactured by tyrants and oppressors: war - torture. May acknowledges that some of the works in this exhibition are horrible - that is about horrible subjects.
This year's AGM took place on Sunday morning 18 September at AND 'EventSpace 1'. Members arrived for coffee at 11am. The well attended meeting got underway with the presentation of the Annual review and the annual accounts. Members discussed a number of issues that were highlighted in the review particularly the relationship between the Society and the Royal College of Art. It was again felt that the Society had an invaluable role to play in connecting fine art and design practitioners who had studied at the RCA along with all members of staff - whether professors or administration.
As part of the continuing dialogue around art and design practice the RCA Society organised an event which brought together twenty different 'works of art' for presentation and discussion. The invitation stated that the works should be submitted with a "bullish" valuation and publicly presented by their "creator" or "representative". Through the individual presentations the work's true value would be revealed and subsequently accepted or rejected by the gathered audience of 'experts'.
Alison Wilding exhibition
New Art Centre East Winterslow, Salisbury
10 September - 6 November 2011
RCA Society members took a day trip to the New Art Centre in the Wiltshire countryside. Our main reason to visit the centre was to see an exhibition of works by Alison Wilding "How the Land Lies".