Art teachers and students are in a bind. They do not teach or learn art, but they also cannot talk too much about the fact that they do not teach or learn art.James Elkins, 2001
Strange to say how little has changed. The voice of management and the equal and opposite choruses of the rational planners and the creative spirits drone on undiminished. They say you should be wary of what you desire lest you are granted that which you wish for. The elevation of modular over linear teaching programmes, the educational incorporation of theory, the breakdown of the modernist medium specificity, the critique of the (mostly male) expressive author, perhaps even a questioning of the western canon were all songs in our radical repertoire. Yet in fact that these have come to pass and now count, if not as the norm, then as significant components of a contemporary education in art and design, has been in the end less significant than the fact that the underlying structure (and of course the wider structure-beyond-the-structure) has remained intact.Paul Wood, 2008
Right at the centre of fine art education is something nobody really wants to talk about….The neglected topic is nothing less than the definition of the subject itself.David Sweet, 1992
These writers are asking questions about what lies at the core of fine art education. This one day event offers a forum in which to discuss the nature of the Fine Art curriculum, and to reflect upon how it has changed – or not, since it’s introduction in the 1970s.
9.00Registration & coffee
9.30 -10.15 NAFAE Annual General Meeting
- Minutes AGM 2015 and matters arising
- Chairs report - Paul Haywood
- Secretary's report - Maggie Ayliffe
- Treasurers report - Linden Reilly
- J.V.A.P. - Chris Smith
- Nominations for chair
10.30 -10.40 Symposium Welcome and Introduction by Paul Haywood
10.40–11.00 Alec Shepley – University of Lincoln;
Art Schools as Heterotopias.
11.00-12.15 Strand A presentations chaired by Chris Mc Hugh:
Martin Newth – Chelsea School of Art, UAL;
Territories of Practice and The Fall of the Studio: Expanding space for risk, collaboration and agency.
Maggie Ayliffe and Christian Mieves – University of Wolverhampton;
Dirty Practice: Painting and the Hidden Curriculum.
Joe Woodhouse - University of Sunderland;
The Hidden Curriculum: Foundation Art and Design, pedagogies past and present.
11.00-12.15Strand B presentations chaired by Jill Journeaux:
Deborah Jackson - Edinburgh College of Art;
Approaching Alternative Organisation.
Katrine Hjelde - University of the Arts London;
Paradox and Potential: Fine art employability and enterprise perspectives.
Matthew Cornford and Susan Diab – University of Brighton;
The Art School, the Art Student and the Post 1992 University.
Jennifer Walden - Academic Faculty of Technology University of Portsmouth (formerly in the School of Art and Design);
A different take on “The Hidden Curriculum” in Fine Art education.
11.00 – 12.15 Strand C presentations chaired by Jill Journeaux
Renée Turner - The Willem de Kooning Academy, Hogeschool Rotterdam;
Outside of the Binary: Reconsidering the Relation Between Alternative and Accredited Art Schools
Natasha Kidd - Bath School of Art and Jo Addison - Kingston University;
By Instruction: No Working Title Misunderstanding, misinterpretation, failure and disappointment. The unstable intersection between what is instructed and how it is Interpreted.
Stuart Bennett - Edinburgh College of Art, University of Edinburgh;
A work of art is as useless as a tool is useful.
Susan Liggett and John McClenaghen – Glyndwr University, N. Wales;
It wasn’t what I thought I was making”: Managing uncertainty in a speculative space
12.15–12.45 Round Table discussion led by Chris McHugh and Jill Journeaux
2.00-2.15 Rebecca Fortnum will offer overview of Hidden Curriculum strand at PARADOX event
2.20-3.40 Strand D presentations chaired by Jane Ball:
Stephen Felmingham, - Plymouth College of Art;
Arguing out a Space: re-visioning criticality and student conference in a professionalized sector.
Dean Hughes - Edinburgh College of Art;
What is the role of written practice within contemporary fine art education?
Sheila Gaffney - Leeds College of Art;
Jake Jackson – Glasgow School of Art;
Self–organised – De-centralised behavior without the rewards.
2.20-3.40 Strand E presentations chaired by Chris Smith:
Sarah Rowles - Glasgow School of Art / Director Q-Art
Alistair Payne, Glasgow School of Art;
Who Is Hiding Now?
Catherine Maffioletti – Ravensbourne College of Design;
So Many Ways to Practice: Research Methodologies: an unstable cartography of embodied pedagogics for embedding interdisciplinary arts/design practices.
Sean Kaye - Leeds College of Art;
blip blip blip – An Independent Curatorial Programme as Unofficial Module.
3.40-4.40 Round-table discussion led by Jane Ball, Lisa Stansbie and Chris Smith
4.40 Closing remarks Paul Hayward.
5.00 Drinks reception at Whitechapel Gallery - Paul Haywood
Directions:Aldgate and Aldgate East tube stations, served by the Circle, Metropolitan, District and Hammersmith & City lines. Bank, Liverpool Street, and Fenchurch Street are a short walk away (10 mins).
If you arrive at Aldgate East go to the opposite end of the platform from the Whitechapel exit, and then take Exit 2, High Street (north side).