Daniel Toca, Museum of Portable Sound. Hamilton's Cafe, 28 Jan 2017. [ARTCRAWL]#10: Mayfair to Fitzrovia, Curated by Cristina Sousa Martinez. Photo by John Kannenberg.

ALTERNATIVE (ART) EDUCATION & RADICAL PEDAGOGY

ALTERNATIVE (ART) EDUCATION & RADICAL PEDAGOGY

For more titles on alternative art education see School of the Damned‘s online Open Library, Antiuniversity Now‘s collaborative public reading list on radical education and anarchist pedagogy (where you can add your own suggestions), and Evening Class‘s themed are.na resource sharing and bookmarking channel.

Allen, Felicity (2011). Education (Documents of Contemporary Art). London: Whitechapel Gallery & MIT Press.

Art Monthly (2008). The Future of Art Education Special Issue. Art Monthly #320, October 2008.

Ashill, Kathryn (2013). Symposium report: alternative art schools. a-n blog.

Bailey, Michael and Des Freedman eds. (2011). The Assault on Universities: A Manifesto for Resistance. London: Pluto Press.

Bakhshov, Nadim (2015). Against Capitalist Education: What is Education For? Alresford: Zero Books.

Bayerdoerfer, Mirjam and Rosalie Schweiker eds. (2017). Teaching for people who prefer not to teach. AND Publishing.

Beck, John and Matthew Cornford (2014). The Art School and the Culture Shed. Kingston Upon Thames: The Centre for Useless Splendour. John Beck and Matthew Cornford have been tracking down and photographing the sites of British art schools for around five years. While many towns in the UK used to have a dedicated art school, now there are only a handful left; most of the buildings have been repurposed or demolished. Instead of educational institutions dedicated to the study of art and design, British towns are now more likely to contain signature gallery and museum buildings intended, in part, to contribute to local regeneration, heritage, and/or tourist agendas. What does the decline of the local art school and the rise of the ‘destination’ art gallery tell us about changing ideas about the function of art, its possible civic purpose, and the relationship between participation and spectatorship? For a copy of the book please contact Dean Kenning. For further information the project email John Beck or Matthew Cornford.

Beech, Dave (2014). Teaching the Unteachable. Art Monthly 377, June 2014, pp. 8-10.

Belzer, Heike and Daniel Birnbaum eds. (2007). Kunst Lehren — Teaching Art. Frankfurt: Städelschule, & Cologne: Walther König. The Frankfurt am Main Stadelschule, and its gallery Portikus, form an international center for experimental contemporary art. This publication is authored by contemporary Stadelschule professors and visiting lecturers, including Pamela Lee, Niklas Maak, Jan Verwoert and Okwui Enwezor, who discuss what teaching art means in the context of a contemporary academy, and at what point the art market should be introduced in a student’s education. It serves as an example of the kind of discourse available to Stadelschule students, as there is always in residence an impressive international cast of artworld practitioners.

Birnbaum, Daniel (2007). The Art of Education. Artforum Vol. 45/10 (Summer 2007), pp. 474-477. This article is relevant to students’ interests, partly because we are at the cusp of a dramatic change in art education as more and more the student becomes the customer and education becomes a commodity. Where does the art school stand in relation to these changes? More and more art education is being standardised and drawn further into the university system both physically and in terms of financial logistics. There is a concern that art school has become too much of a production line. It pre-determines what art should be rather than a developed by the students. “Its as though the work that you will produce by the end of the course is pre-ordained in some way”. There seemed to be a concern that art schools were changing because of the idea of money being involved, it seems as though you are buying something rather than coming to invest something of yourself. Everything else ought to be provided because it is your ‘right’. The main bulk of the discussion was centred around the argument in relation to our personal situation at MMU and how we can apply these concepts to our own education.

Birnbaum, Daniel (2009). Teaching Art: Adorno and the Devil. In Art School (Propositions for the 21st Century), Steven Henry Madoff ed. Cambridge: MIT Press, pp. 231–246.

Bourgeois, Vera ed. (2007). Art Mistresses: Between Classrooms and Studio. Cologne: Salon.

De Ville, Nicholas and Stephen Foster ed. (1994). The artist and the academy: issues in fine art education and the wider cultural context. Southampton: John Hansard Gallery.

De Ville, Nicholas (2000). Richard Hamilton: Art Schools and Influence: A Case History. In Things: Assemblage, Collage since 1935, K. Fijalkowski ed. Norwich: Norwich Gallery.

Duve, Thierry de (2005/1994). When Form Has Become Attitude – And Beyond. In Theory in contemporary art since 1985, Zoya Kocur & Simon Leung ed. Malden, MA: Blackwell Publishing, pp. 19-31.

Coatman, Anna (2016). What next for art schools? Times Higher Education, 17 March 2016

Corris, Michael (2012). The Un-artist. Art Monthly 357, June 2012.

Elkins, James and Cornelia Sollfrank (2008). Art Education Is Radically Undertheorized. An interview with James Elkins by Cornelia Sollfrank. Dundee: Dundee Contemporary Arts, Visual Research Centre.

Elkins, James (2001). Why Art Cannot Be Taught: A Handbook for Art Students, Illinois: University of Illinois Press.

Five Years (2012). This is Not a School. London: Five Years. Documentation of a diverse programme of events collected by open invitation that responded to the phenomenon of the ‘alternative education project’ in the form of a one-hour ‘participatory activities’ that questioned the ‘Free School’ structure and its wide ranging history and ethos.

Foster, Hal (1984). (Post) Modern Polemics. New German Critique No. 33, Modernity and Postmodernity (Autumn, 1984), pp. 67-78.

Foster, Sesshu (2015). How is the artist or writer to function (survive and produce) in the community, outside of institutions? East Los Angeles Dirigible Transport Lines, 10 July 2015.

Freire, Paulo (2005/1968). Pedagogy of the Oppressed. New York: Continuum.

Gillick, Liam et al (2009). Nobody Asked You to Do Nothing/ A Potential School. In Art School (Propositions for the 21st Century), Steven Henry Madoff ed. Cambridge, Mass: MIT Press. pp. 247–252.

Glazek, Christopher and Sean Monahan (2013). Certainty of Hopelessness: A Primer on Discharging Student Debt. Los Angeles: Paper Chase Press. While bankruptcy protocols are always complex, student debt is loaded with its own special brand of illegibility. Debtors are misled into thinking that discharging student loans is impossible and shamed into treating the mere notion of relief as a form of welfare. Our intention was to map the possibilities for broke postgrads interested in taking a more adversarial approach to dealing with their debt. Guides like Strike Debt’s Debt Resistors Operations Manual help combat the vilification of debtors and address pragmatic concerns about keeping loans out of default. (n+1)

Hall, Gary (2016). The Uberfication of the University. Minnesota: University of Minnesota Press. The contemporary university’s implications for the future organization of labor. The Uberfication of the University analyzes the emergence of the sharing economy and the companies behind it: LinkedIn, Uber, and Airbnb. The book considers the contemporary university, itself subject to such entrepreneurial practices, as one polemical site for the affirmative disruption of this model.

Haworth, Robert H. ed. (2012). Anarchist Pedagogies: Collective Actions, Theories and Critical Reflections on Education. Oakland: PM Press.

Hooks, Bell (1994). Teaching to Transgress: Education as a Practice of Freedom. New York: Routledge.

Institute for Precarious Consciousness (2014). Anxiety, affective struggle, and precarity consciousness-raising. Interface: a journal for and about social movements, Vol. 6/2 (Nov 2014), pp. 271 – 300. (Nov 2014).

Institute for Precarious Consciousness (2014). Six Theses on Anxiety & the Prevention of Militancy. Critical Legal thinking,

Jacobi, Silvie (2017). Alternative Art Schools in London: Contested Space and the Emergence of New Modes of Learning in Practice. In Art and the City, Jason Luger and Julie Ren eds. London: Routledge. With the substantial increase of tuition fees in England and Wales in 2012, a number of alternative art schools were set up in London to offer an affordable option to higher education in fine art. While exploring how these schools meet the demand of the art world, the chapter focuses on the complex relationship between space and art practice in determining their educational formats and modes of operation. This includes the discussion around how the schools engage with different local publics and emphasises the role they play in using contested space.

Jakobsen, Jakob and Henriette Heise (2007). WE HAVE WON! Copenhagen Free University.

Jakobsen, Jakob (2013). Pedagogy of Negating the Institution. Metamute, 14 Nov 2013.

Jakobsen, Jakob (2015). The Antiuniversity of London: an Introduction to Deinstitutionalisation. The Antihistory Project.

Julie Ault & Martin Beck (2006). Drawing Out & Leading Forth. In Notes for an Art School, Florian Waldvogel, Anton Vidokle, Mai Abu ElDahab ed. Amsterdam: Manifesta Foundation. Looks closely at some of the recent changes that have taken place in art school education, interrogating different models of teaching and the ideologies inherent within them. Taking a comparative approach, offers insight into how American models have influenced European trends, leading to business-orientated structures. In turn this is seen to produce an economy of hyper-professionalism amongst a new generation of artists, undermining the historical commitments of the art school as an alternative educational institution.

Kanes Weisman, Leslie, Cristina Cerulli and Florian Kossak (2009). Educator, Activist, Politician. Leslie Kanes Weisman in conversation with Cristina Cerulli and Florian Kossak. Field Journal, vol.3/1, Agency and the Praxis of Activism (Dec 2009).

Kenning, Dean (2013). Towards a Critical Art School. What’s the Point of Art School? Central St Martins, 25 April 2013.

Kenning, Dean (2010). The Artist as Artist. Art Monthly 337, June 2010, pp. 7-10.

Koszerek, Pippa (2001). The Independent Art School Conference. Journal of Visual Art Practice Vol. 1/2 (2001), pp. 111-115.

Kraus, Chris (2015). (The Ambiguous Virtues of) Art School. AKADEMIE X: Lessons in Art + Life. Phaidon. Republished on Artspace, 2 March 2015.

Lasswell, Mark (1991). True Colors: Tim Rollins’s Odd Life with the Kids of Survival. New York Magazine, 29 Jul 1991.

Leonard, Allenna (1999). A Viable System Model: Consideration of Knowledge Management. Journal of Knowledge Management Practice, August 1999. Contends that individual and organizational knowledge is difficult to value and therefore difficult to manage. Looks at the management of knowledge from the perspective of the individual, the network and the organization using Stafford Beer’s Viable System Model, a powerful descriptive and diagnostic tool to map management capacities and promote viability.

Llewellyn, Nigel (2015). The London Art Schools: Reforming the Art World, 1960 to Now. London: Tate. Since 1960, progressive forces within art education have fired new impulses in the field of artistic production. As society at large embraced youth and popular culture, art school students with international aspirations exploded class barriers, fused fashion with Pop and insisted that art was integral to social change. Art schools across Britain, and notably in London, responded to these seismic changes, beginning to widen the range of artistic exploration from a craft-based curriculum to more art-historical and experimental approaches. A new generation emerged, whose techniques, perspectives and arguments were more influenced by ideas of art theory and personal exploration than draftsmanship and life-drawing, and whose forms of expression maintain their influence on artists today. Now, for the first time, this history of innovation is uncovered by scholars in the field who, across nine thematic chapters, address key aspects of a dynamic period, from the work of early pioneers in international styles, through to changes in studio practice, and new roles in the art school for art history, architecture and the art market. This essential survey will appeal to students, scholars and practising artists, as well as everyone fascinated in the workings of the contemporary art world. Nigel Llewellyn is a freelance art historian and curator. He was Director of the Research Centres programme at the Humanities Research Council before leaving in 2007 to establish the Research Department at Tate.

Madoff, Steven Henry ed. (2009 ). Art School (Propositions for the 21st Century). Cambridge MA: MIT Press. The last explosive change in art education came nearly a century ago, when the German Bauhaus was formed. Today, dramatic changes in the art world—its increasing professionalization, the pervasive power of the art market, and fundamental shifts in art-making itself in our post-Duchampian era—combined with a revolution in information technology, raise fundamental questions about the education of today’s artists. Art School (Propositions for the 21st Century) brings together more than thirty leading international artists and art educators to reconsider the practices of art education in academic, practical, ethical, and philosophical terms.

Malik, Suhail (2000). Notes on the Pedagogical Pragmatics of Art School Activities. Drawing Fire: The Journal of the National Association of Fire Art Education, vol 2, no 5.

Meineche Hansen, Sidsel and Tom Vandeputte eds. (2015). Politics of Study. Occasional Table No. 5. Open Editions. “Drawing on feminism, traditions of self-organisation and pointed analyses of capitalist education, the conversations collected in this volume provide compelling reports on the political and vocational challenges confronted by those involved in inventing institutions and practices of learning in and against late neoliberalism” (Alberto Toscano)

Morrill, Rebecca ed. (2015). Akademie X: Lessons in art + life. London & New York: Phaidon Press.

Neary, Mike (2010). Student as producer: A pedagogy for the Avant-Garde; or, how do revolutionary teachers teach? Learning Exchange, Vol. 1(1). 

Plummer, Thomas G. (1990). Diagnosing And Treating The Ophelia Syndrome. Faculty lecture, Delta Phi Alpha, German Honor Society, 5 April 1990.

Precarious University (2016). Towards A New Concept Of The Art School. Symposium Minutes

Precarious Workers Brigade (2017). Training for Exploitation? Politicising Employability and Reclaiming Education. Foreword by Silvia Federici. London: Journal of Aesthetics & Protest. A critical resource pack for educators teaching employability, ‘professional practice’ and work-based learning. Authored by the Precarious Workers Brigade and designed by Evening Class. Provides a pedagogical framework that assists students and others in deconstructing dominant narratives around work, employability and careers, and explores alternative ways of engaging with work and the economy. Statistics and workshop exercises on precarity, employment rights, cooperation & solidarity. As a feminist I recognise many of these tools from past and contemporary practices of consciousness raising. They are effective and I encourage readers to use them (Silvia Federici), paperback or free PDF.

Radical Education Forum (2012). Radical Education Workbook.

Ranciere, Jacques (1991). The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation. Trans. & Intro. Kristin Ross. Redwood: Stanford University Press.

Ranciere, Jacques (2007). The Emancipated Spectator. Artforum 45/7 (March 2007), pp. 271-280. 

Reardon, John and David Mollin (2009). Ch-ch-ch-changes: artists talk about teaching, London: Ridinghouse. A guide for artists, teachers and students, this volume of interviews focuses on artists teaching in Europe, bringing to light their endeavours to survive within art education. The interviews provide insight into teaching and the artist-teacher. Offering a wide range of perspectives on the teaching of art, teachers share different approaches to teaching and the rewards of their dual-roles. The artists have been selected from institutions including Central St Martins, Glasgow School of Art, Städelschule Frankfurt, Kunstakademie Münster.

Reekum, Rogier van ed. (2015). The New University: A Special Issue on the Future of the University. Krisis journal for contemporary philosophy, Issue 2 (2015). Amsterdam: Stichting Krisis.

Rowles, Sarah (2013). Art Crits: 20 Questions. A Pocket Guide. London: Q-Art.

Rowles, Sarah (2011). 11 Course Leaders; 20 Questions. London: Q-Art.

Rowles, Sarah (2010). Debate. A-N Magazine Jul-Aug 2010.

Rubinstein, David and Colin Stoneman eds. (1972). Education for Democracy. Harmondsworth: Penguin.

Situationist International and students of the University of Strasbourg (2000/1966). On the Poverty of Student Life: Considered in its Economic, Political, Psychological, Sexual, and Especially Intellectual Aspects, with a Modest Proposal for Doing Away With It. Detroit: Black and Red. Written by Tunisian Situationist Mustapha/Omar Khayati. Pamphlet published by the student union of the University of Strasbourg and handed out at the official opening of the university in November 1966. The student union was subsequently closed by court order. Online versions nothingness.org (includes the judge’s summation) / Bureau of Public Secrets (annotated) / Situationst International Online (annotated, translated by Ken Knabb).

Springer, Simon, Marcelo Lopes de Souza and Richard J. White eds. (2016). The Radicalization of Pedagogy: Anarchism, Geography and the Spirit of Revolt. Lanham: Rowman and Littlefield.

Steinweg, Marcus (2009). Nine Theses on Art. Art & Research Vol. 3. No. 1. Winter 2009/10.

Suchin, Peter (2011). Rebel without a Course. Art Monthly 345, Apr 2011 & Letters.

Suissa, Judith (2010/2006 ). Anarchism and Education: A philosophical perspective. Oakland: PM Press. First published 2006 by Routledge.

Sutton, Isabel (2014). Is this the end of the British art school? New Statesman, 20 Nov 2014. Current debates around art school economies in the UK.

Thorne, Sam (2017). School: A Recent History of Self-Organized Art Education. New York: Sternberg. A chronicle of self-organized art schools and artist-run education platforms that have emerged since 2000. 20 conversations conducted by Thorne with artists, curators and educators from projects in London, Lagos, Los Angeles, Mexico City, Ramallah, Berlin and Saint Petersburg and other locations on student debt, MFA education and the pedagogical turn, with proposals for the future of art education. Contributions by Bik Van der Pol, Bruce High Quality Foundation University, Tania Bruguera, Chto Delat?, Sean Dockray, Olafur Eliasson, Ryan Gander, Piero Golia, Fritz Haeg, Pablo Helguera, Jakob Jakobsen, Ahmet Öğüt, Yoshua Okón, Open School East, Rupert, Wael Shawky, Tina Sherwell, Bisi Silva, Christine Tohme, Anton Vidokle etc.

University for Strategic Optimism (2011). Undressing the Academy, or The Student Handjob. London: Minor Compositions, Brooklyn: Autonomedia.

Waldvogel, Florian, Anton Vidokle and Mai Abu ElDahab eds. (2006). Notes for an Art School. Amsterdam: Manifesta 6 School Books.

Warner, Marina (2014). Why I Quit. LRB Vol. 36, No 17 (11 September 2014), pp. 42-43.

Woolard, Caroline (2015). Pedagogies of Payment. The Enemy, 11 Nov 2015. How rising tuition disciplines students and why artists are organizing artists to demand policy reform.