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.



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

1000 Little Hammers (2011). Dispatches from the Ruins: Documents and Analyses from University Struggles, Experiments in Self-Education. 1000 Little Hammers.

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 (Oct 2008).

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

Aronowitz, Stanley (2001). The Knowledge Factory: Dismantling the Corporate University and Creating True Higher Learning. Boston: Beacon Press.

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.

Bhambra, Gurminder, Dalia Gebrial and Kerem Nisancıoglu (2018). Decolonising the University. London: Pluto Press. Students, activists and scholars discuss the possibilities and the pitfalls of doing decolonial work in the home of the coloniser, in the heart of the establishment. Subverting curricula, enforcing diversity, and destroying old boundaries, the book offers resources for students and academics to challenge and resist coloniality inside and outside the classroom and provides tools for pedagogical, disciplinary and institutional change.

Bigakkō, Mike Fu, Yamamoto Hiroki eds. (2019). History of Bigakkō from its Founding until 2019, trans. Caroline Mikako Elder, Bunka-cho Art Platform Japan. In Bigakkō 1969-2019: The Free and Experimental Academy. Tokyo: Shobunsha, pp. 56-70. Founded in 1969 by publisher Gendai Shichōsha, the Bigakkō is well-known for its opposition to the mainstream academy system. Still active as of 2022, the school has over the years welcomed a long list of instructors including Matsuzawa Yutaka, Akasegawa Genpei, Aida Makoto, and Ushiro Ryūta (Chim↑Pom from Smappa!Group). More archival than analytical, this text offers a firsthand overview of the Bigakkō’s first 50 years. Of particular interest are accounts of the school’s founding in 1969, near-closure (and separation from Gendai Shichōsha) in 1975, as well as descriptions of the school’s instructors and titles of the classes they taught.

Billuart, Morgane, Sepp Eckenhaussen, Dunja Nesovic (2021). Post-Precarity Zine: Toolbox for Beginning Artists. Amsterdam: Institute of Network Cultures and the Learning Community Critical Making & Learning Through Design. A collection of extracts, testimonials, reports, summaries, drawings and notes from the first Post-Precarity Precarity Autumn Camp, organised by INC, Platform BK and Hotel Maria Kapel in 2021 to discuss the ways in which the narrative around art and its practices has changed and can be geared towards the future. Includes an open letter to Dutch art academies with demands for change, an essay on principles for post-precarity, references and exercises.

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.

Clowes, Daniel (1991). Art School Confidential. Eightball #7 (Nov 1991).

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.

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.

DIS Magazine (2012). The Art School Issue. DIS Magazine. Featuring DIS’s art school trend report, LuckyPDF, Martha Rosler, Sarah Lookofsky, Rose Marcus, JEQU, Brad Troemel, Chris Kasper, Ernesto Pujol, Timur Si-Qin, Katja Novitskova, Agatha Wara, Paul Mpagi Sepuya, W.A.G.E. and others.

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.

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.

Filliou, Robert (1970). Teaching and Learning as Performing Arts. Cologne: Kaspar Konig.

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 (n+1). 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.

Guardiola, Pablo (2023). Unifying Agents: Emancipation and Art Education in the Caribbean RAY | RAYO | RAYON. e-flux Education (Jun 30, 2023). Discusses the economic and political costs of art education for Caribbean artists and argues that the dependency on foreign institutions creates unequal relations, in which Caribbean artists are often forced to become immigrants or second-class citizens in other countries. The article also discusses the challenges of mobility within the Caribbean Basin, which are largely due to colonial structures and the economies associated with tourism. Introduces RAY|RAYO RAYON, an interdisciplinary and experimental art education programme for the Caribbean that is currently under development.

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.

Harney, Stefano and Fred Moten (2013). Undercommons: Fugitive Planning and Black Study. Wivenhoe: Minor Compositions.

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

Holert, Tom (2020). Knowledge Beside Itself: Contemporary Art’s Epistemic Politics. Berlin: Sternberg. Delves into the emphasis placed in recent years on notions such as “research” and “knowledge production.” Contemporary art is viewed here as a strategic bet on the social distinctions and value extractions made possible by claiming a different, novel access to knowledge. What is the role and function of contemporary art in economic and political systems that increasingly manage data and affect? Discusses the practice of artists such as Christine Borland, Tony Chakar, Natascha Sadr Haghighian, Adelita Husni-Bey, Jakob Jakobsen, Claire Pentecost and Pilvi Takala.

Holert, Tom (2009). Art in the Knowledge-based Polis. e-flux Journal 3 (Feb 2009).

Holland, Pat dir. (1970). The Hornsey Film. UK, 60min. Documentary that reconstructs the arguments and succession of events that led to the occupation of Hornsey College of Art between May and July 1968. 

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

Illich, Ivan (1971). Deschooling Society. New York, Harper & Row.

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,

Ivison, Tim and Tom Vandeputte (2012). Contestations: Learning From Critical Experiments in Education. London: Bedford Press. Range of artists and theorists consider the state of education and learning in light of political struggle, institutional crisis and new media platforms. Focuses on creative experiments and projects in education, facilitating a conversation about the future and directions of educational challenges which exist in current academic models. Contributions by Jakob Jakobsen, Nils Norman, Ultra-red, Gregory Sholette, Franco ‘Bifo’ Berardi.

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.

Jahoda, Susan and Caroline Woolard, BFAMFAPhD (2019). Making and Being: Embodiment, Collaboration, and Circulation in the Visual Arts. Brooklyn: Pioneer Works.  A framework for teaching art that emphasizes contemplation, collaboration, and political economy. The authors, two visual arts educators and members of the collective BFAMFAPhD, share ideas and teaching strategies that they have adapted to spaces of learning which range from self-organized workshops to Foundation, BFA and MFA thesis classes. Making and Being includes activities, worksheets and assignments in the form of a book, a series of videos, a deck of cards, and an interactive website.

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

Jakobsen, Jakob ed. (2012). Antiuniversity of London: Antihistory Tabloid. London: MayDay Rooms.

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 (2012). Refusing conformity and exclusion in art education. Metamute, 22 Mar 2012. While experimentation and activism often focus on art school education or education as art, there is a tendency to ignore the influence of corporate public pedagogy which is poisoning the roots of art education in the UK’s schools. Kenning argues that art pedagogy can only be radical if it takes on the exclusions and market bias which are impoverishing educational culture.

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

Kenning, Dean (2018). Art world strategies: neoliberalism and the politics of professional practice in fine art education. Journal of Visual Art Practice. Explores how the expansion of professional practice on fine art courses in the UK could be detrimentally impacting on the critical and political ambitions of art education. Argues that the current student fees-debt regime institutes a neoliberal model of higher education with a focus on ‘enterprise’, directing student subjectivity towards competitive opportunity seeking market strategies. Proposes a critical professional practice capable of transcending the ‘reality’ of individualist, market competition while addressing real world issues of work, career and finance. Concludes with a discussion of where ethical responsibility lies for fine art educators.

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.

Lisker, Roy (1968). The Antiwar Movement in New York City 1965-67. Ferment Magazine / Les Temps Modernes. Lisker’s account of his experience at the Free University of New York. He describes the initial enthusiasm within this trans-disciplinary and self-organised university from Nov 1965 to Summer 1966. Later sectarian politics increasingly marginalised the diversity of the project, with the founders Allen and Sharon Krebs and James Mellon limiting the experimental space in favour of political discipline. The Krebes and James Mellon were officers in the New York chapter of Progressive Labor Party, a Maoist inspired party, and this political association became clear after Summer of 1966 where they became outspoken. According to Lisker FUNY became a Progressive Labor Party institute for the teaching of Maoism.

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.

 Manifesto Club (2008). Towards a Free Art School. Manifesto Marathon, Serpentine Gallery (19 Oct 2008). Presented by Doug Fishbone. Formed in 2006, Manifesto Club’s Artistic Autonomy Group was a network of artists, arts administrators, researchers and students who wanted to defend artistic freedom against restrictive policies and practices. Members include JJ Charlesworth, Josie Appleton, Sonya Dyer and Emma Ridgway. The 2007 campaign, Boxed In, addressed diversity schemes in arts funding, and the 2008 report focuses on freedom in art schools. The larger organisation, Manifesto Club, is a pro-human campaigning network based in London. The aim is to bring together individuals who believe in developing people’s creativity and knowledge. Manifesto Club’s agenda is for a 21st-century Enlightenment – to build a future where human potential is developed to the fullest extent possible. Campaigns are developed through discussions, salons, events, petitions essays and reports. (Manifesto Pamphlet, Manifesto Marathon 2008).

Martin, Stewart (2008). Pedagogy of Human Capital. Mute Vol 2, No. 8: Zero Critical Content/No Added Aesthetics (Apr 2008). Post-Fordism’s appetite for self-directed activity is bringing about a crisis in progressive education. No longer perceived as threatening, a work force trained to think for itself has become highly desirable. So what should an emancipatory education entail today?

Maude-Roxby, Alice and Joan Giroux ed. (2014). Anti-Academy. Southampton: John Hansard Gallery. Book, exhibition and symposium that examined the ideas, processes, workshops and legacies of three radical educational models of the 1960s: Bigakkō in Tokyo, Intermedia Program at the University of Iowa, and Ex-School in Copenhagen. Anti-Academy provides an interpretation of how these academies situated themselves on the peripheries of the art world, existing in opposition to the mainstream and responding to the political, social and cultural climate of the day. The publication includes interviews with the artists and their students and contextual essays by Yoshiko Shimada, Jessica Santone, William Marroti, Alice Maude-Robxy and Tania Orum. Bigakkō was founded in 1969 by radical publishing company Gendaischisho sha, and employed the most radical artists of the day. The Intermedia Program was established by artist Hans Breder and invited visiting artists to explore the boundaries between media, genres, artistic and scholarly practices, social and political universes, and between viewer and artist. Ex-School (the Experimental School) was established in 1961 by art-historian Troels Andersen and artist Poul Gernes. Ex-School artists discarded traditional notions of the artist and used various strategies to achieve collective outcomes, advocating a collective anonymity over the pursuit of personal individual careers.

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). 

Nixon, Jon (2011). Reclaiming higher education as a public good. Higher Education as a Public Good: Critical Perspectives. Oxford: New College, 4-5 Jul 2011.

Nixon, Jon (2012). Higher Education and the Public Good: Imagining the University. London: Bloomsbury.

O’Neill, Deirdre and Mark Wayne [2017] Acting Class. Inside Film (UK), 77min. Struggling actors speak about the difficulties they face when they don’t have the resources to get in and get on in the industry. The film documents an actor’s struggle to create opportunities for those outside the elite networks and raise awareness about class exclusion in the acting industry. Chris Eccleston, Julie Hesmondhalgh, Maxine Peake, Samuel West and others talk about why this situation should concern everyone and how things have got harder since they entered the industry. A film about the lack of working class representation on stages and screens, a story of social inequality and how that impacts on the performing arts.

Opstrup, Kasper (2017). The Anti-University of London. In The Way Out: Invisible Insurrections and Radical Imaginaries in the UK Underground, 1961-1991. Wivenhoe: Minor Compositions, pp. 75-95.

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.

Public School, Sean Dockray, Matteo Pasquinelli, Jason Smith and Caleb Waldorf (2010). There is Nothing Less Passive Than the Act of Fleeing. Journalment #1: Welfare State…ment (on welfare states) (2010).

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. 

Raunig, Gerald (2013). Factories of Knowledge, Industries of Creativity. Los Angeles: Semiotext(e).

Raunig, Gerald (2009). In Modulation Mode: Factories of Knowledge. Translated by Aileen Derieg. Transversal 08/09: Knowledge Production And Its Discontents (Aug 2009).

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.

 Robinson, Ken (2011). Changing Education Paradigms. RSA Animate.

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.

Shimada, Yoshiko (2018). Gendaishicho-sha Bigakko: Alternative Art Education in Post-1968 Japan. Hong Kong: Asia Art Archive (May 2018). Video (1hr, 8min). Artist and researcher Shimada Yoshiko discusses Gendaishicho-sha Bigakkō (1969–75), an alternative art school in Japan. In the aftermath of the 1968 student movement, the radical publishing company Gendaishicho-sha founded Gendaishicho-sha Bigakkō in Tokyo in 1969. Bigakkō was established at a time of great change, and was envisioned by its founder Ishii Kyoji as a “movement to change the world by changing the way the world is perceived”. Shimada introduces two principles of Bigakkō—“tewaza” (hand skills) and close and full “master-pupil” relationships—and how each artist tried to embody these principles in their own unique methodology. By locating Bigakkō in the sociopolitical and cultural context of post-1968 Japan, she suggests ways this experiment in alternative art education for social change could be relevant today, and the kind of new strategies required.

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).

Sollfrank, Cornelia (2013). Expanded Appropriation. GWYDH. Video interview with Sean Dockray on the evolution of Telic Arts Exchange, The Public School and aaaaarg.org, he talks about decision-making and accountability regarding what becomes visible in alternative spaces, file sharing and peer-to-peer distribution among other topics. Giving What You Don’t Have was a research project on the relationship between art and the commons.

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.

Stein, Maurice and Larry Miller (2016 /1970). Blueprint for Counter Education Expanded Reprint. New York: Inventory Press. A defining work of radical pedagogy from the Vietnam War, originally published in 1970 by Doubleday and integrated into the design of the Critical Studies curriculum at CalArts. The book was a pedagogical experiment and an attempt to enact a visual turn in the organization of knowledge in the form of a “highly participative series of art-life games”. The cover proclaimed: “This counter-university makes obsolete the traditional university process … There is no text book, no final exam; and the ‘faculty’ includes Marcuse, McLuhan, Eldridge Cleaver, and Jean-Luc Godard… The Revolution Starts Here”. The book was accompanied by large graphic posters designed by Marshall Henrichs that served as a portable learning environment for a new process-based model of education. The posters mapped shifting patterns of relations between bodies of radical thought and artistic practice from the avant-gardes to postmodernism.  They were understood as a perpetually adaptable and extensible switchboard of ideas built around the work of Marcuse and McLuhan.

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

Stommel, Jesse, Chris Friend and Sean Michael Morris ed. (2020). Critical Digital Pedagogy: A Collection. Hybrid Pedagogy. A collection of articles from the last 10 years that have helped shape the field of critical digital pedagogy. The journal Hybrid Pedagogy has worked to help craft a theory of teaching and learning in and around digital spaces. The collection represents a cross-section of academic and non-academic culture and features articles by women, Black people, indigenous people, Chicanx and Latinx writers, disabled people, queer people, and other underrepresented populations. The goal is to provide evidence for the work being done by teachers, librarians, instructional designers, graduate students and technologists, which advances the study and the praxis of critical digital pedagogy. “Ultimately, digital pedagogy is about human relationships, the complexity of humans working together with other humans — the challenge of finding ways to teach through a screen, not to a screen”

Students and Staff of Hornsey College of Art (1969). The Hornsey Affair. Harmondsworth: Penguin Books. An account of the student occupation of Hornsey College of Art in May 1968.

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.

Zimmerman, Andrea Luka [2020] Art Class. UK, 49min. A filmed performance lecture playing on, and exploring, the perennial tension between the two key words in its title. It uses the tropes of scholarly presentation and personal confession alongside extracts from the artist’s work, guest interventions, martial arts and meditation exercises and evidentiary found material. The sequence tests the limits of access that working-class artists have to cultural production and to the relevant institutions circulating these outcomes.