By Steven Henry Madoff, Steven Henry Madoff
Winner, alternate Typographic classification, 2010 AAUP ebook, Jacket, and magazine exhibit. The final explosive switch in paintings schooling got here approximately a century in the past, while the German Bauhaus was once shaped. this day, dramatic adjustments within the paintings world—its expanding professionalization, the pervasive energy of the artwork marketplace, and basic shifts in art-making itself in our post-Duchampian era—combined with a revolution in info expertise, elevate basic questions on the schooling of ultra-modern artists. paintings tuition (Propositions for the twenty first Century) brings jointly greater than thirty top overseas artists and paintings educators to re-examine the practices of paintings schooling in educational, functional, moral, and philosophical phrases. The essays within the ebook variety over continents, histories, traditions, experiments, and fantasies of schooling. Accompanying the essays are conversations with such popular artist/educators as John Baldessari, Michael Craig-Martin, Hans Haacke, and Marina Abramović, in addition to questionnaire responses from a dozen very important artists—among them Mike Kelley, Ann Hamilton, Guillermo Kuitca, and Shirin Neshat—about their very own studies as scholars. a desirable research of the structure of significant ancient artwork faculties in the course of the global seems on the courting of the foundations in their designs to the rules of the pedagogy practiced inside of their halls. And during the quantity, consciousness is paid to new projects and suggestions approximately what an artwork institution can and may be within the twenty-first century—and what it will not be. No different e-book at the topic covers extra of the questions bearing on artwork schooling this day or bargains extra perception into the pressures, demanding situations, dangers, and possibilities for artists and artwork educators within the years forward. Contributors : Marina Abramović, Dennis Adams, John Baldessari, Ute Meta Bauer, Daniel Birnbaum, Saskia Bos, Tania Bruguera, Luis Camnitzer, Michael Craig-Martin, Thierry de Duve, Clémentine Deliss, Charles Esche, Liam Gillick, Boris Groys, Hans Haacke, Ann Lauterbach, Ken Lum, Steven Henry Madoff, Brendan D. Moran, Ernesto Pujol, Raqs Media Collective, Charles Renfro, Jeffrey T. Schnapp, Michael Shanks, Robert Storr, Anton Vidokle Questionnaires : Thomas Bayrle, Paul Chan, Jeremy Gilbert-Rolfe, Piero Golia, Ann Hamilton, Matthew Higgs, Mike Kelley, Guillermo Kuitca, Shirin Neshat, Paul Ramírez-Jonas, Dana Schutz, Brian Sholis, Fred Wilson
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MICHAEL CRAIG-MARTIN: JOHN BALDESSARI: I totally agree. You have to set up a situation. You can’t teach art, that’s my premise. You know, when CalArts [California Institute of the Arts] started—I don’t know how it was at Goldsmiths—we just eliminated grades. We had pass/fail. You can’t use grades as a punishment—you know, to attend class or do this or do that. The students are there of their own free will. We also had no curriculum. In other words, you chose from a menu and made up your own dishes.
I am not being particularly idealistic in saying this. I practice communication and strategy myself, of course. By addressing everyone as if each person were a lover of art, indeed, an artist, we liberate desire and enthusiasm. If only because a school populated by impassioned people is a more vibrant school, and nothing guarantees the maintenance of passion more than the annual arrival of young men and women consumed by the passion to make art, I want to plead here for the maintenance of art schools conceived as crucibles in which technical apprenticeship, theoretical instruction, and the formation of judgment are brought together to create a unique question of address.
Then you look back and say, “Wow, those were the golden years,” as you said. JB: MCM: Absolutely. And then it’s changed. Everybody wants to go there, and of course by the time they want to go, what it was is gone for the very reason that the people who began to come to the school are going there for diﬀerent reasons, with diﬀerent criteria, because they think that it’s going to lead automatically to something. Of course, as we said, schools don’t guarantee success. It’s pretty much over by the time you read about it in the newspaper.
Art School: by Steven Henry Madoff, Steven Henry Madoff