art

"... those who sought a more active role for artists within the burgeoning field of higher education believed they had the necessary expertise to cover content that bridged studio experience, art historical themes, and philosophical issues. 

This, after all, was what contemporary artists seriously thought about. It seemed reasonable to surround the artist(as teacher) with aspiring students who would benefit from serious exchange on topics about art and life. As such, curriculum content could not be specified in any formal way and techniques could not be introduced as prerequisites for creativity: Teaching became conversation and learning focused on individual aesthetic problem solving. This version of the expert-novice model relied on the image of the artists as a social outsider engaged in an intense pursuit of a personal vision. Consequently, the criteria for newness were not seen in relation to past or existing image banks or stylistic brands but by a measure of radical difference. The drive toward the illusion of “things never seen” reached mythical status that kept the social constructedness of art practice at bay, at least until the theoretical onslaught of post modernism.":: Graeme Sullivan 

Although the last line is not relevant anymore under the present theoretical constructs, the complex dilemma of artist/designer as institution of learning or institutional as an embodiment of artistic learning are both highlighted in Grame sullivan’s paragraph. 

Even as one could argue for the validity of these academic positions of artists/designers as institution and institution as an embodiment of learning with sighting sufficient examples among the social construct of “successful artists and designers” in place, but then one will also have to accept the fact that present crisis in art and design world are also stemming from these academic positions. In reality the assumed mutuality of “the worth of an outcome and its larger social value” with procedural outcome of an academic process has always been a questionable pedigree among institutions. 

Beyond the social influence of artist in society and market, historically artist as institution of learning often hasn’t been able to contribute much to anybody’s creative practice more than defining a practice for student within his/her domain expertise. Same way beyond the subjective pruning of an idea and its construct in art and design practice, academic /pedagogic approach with its scientific and theoretical construct also could not contribute much to creative practice than validating one’s preparedness for a practice based on, again benchmarks of subjective expertise of the teacher. Considering this process again is the exact subjective position of artist(here teacher) as institution, we find ourselves in a complex position without a valid option. 

A methodology for coherent practice of mutuality with one's position in life - one to one, one to many and many to many( individual to individual, individual to community and community to society) if not evolved in academics, where one is considered simultaneously as a subjective possibility and limitation than a leader, and to that all theoretical or physical production remain only a subset, the emerging crisis of individual creative practitioner and their relevance in a society among egalitarian technological access system and with universal value, will remain a big question for the relevance of academics and institutions in the coming days. 

Further add on to this crisis, unlike the pre nineteenth century idea of enlightenment value of meaning in creative practice and truth, in a post twentieth century world, the statistical value of meaning and its subjective construction of truth will turn objectivity of institutional learning a subject of conditional evaluation. In other words, if institutions does not address the need for a coherent practice of mutuality with one's position in life and elevating that position as objective of living than subjective living as statistical inference of truth envisages, one would certainly start argue against the larger objective of the process of learning by sighting examples of success rate of reactionary practices and its sufficiency -elaborately speaking, the success rate of cut and paste job, something the present day art and design world are already over-flooded.