Starting over: teaching painting without students

Research output: Contribution to conferencePaper

Abstract

As many commentators have observed, the UK government’s insistence that ‘maintained’ schools devote more time to English and Maths is having a negative impact on secondary Art and Design education. One of the consequences of this redistribution of priority is the prospect of a dearth of applicants to related degree courses.

Taking the provision of a tertiary-level painting education as a case in point, and indeed, as one potentially particularly affected by an associated emphasis on degrees-for-employment, this paper poses the worst-case scenario as a kind of thought-experiment - one that enables a review of what it is to teach painting. It asks: what might painting-teaching be, in the absence of everything that students imply: expectations, the history of a programme, and the teaching of a medium?

Recognising that this question has originated in a political economy that wants to see education as a function of capital, i.e. as a utility facilitating prescribed forms of GDP, this paper will frame its response in terms of cultural-materialist debates about art’s autonomy, or otherwise. In doing so, it will outline and discuss a spectrum of futures for the teaching of painting. At one end, it will address the idea of painting as an autonomous art-practice, identified via Greenberg with its self-criticality. And in considering this, the paper will ask what this means today. At the other end, it will re-view the utilitarian identification of art (painting) and industry, which underpinned the early, Victorian art-school, suggesting vocational applications for the contemporary practice of the medium; e.g., as a training for the building trade.

In the manner of a thought-experiment, the possibilities that the paper entertains are of course, perhaps rhetorical, but equally, potential futures.
Original languageEnglish
Publication statusPublished - 19 Jun 2018
EventTeaching Painting: Painting the New - Royal Academy of Art, London
Duration: 19 Jun 201820 Jun 2018

Conference

ConferenceTeaching Painting: Painting the New
Period19/06/1820/06/18

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art
Teaching
student
vocational school
fine arts
education
construction industry
experiment
applicant
redistribution
political economy
autonomy
scenario
industry
history
school
time

Cite this

Francis, M. A. (2018). Starting over: teaching painting without students. Paper presented at Teaching Painting: Painting the New, .
Francis, Mary Anne. / Starting over : teaching painting without students. Paper presented at Teaching Painting: Painting the New, .
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Francis, MA 2018, 'Starting over: teaching painting without students' Paper presented at Teaching Painting: Painting the New, 19/06/18 - 20/06/18, .

Starting over : teaching painting without students. / Francis, Mary Anne.

2018. Paper presented at Teaching Painting: Painting the New, .

Research output: Contribution to conferencePaper

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T2 - teaching painting without students

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AB - As many commentators have observed, the UK government’s insistence that ‘maintained’ schools devote more time to English and Maths is having a negative impact on secondary Art and Design education. One of the consequences of this redistribution of priority is the prospect of a dearth of applicants to related degree courses.Taking the provision of a tertiary-level painting education as a case in point, and indeed, as one potentially particularly affected by an associated emphasis on degrees-for-employment, this paper poses the worst-case scenario as a kind of thought-experiment - one that enables a review of what it is to teach painting. It asks: what might painting-teaching be, in the absence of everything that students imply: expectations, the history of a programme, and the teaching of a medium?Recognising that this question has originated in a political economy that wants to see education as a function of capital, i.e. as a utility facilitating prescribed forms of GDP, this paper will frame its response in terms of cultural-materialist debates about art’s autonomy, or otherwise. In doing so, it will outline and discuss a spectrum of futures for the teaching of painting. At one end, it will address the idea of painting as an autonomous art-practice, identified via Greenberg with its self-criticality. And in considering this, the paper will ask what this means today. At the other end, it will re-view the utilitarian identification of art (painting) and industry, which underpinned the early, Victorian art-school, suggesting vocational applications for the contemporary practice of the medium; e.g., as a training for the building trade. In the manner of a thought-experiment, the possibilities that the paper entertains are of course, perhaps rhetorical, but equally, potential futures.

M3 - Paper

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Francis MA. Starting over: teaching painting without students. 2018. Paper presented at Teaching Painting: Painting the New, .