By Raphael Vella
This publication brings jointly interviews with twenty-one artist-teachers from assorted elements of the realm, providing many insights into their identities, demanding situations and artistic and pedagogic practices they've got followed. dependent in more than a few academic situations-from obligatory to post-secondary schooling, artwork faculties, departments of paintings schooling and community-based environments-these educators talk about their very own education in effective artwork and/or artwork schooling, study pursuits, educating tools and theoretical outlooks, collaborative initiatives, scholars' pursuits, exhibitions and different ways they use to attach their academic and inventive commitments. The discussions ensue opposed to a contextual backdrop that's tackled in each interview, bringing to the fore the impression of social, political, ancient and institutional frameworks on artist-teachers. Illustrated with pictures of works and tasks via each one artist-teacher within the booklet, the amount combines the visible and the verbal in a fashion that displays the advanced reports and identities of the interviewees.
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Additional info for Artist-Teachers in Context: International Dialogues
We had discussions, once every semester, where all teachers discussed each student’s work. We were able to invite interesting artists I knew, from different places. We were passionate about 7 INTERVIEW WITH MÓNICA CASTILLO teaching. There were very traditional thinkers and also radical left-oriented artists, migrants from Cuba, very young artists, who had just finished school and me, who came from the established art world. We could do really crazy things, like covering the school in graffiti together, getting all the students into buses and taking them to Mexico City to see museums, or organising a competition, in which we sent the winner to visit Europe.
This is a real shame as it can lead to art teachers relying on ‘tried and tested’ formulas to ensure a safe number of C grades and stifle more potentially innovative lines of inquiry. Another debilitating factor is that teaching in the UK is predicated on continuous surveillance. The relentless inspection and judgement of your teaching practice can become over-bearing and, depending on the criteria with which you are being judged, can be highly problematic. What is deemed a successful lesson in another subject area where compliance and conformity is privileged may not quite feel the same in an art lesson, and why should it?
On the other hand, we try to create a completely different direction at ASCII and understand a more global history. We try to show why installation art and video art came into being, and where they come from. For those who have a traditional mindset, conceptual art is a problem because it doesn’t have a form. Contemporary art is intellectual so they cannot play with it or around it! The war between us began within the student body. Students became more aware of the problems of the curriculum and more critical of the work they were doing with their professors, and consequently their ideas were not accepted.