Artists Who Teach: An ethnographic study into the relation between artistic practice and teaching practice of artists who teach in tertiary settings

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1 Artists Who Teach: An ethnographic study into the relation between artistic practice and teaching practice of artists who teach in tertiary settings Judith Carroll Australian Catholic University Strathfield Campus (NSW) Judith Carroll is a PhD candidate at the College of Fine Arts The University of New South Wales This paper reports on current research that investigates the relation between artistic practice and teaching practice. Based on a previous study into the unconfirmed prediction embedded in Disciplined Based Art Education (DBAE), that the sophisticated practice of artists conforms to an integrated and disciplined pattern, this study hypothesises that artists who teach find few pedagogical resources within their own practice. Despite the symbolic capital invested in the belief that it is artistic practice that informs their pedagogy, and despite the apparent tendency for artists to reproduce stylistic character in their apprentices, this investigation seeks to disconfirm the view that the instructional relations between student and artist teacher were driven by art educational convention rather than the formalised reproduction of their own practical artistic experience. The study on which this paper is based investigates a number of sophisticated artists who also teach art in tertiary institutions. Data emergent from a previous study into artistic practice has been used to inform the structure and content of the study. A number of emergent findings from the previous study, as well as recently emergent data will be discussed in this paper as a way of mapping the kinds of issues which may emerge as the focus of the inquiry. One of the respondents to the previous study (Respondent B) did not believe that knowledge about art theory was a necessary condition for being an artist, but saw it as merely an advantage for him, especially in relation to his role as a teacher of painting at a tertiary level. Even though he claimed to believe that it is important for artists to teach because of the way in which they were able to pass on the practice of art to the next generation of artists, it was not necessarily his own practice of art to which he was referring. Rather, his teaching practice tended to bear out his beliefs about teaching art and not his beliefs about art. During his period as Head of the Department (HOD) of Painting at an art school, this artist developed a reputation amongst staff and students for his rigorous approach to the structuring of the curriculum, in respect of the inclusion of fundamentals such as colour theory and drawing skills. In justifying this approach he says, I came from an ideas base, (meaning his background in art education), and, I come from a more discipline oriented perspective, and I started out (as HOD) by simply defining the discipline.

2 During a recent discussion held with this respondent (October 2001), he reiterated that it was his belief that students must be educated in such a way that enabled them to understand what constituted "the canon" of artistic practice. By this he meant those fundamental principles about art (in the case of this discussion, about painting) that underpin an understanding of the discipline. Ironically, the responses of a critical audience to a recent exhibition of paintings by this respondent were of the view that the paintings depended, in large part, on the application of a series of technically based formulas related to photo-realist painting, rather than on the fundamental artistic issues that define "the canon" or genre of classical landscape painting. The concept of "the canon" is frequently cited by this artist as the guiding force that drives his painting, with painters such as Friedrich, Corot and Reichter named as important influences on his work. Relying on technical competencies alone however, is a problematic strategy for a painter to adopt. Indeed, in Painting as an Art, Richard Wollheim describes the painting of Friedrich in terms of the artists intention, which he claims must include the artists "thoughts, beliefs, memories, and in particular, emotions and feelings, that the artist had and that, specifically, caused him to paint as he did" (Wollheim 1987, p.86). It is therefore evident that many of the artistic conventions to which this respondent adheres are not emergent within his intentional beliefs. He has shown himself in a sufficient number of cover terms (used in the study to define a "cultural domain") to be susceptible to his own myths (Rosaldo, 1993). Another artist academic, Respondent E, was recently observed (unobtrusive observation, September, 2001) teaching his tertiary painting class how to grid up a canvas, prior to painting a photo-realist copy of a photograph taken from National Geographic magazine. Each student was coached in the construction of a canvas of set dimensions and in painting the surface with a wash of blue oil paint. The grid conformed to a dimension set by the teacher and he chose the magazine images. In other words, the context of the images selected, as subject matter for these paintings did not give the completed paintings their meaning. In Beyond The Brillo Box Arthur Danto writes, in reference to the philosophical revolution brought about by the work of Warhol and others in the 1960 s, that you cannot tell when something is a work of art by just looking at it, for there is no particular way that art has to look. He writes that the upshot of this was that you could not teach the meaning of art by examples (alone) (1992, p. 5). The undergraduate art students in this painting class were coached in a style or technique of painting devoid of any contextual meaning and the mere fact that they could copy from a photograph, by example, does not, in itself, have the capacity to imbue the work with significant meaning. Later, in an essay included in Encounters and Reflections (1991), Danto points out that contemporary art felt that it had to look historically new and artistically important. New work, according to this viewpoint, has to be of "masterpiece dimension" and has to look as if produced by "genius breaking through". He writes " part of the overall awfulness is due to the work having the sensibility of graduate art students - who work so exactly of the order that graduate art students produce that those still in art school may see in the galleries a mirror of what they produce in their own studios, and thus are likely to see no reason why any period of trial or apprenticeship is required between art school and the professional artistic life" (p308). Danto believes that adherence to style, as represented by E to his students when he requires them to paint according to a photo-realist formula, are, " but anthologies of avantgarde strategies " (p308). In the case outlined here, the stylistic approach to painting taught by E replicates his own stylistic practice. However, the context of the work is what gives his painting its meaning. The context-less paintings completed by his students appear to serve no purpose other than

3 to demonstrate accomplishment in copying from a magazine photo, an exercise currently used by classes in sign writing offered by TAFE Colleges in NSW. It could be argued therefore that it is impossible to distinguish, in any meaningful way, these art students from sign writing apprentices. When questioned about the emphasis on the acquisition of copying skills evident in his approach to the teaching of painting, E, like B, referred to the importance of "the canon". He is of the view that unless art students acquire the basic skill of copying, they will be unable to subsequently produce "original" works that could be considered a "masterpiece" (structured interview, September 2001). As Danto agues however, the idea of the "masterpiece", as referred to by E, " raises the most difficult question for art education, which, on the one hand, must terminate in a body of masterwork as a condition of certification but which, if merely that, falls short of art in its highest sense as calling for genius" (p.327). E was questions about the choice of photographs from National Geographic magazines as subject matter for the photo-realist painting exercise he set for his undergraduate painting class (structured interview, September, 2001). Since E maintains that the concept of "the canon" as exemplified by an artist such as Gerhard Reichter guides his pedagogical practice, it would be fair to assume that the students would be expected to copy from reproductions of these kinds of paintings, rather than from magazine illustrations. E was mystified by this proposal and maintained that he was unable to see the connection between the set exercises his class undertook and the body of artistic knowledge exemplified in the work of the artists that inspire and influence his own practice. Even though E also teaches art history and theory, and writes extensively for major Australian visual arts publications, he partitions off his own artmaking practice and its conceptual framework from that exemplified in his pedagogical practice. He also partitions off the knowledge and values about art that are taught in art history and theory classes from what is taught in painting classes, to the same cohort of students. The data emergent from unobtrusive observations, interviews (structured and unstructured) and scrutiny of documentary evidence about the artistic and pedagogical practice of Respondent E is currently undergoing further analysis. The triangulation of emergent data in respect of a third respondents art teaching practice revealed a similar tendency for her own values about art not to impinge upon her teaching about art. For example, the connotative meaning of teaching in an art school, as a folk term, meant for her variously: - a way for an artist to maintain dialogue with the field (a socio/cultural motive); a difficulty for an artist, since teaching absorbs ones own creativity, (a subjective/ psychological motive); a benefit for an artist because it affords ready access to resources (a pragmatic reason); and, as a way for an artist to gain recognition by the field (a kind of socio/cultural legitimisation). This artist/teacher did not even mention her artistic values, and the way in which teaching might enable her to pass on these values to her students. This is not to say that for this artist her artistic values do not impinge upon her teaching; what it does say is that there were many other reality manifolds operating in this particular instance, and that these equally shape her motives and beliefs in relation to this included/cover term. Her beliefs, as well, were veiled, and were therefore not able to shape her explicit intentions as revealed in her responses. Significantly, the role of each of the domains of art and their interrelatedness does not even warrant discussion as a consequential issue in this context.

4 In an interesting illustration of the politics of influence which underpin the practice of B, one of the artist/teacher respondents in the previous study, it emerged that the included/cover term art teaching is an acceptable/justifiable occupation for an artist, as a folk term, had a number of connotative meanings, each serving as a kind of self-legitimisation of his role as an artist and teacher. These include; it is the occupation followed by many well-respected artists (artists whom I admire, and aspire to emulate their achievement); (it is) an important way for the practice of art to be passed on to the next generation of artists (the artist in the role of sage); (it is a way of) achieving social repositioning for acceptance into the artworld from a middle class origin). In response to a similar question about the importance of engaging in dialogue with other artists and the role that teaching in an art school fulfils in this regard, the emergent beliefs of this artist similarly fulfil a kind of self-legitimisation of his role as a teacher. For him, art teaching as a folk term, has the connotative meaning of; is a way for me to reinforce my ideas about art; important for my development as an artist; an opportunity for me to develop friendships; and, is a way for me to develop an identity in the world of art. The current study seeks to significantly expand on these and other emergent beliefs in order to provide more complex explanations of the values and beliefs about art that underpin the teaching practice of these, and other artist/teachers in tertiary settings. Of interest and relevance to the study is that foremost among the kinds of artistic lives reported on by the artist respondents was their life as artist educators. Their narratives about their lives as teachers were partitioned from their discourses about their lives as artists and about their art works. Rather than reflecting on the values and meanings which underpin their own artistic practice in their reports about art teaching, they tended to fall back onto a romantic rhetoric about the nature of creativity, or, on other occasions, they looked to externally derived competency-based outcomes as a way of determining how they should teach art. For example, when one of the artists was asked to consider the way in which an artist might develop and maintain a sense of direction, she immediately related her answer to the kind of advice she would give her students concerning the notion of justification. She explained that this is why we make them talk about their work, and why we make them articulate their ideas (SI, p.25). However, she failed to provide a coherent explanation of what she means by justification, suggesting that it is the act of justification, rather than what is embodied in the meaning of justification that is significant. In other words, within her narrative of teaching this artist saw justification, in respect of her teaching practice, as a way for the student to demonstrate competency in standing up in class and talking about their work. Ironically, she then goes on to claim that for her, the work itself establishes its own direction, and that the theory of art practice, of the kind that she might teach her students, is difficult to articulate. She said, the work itself has to lead you on... I don t feel comfortable with defining the theory of the area that I want to make work in, and then making the work follow the theory (SI, p.27 Cover Term: her Theory of Mind is Subjective). This sets up a kind of tail chasing exercise, making it understandably difficult for her to pass onto her students a coherent explanation of notions such as justification, even though she claims that this is an important concept for them to grasp. The triangulation of data including the transcript of the interview from which these views were taken revealed that for this artist the included/cover term sense of direction incorporates connotative meanings such as something that underpins my philosophy of teaching, and ì (teaching) seriously affects my own sense of direction because I am continuously giving out (to my students), and (it is) a work ethic (SI, p.21, 23,31). The stories within these artists reports, as Rosaldo predicts they shall, embody compelling motives, strong feelings, vague aspirations, clear intentions, and well-defined goals (p.129). The deep narratives disclosed in the triangulated reports of the respondents actually shape the events of their artistic lives. These narratives emerge as strategies for the conduct of their professional practices and are not merely a passive description or interpretation of what

5 the respondents have already done. There is little evidence, for example, that they confused their ethical lives as teacher with their lives as artists, for the simple reason, this author believes, that they both intuitively sense how the uncertainties of the latter would overwhelm and immobilise the former. Their implicit separation of the two categories demands respect. Two ways of representing the sophistication of artistic practice are the "artist" as agency, that is, the work represented as a function of artistic practice, versus the "artwork" as agency, that is, artistic practice as a function of the representation of sophisticated art works. The former infers sophistication from the practices of the artist; the latter infers the sophistication from the artwork. What is a sophisticated artist and what is the function of a sophisticated artist (the causal agencies) in the resolution of valued art works? This question needs to be asked of an art curriculum, since, if an art student is to represent the understandings and competencies of a sophisticated artist as an end state in their tertiary art education, then doubt arises as to the model that best characterises the sophisticated properties one might prefer to represent (excluding the negative connotation of sophisticated as affected and shallow). In addition, if sophisticated artistic abilities were a causal agency in the production of sophisticated outcomes of artistic practice, then what are these abilities and how should they be inculcated in tertiary art curricula? Those responsible for the development of sophisticated artistic practice in art students are keen to justify the connection between an artwork and an artist, especially to understand how such a connection is represented in the mind of the artist. Theorists suggest that one way of achieving this outcome is to find out what an artist believes about their work and then try to account for the functional limits of the effect of their beliefs in relation to their work. Despite the popularity of this approach in contemporary ethnomethodology it is important to be reminded that of every one hundred properties identified in a work only a small proportion of them may be theoretically accounted for through the intentional beliefs of the artist. (Beardsley - properties of an art work were determined by the beholder; Goodman - properties determined by entrenched convention; Danto - properties determined by the politics of the artworld; Lacan - properties determined by the gaze; Foucault - properties determined by textual power; Wolff - properties determined by the socio-economic fortunes of the artist). Another way is to critically interpret the artist s beliefs in an endeavor to understand their motives for practice. An artists beliefs about their practice may be neurotically opaque (driven by concealed motives) within their reports, and need to be challenged. Thus, considering that the significance of an artists works may be determined externally in ignorance of their motives, it remains to be interpreted as to an artists causal relationship with their works. For example, of all the agencies held accountable for sophisticated practice, the functional effects of the artists beliefs may be the most obscure. This study, as did the previous study, places the artist at the centre of inquiry rather than the work. The artwork is only relevant as one among a number of causal influences and is invested with no particular privilege in the study. Although it is common to talk of an artist in terms of their work the theoretical basis for linking motives and properties of works are confined to psychoanalytic theory and clinical diagnosis, or to broad-brush social interpretations. (Lacan 1977, Berger 1973) Otherwise the properties of art works, including their idiosyncrasies of style tend to supervene on artistic practice. (Brown 1989) As it has been stated above, it is quite possible for an artist with sophisticated beliefs, dispositions or skills to make unsophisticated artworks or, conversely, for sophisticated artworks to be made by an artist with unsophisticated beliefs, dispositions or skills.

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