How can relationships with third level institutions (colleges/ universities) support learning opportunities and professional development for artists with intellectual disabilities?

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This topic contains 4 replies, has 2 voices, and was last updated by  Realexpand 1 year, 8 months ago.

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  • #498

  • #1302


    This is a beginning process in terms of third level institutions understanding that they can have a roll in in supporting artists from supported studio settings and there being a benefit to the institution, other than it being seen as one way relationship.
    It poses an interesting question for the institution in the way that they both acknowledge and explore other creative processes/ experiences that individuals have outside of a ‘traditional system’. How can a student, engaging with there creative process and relationship, be encouraged to explore all realms of art engagement and in so doing, broadening their own outlook and resources?
    One way is for those artists working in a supported settings, having access to formal public arenas. The Outside In – Art of Inclusion exhibition held in 2013 offered that platform. What was encouraging at that time, was hearing feedback from students from CIT Crawford College, about their experience of the art making that they witnessed, and the sense of energy that they felt.
    We have to be able to move away from any sense of tokenism, to a position of reflective observation of what exists when we see such work for us. What might the constructs and context be for such work? What might the work say about the artist – or not?
    It possibly poses awkward questions on the nature of art and the way society/ a community relates to the artist, and who the artist is?
    What is needed, as in all relationships we find ourselves existing within, is a dialogue.
    Ed Kuczaj

  • #1872


    These are some of the thoughts about GASP and Debajo Del Sombreros
    around benifits and challenges in relationship with Third Level institutes- Art Colleges

    There are challenges in timetabling the programme in a way that maximizes engagement with students.
    The physical layout of the current building is not conducive to visibility.
    There can be nervousness from students to engage with the artists…fear of the unknown.

    Debajo del Sombrero:
    There are challenges in relationships with the college. Some staff think the artists should not be entitled to access the college space without being registered officially as students taking a module.


    The building used is shared by artists and arts organisations and is in close vicinity to other arts organizations. There is increased visibility of the artists in the city.
    The artists spend more time at work on their arts practice and less time in the day centre.
    They identify more clearly as artists.
    People can visit the studio easily. People have called by to buy work and commission work.
    Debajo del Sombrero:
    Provides an alternative environment to work
    The artists become role models for students who sometimes struggle to express themselves as freely as the Debajo del Sombrero artists.

  • #1876


    Demonstrating learning outcomes for certification tends to rely on language. This excludes people with limited verbal skills. Even at the most basic levels, verbal comprehension skills are required.

    Art education is so academic that is cannot accommodate artists with intellectual disabilities.
    GASP in general hasn’t access to 3rd level because of literacy issues. No countrywide policy around accessing education.

    -it is interesting that in In the UK the higher you go BA – MA – PhD the more open the approaches that are accommodated. Can be more practice based at PHD level and less dependent on language.

  • #1877


    Some models of people with intellectual disabilities engaging in Third level institutions

    Maynooth university has been involved in an interesting initiative that you can find out more about here

    Trinity college and UCC in Ireland have been offering a course in Contempory living

    In an art college context, there is an interesting model in Brighton with the Rocket Artists working alongside the MA students in Inclusive arts practice.

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