What Pedagogical approaches best support artists development

Welcome to Expanding Realities Forums Discussion Forum What is good practice in this field? What Pedagogical approaches best support artists development

This topic contains 3 replies, has 1 voice, and was last updated by  Realexpand 1 year, 4 months ago.

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  • #536

    Realexpand
    Keymaster
  • #1873

    Realexpand
    Keymaster

    NOTES FROM PARTNERS CONVERSATION
    Is good practice about challenge to try new approaches new things? Challenge to think differently and push yourself; to go one step further?

    Some artists in the supported studio have a single mindedness and narrow focus to their practice that makes it unique, Their determination to work with consistent themes and media contributes to the greatness of their work. In some views the work of some of the artists in supported studios is considered ‘Outsider Art” and it is admired for the artists ability to not be influenced or “educated’ by other.

    Good practice is about keeping expectations open and not limiting them.

    What is the role of critical reflection? Usually we connect words with reflection. Maybe it is about allowing space to pause and reflect, sometimes without words.

  • #1874

    Realexpand
    Keymaster

    NOTES FROM PARTNER DISCUSSION

    -Is a student going to Art College- a supported studio situation experiencing something different to artists in supported studios.

    -There is nothing in Common! The creative process of supported studios is completely different!
    Perhaps third level institutes learn from supported studio settings ? Many graduates cease practicing as artists when they leave art college. IN supported studios the practice is often sustained.

    -Supported studio artists are free from imposition of techniques.
    -In a supported studio– there is no curriculum but relationship of student and tutor is similar to that in Art college. Responding/relationship with individual students and supported studio artists come from different directions.

    -Artists have to deconstruct everything they are taught. Picasso said it took him all his life to learn to draw like a child.

    -Every artist needs space and support. Artists at Debajo del Sombrero make more authentic art, with soul.

    -Spanish art education is very bad – traditional and technical. England is the opposite – very conceptual. In supportive studios there is time to let people be themselves.
    In education the student has to fit into a system, whereas supportive studios meet the artists needs. In studios artists are treated as artists as soon as they arrive, rather than as students who want to be artists.

    -Good practice is a way to connect the artist with their own language. Debajo del Sombrero try to connect people with what they want to say. You can make suggestions, give options but its about supporting expression of ones own language

  • #1875

    Realexpand
    Keymaster

    NOTES FROM PARTNER DISCUSSION
    Working with D del Sombrero at the University we don’t see any personality in the work of the students there. Our artists work is more expressive and authentic.

    Maybe the guide to good practice is provided by the artists?

    Maybe some people have talent and creativity? For example Andreas’ line is much better than my line…

    Is it a luxury for our artists to have someone try to meet them? They also work vey hard, do lots of practice.

    Our principles are respect and authenticity. Doesn’t really work as a curriculum.

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