The Art of Smoking

I used to be a "Them": a student. Never particularly good at ceramics, at school I made a clay astray in art class due to lack of any other ideas, only to find it completely destroyed the following day by my art teacher because he didn't "approve of smoking". Many years later I am now one of "Us": a teacher. A proverbial Troll on the "acceptable art" bridge.

Now being on the other side of the educational fence I understand why Mr Calvert (the "offending" teacher) may have had issues with my work, though only to a point. Occasionally today when some of my students propose certain project ideas to me, I cringe internally knowing it may be a possible problem, for one reason or another. This may be due to the project idea being too ambitious for the deadline, resources, lack of development or tried and tested problems that may arise from this approach which I may be aware of from experience. On seeing my ashtray, I guess now that Mr Calvert may have also winced internally, but he went as far as to actually destroy my work with no explanation or follow-up discussion. Bad though the ashtray undoubtedly was, that is the part I don't understand.

Focusing primarily on the subject areas of Graphic Design, Media, Fashion & Textiles and Fine Art, (but also touching on Illustration and 3D), this inquiry will explore some of the "problem" project ideas which frequently arise in FE and HE art education courses, and how tutors negotiate this with their students with the aim of aiding their creative development. This issue will be explored within the wider context of the challenges faced by tutors with the changing exceptions of their students in the present climate of financial pressure in education today.

In this study I am not going to attempt to play God and write the Grand Narrative which will save all the problems and issues explored. More so, this work is an attempt to raise awareness and start the debate on an issue that is seldom addressed in detail, or even discussed between staff.

How to place value judgments on art has been one of the big questions in Western culture since the hey days of the Renaissance, and the central theme of this study, which is essentially asking, "what is the academic value of certain types of work?', cuts right to the core of that live debate.

For me to attempt to answer that definitively in this study would be far beyond my capacity and create a false conclusion, as such questions cannot be analysed and answered with a scientific equation. At best I hope to shed some light on the workings and approaches of art, media & design tutors, and give a portrait of some of the difficulties that arise from time to time when students have particular ideas for their work, and the need to challenge these in an academic institution.

What I hope to do is create a guide which will be useful for tutors and students, which highlights the intentions of why tutors say certain things in tutorials, why we challenge students on their ideas, and the background behind it. Too often students try to second guess their tutors, trying to give them what they think they want. I believe students shouldn't try to play that game and produce what they want, with tutor guidance. It's their work, and their opportunity which I would hope they felt inspired to do, so the tutor can lead from the back not the front. But not all students are like that. Some need more guidance than others, and need a framework around their ideas and an agenda to aspire to, on which to pin their creativity.

In Chapter 1 I will explore the role of art education today, and it's changing nature. I will chart how the art world has changed its demographic with the advancements of technology and the influence this has had on educational institutions, especially in context with the expansion of the university system in the UK.

Chapter 2 will focus on individual tutors' approaches to student ideas, and sharing their experience in interview format of art, media & design art education in general and the balance between student expectation and academic standards. This chapter will particular look at tutor's responses to clichés, and other "problem" creative ideas, and how and why this would be challenged in tutorials. This section ends with a summary of other findings unearthed from these interviews, and points for consideration.

In Chapters 3 & 4 the emphasis will primarily explore (positive) challenges. In Chapter 3, those which are inherent in the student / tutor relationship, and looking at how learning is a cultural activity which should be of mutual benefit for both teacher and learner. In Chapter 4 the attention will shift to some of the overall challenges faced by universities in general and the knock-on effect this might have on student learning.

In Chapter 5, the Conclusion, I will attempt to give a definition of the types of student work which falls into the "problem" bracket explored in Chapter 2, and a strategy for tutors of how they could respond to these approaches ,

To understand how (and why) art educators may take issue with certain project ideas and approaches, first we must try to get to grips with the role of art, media & design education today in relation to academic institutions.