Hall - 2010 - Making Art, Teaching Art, Learning Art Exploring

Making Art, Teaching Art, 103
Learning Art: Exploring the

Concept of the Artist Teacher
James Hall
Abstract
The article explores the concept of the artist impact measurement. The ATS operates in a
teacher, drawing upon an overview of relevant context that includes languages, cultures and
literature and two related pieces of research: the identities from frameworks in education and art
first investigated practices within the Artist that can be both complementary and opposi-
Teacher Scheme (ATS); the second sought to tional. Artist teachers need to develop skills of
understand the perceptions of practice-based negotiation through which they can articulate and
coursework in an MA Art Education programme continuously reappraise their art practice and, at
at Roehampton University in London. Common- an appropriate stage, use that practice to inform
alities and differences between the perceptions their teaching.
and understandings of artist teachers (including
masters’ students), their tutors and gallery educa-
tors were explored. The data for each piece of
research were collected through unstructured,
open-ended interviews. A significant reflexive
and autobiographical dimension for the research
was motivated by my own identity as an artist
teacher, and by the exploration of reflective prac-
tice as a potential framework for realising and
sustaining an artist teacher identity and practice.
The research concluded that connections
between art practice and teaching are complex,
diverse, difficult to articulate, challenging to imple-
ment and do not easily lend themselves to simple
JADE 29.2 (2010)

© 2010 The Author. Journal compilation © 2010 NSEAD/Blackwell Publishing Ltd
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104 A rich, conceptual seam of practice edge, they want a dialogue of dissent and discov-
James Hall ery that they can pass on to those they teach ….
It is significant that the vast majority of intending This is an important exhibition: it acknowledges
teachers of art and design are motivated by a very that in order to teach the making of art you must
strong subject allegiance and by an equally strong be able to speculate about its making. (Northum-
sense of personal identity. First and foremost they bria University 2009, 7)
see themselves as teachers of art and design, with
roots firmly embedded in their identity as person- Writing almost thirty years ago, Anderson
as-artist, -craftsperson or -designer. (Prentice claimed:
1995, 11)
In realizing the contradistinction between the
Prentice highlights the dual identity that many roles of the artist and the teacher of art, one must
teachers of art and design hold, perceiving them- bear in mind that the role of each is not a separate
selves as both teachers and artists, a complex entity, but that there is a great deal of interdiscipli-
synthesis reflected in the Artist Teacher Scheme nary fusion. (Anderson, 1981, 45)
(ATS) currently operating in England. The benefits
to their teaching and to pupils’ learning for artist The more I looked into the benefits that can flow
teachers engaging in art practice might appear to from the ATS or from practice-based coursework
be so obvious or self-evident as to be incontest- in MA Art Education programmes, the more
able. The Office for Standards in Education complex and layered the emerging story became,
(OFSTED 2009, 20) noted the ATS as a particu- as a rich, conceptual seam of practice, ripe for
larly successful example of continuing profes- further investigation.
sional development [CPD] that meets individuals’
needs both as artists and art teachers: ‘An evalu- Creative spaces and identities
ation of (the ATS) showed that two thirds of
participants identified gains in subject knowl- The Artist Teacher Scheme is an expanding
edge, particularly of contemporary art. A similar programme of continuing professional develop-
proportion valued the teaching techniques used ment courses devised by partnerships between
and found these a stimulus for their own galleries or museums and university schools of
approach.’ The evaluation referred to (Galloway fine art and design to enable teachers to regain or
et al. 2006) identified significant strengths and develop their personal practice as artists in the
successes, the high response rate to a question- context of the contemporary visual arts. (NSEAD
naire survey an indication of participants’ strong 2009)
engagement with the ATS. It found the ATS
aligned well with Lave & Wenger’s (1991) concept Implicit in this statement is a recognition of the
of ‘situated learning’ whereby artist teachers’ multiple identities that teachers embody, negoti-
learning involves social participation in communi- ate, navigate and seek to sustain in their profes-
ties of practice. The evaluation also found that sional careers. Several of the small number of
some found the dual aspect of the scheme Masters programmes in art education taught in
attractive whilst others were ‘quite resistant to the UK provide opportunities for students to
the idea that the course could directly serve their engage in art practice, guided by similar princi-
teaching’ (9). Writing the introduction to a cata- ples to those stated above in relation to the ATS.
logue for an artist teacher exhibition, Helen Baker, In the case of Roehampton University in London,
Programme Leader of MA Fine Art and Education one module for the MA in Art, Craft & Design
at Northumbria University, raises the game: Education is assessed primarily through visual
work, supported by a short written report and oral
Teachers of art that join these masters level presentation and the dissertation can also be
courses do not want to simply update their knowl- assessed in exhibition or practice-based mode.
JADE 29.2 (2010)


My interest in investigating teachers’ experiences Yet, what the artist/teacher and student have in 105
of the ATS and MA coursework was not so much common is the necessity to enter an empty space; James Hall
in understanding the ‘impact’ on pupils’ attain- not one filled with targets, visual aids and materi-
ment but the effects upon the teachers them- als, but the void where ideas are not yet formed.
selves. My first aim for my research was to (Hollands 2004, 71)
explore the potential benefits both the ATS and
MA coursework contribute to the continuing My expectation, embarking upon the research,
professional development of teachers of art and was that teachers were seeking personal regen-
design in an era in which it is argued (Mahony & eration and professional renewal through reclaim-
Hextall 2000) that teachers in England have been ing their artist identities as hybrid artist-teachers,
re-professionalised through the standards and taking responsibility for their own CPD, rather
reform agendas of the last 20 years. Perhaps this than being directed by institutional or govern-
and the seemingly unrelenting pressure of the ment agendas. The rites of passage from artist to
target-setting culture and marketisation of school- teacher and then to artist teacher can be chal-
ing help explain interest and participation in the lenging as artist teachers migrate between
Artist Teacher Scheme and MA programmes. cultures and territorial spaces (Robins 2003):
Teachers find in these CPD programmes oppor-
tunities to re-engage not only with their subject This transition (from artist into teacher) is profound
but with contemporary art practice, with artists, in the case of artist teachers, for whom the contrast
with higher education institutions and with world- between their practice as a critical artist and that
class galleries, free to think, reflect and make in a of a regulated professional can be severe. (Adams
climate of creative and critical questioning. 2007, 264)
One artist teacher interviewed said:
Shreeve (2009, 152) also emphasises how ‘the
If we want pupils to be involved in the sort of prac- worlds of art and schooling are different cultural
tice that we were involved in as artists on this configurations and this requires identity work’ as
course, that’s personally generated, meaningful artists migrate from studio to classroom.
and has a sense of purpose, then that takes time An expanding body of literature concerned
and … people need time to develop it, the work. with artist teachers includes surveys, evaluation
reports and articles conducted by participants in
This artist teacher emphasises the time that is the ATS as artist teachers, lecturers or coordina-
required both for their practice-based CPD and for tors (Adams 2003, 2007; Galloway et al. 2006;
pupils’ engagement, countering the short- Hyde 2004; Thornton 2005); articles on related
termism, the input–output mentality so prevalent aspects of artists in education (Hickman 2007;
in much education policy and the impatience for Pringle 2009); and the catalogue of a recent exhi-
easily measurable results. One might view teach- bition marking the tenth anniversary of the Artist
ers as temporarily freed from their pedagogical Teacher Scheme adds to the discourse (North-
space, where they are constantly and altruistically umbria University 2009).
feeding and supporting the creativity of others to Five distinct but overlapping themes recur in
practise their own creativity, eventually transferring the literature:
the benefits back to the classroom. Such freedom
relates to Burbidge’s (Stroudwater Textiles 2008) 1. Professional identities – a re-framing of the
description of making as a wordless space where teacher of art as artist-teacher; a hybrid identity
experience, emotion and memory can be distilled fusing artist and teacher identities, but also high-
and given form. Hollands refers to an ‘unthought lighting tensions between the professional territo-
space’ where art and teaching potentially reside, ries and cultures inhabited by artists and teachers.
where artist and teacher roles are interchangeable 2. Curriculum development – artist teachers
and where nothing is defined or decided: generating innovation and increased confidence
JADE 29.2 (2010)


106 in curriculum content, delivery and assessment, ver, postgraduate professional development for
James Hall engaging with contemporary art practice. teachers is particularly relevant now that PGCEs
3. Teacher development – supporting personal have moved to Masters level, as teaching moves
and professional growth, developing new knowl- towards becoming an all-postgraduate profes-
edge, understanding and skills. sion and visual methodologies flourish in post-
4. Theoretical perspectives – the importance of graduate research programmes.
artist teachers generating and using theory,
conceptual frameworks for their work, analysing Methodology
assumptions and beliefs, exploring art practice as My approach emphasised self-dialogue, articulat-
research. ing tacit and intuitive knowledge that requires a
5. Reflective practice – the reflexive, learning deep immersion and living with the research.
dimension for artist teachers as they interrogate Heuristic research emphasiss autobiography and
and problematise their own positions as teachers internal searching as one seeks to understand
and artists; an epistemology of practice as artist phenomena in increasing depth (Moustakas
teachers maintain a critical stance towards their 1990), an approach that enabled me to connect
practice. the disciplines of educational research with the
living of my professional life. My experience as an
So, far from the potential benefits of practice- MA tutor was studied alongside the experiences
based CPD being obvious, the relationships of six students and another tutor, as co-partici-
between making and teaching art remained ripe pants in the research, through deep reflection
for exploration. Secondly, the more I investigated upon my thinking and actions. In relation to the
the field the more I realised the key concepts ATS, I interviewed three artist teachers, a univer-
informing both the ATS and the MA approach at sity lecturer and an education curator. My strategy
Roehampton connected to what had for me been was to narrate layers of lived experience through
a deep-seated and long-standing issue: namely, open-ended, unstructured interviews and a reflec-
the rich conceptual seam of practice that lies in tive diary. I aimed to connect the student and tutor
the interplays between one’s own work as an accounts, narrating my own presence as an
artist or maker and one’s teaching: a career-long involved and implicated researcher who is part of
concern that seems to me to be at the heart of art the community of practice being studied. Reflex-
education. My research was in part an autobio- ivity proved to be a key resource and dimension of
graphical self-study as my involvement in linking the research, requiring the critical engagement of
making with teaching art can be traced through self by all participants.
teaching the practice-based MA module; previ-
ously supporting PGCE student teachers through Making as enquiry
their transition from art practice to art teaching;
and before that maintaining my own practice as a In making meaning we are not approaching
printmaker whilst teaching art in secondary completion – a complete account of the way the
schools. Moustakas (1990) supports the notion world is, an adequate interpretation of what it
that we carry within us seams of experience rich means. Furthermore, the meanings we trace, the
for excavation and articulation; that we puzzle on meanings we map, the meanings we enact are
deeply-rooted interests and ideas that concern us not achieved, we remake them from moment to
throughout our careers; these ideas gestate but moment. The challenge is to own this and
are not given shape or articulated until we have embrace the making and remaking of meaning.
the opportunity, questions and methods. Thus, it (Hanrahan 2006, 152)
seemed important to attempt to articulate and
theorise these intuitive notions about the concept Working as an artist teacher offers continuing
of the artist teacher, as fresh insights could professional development and learning through
support the further expansion of the ATS. Moreo- making art as an alternative and complementary
JADE 29.2 (2010)


enquiry process to dominant, language-based where the audience contributes their own inter- 107
methodologies. Unlike a student on a ‘traditional’ pretation, as the maker exercises neither James Hall
MA programme however, be it in fine art or educa- complete control nor a preferred interpretation
tion, the artist teacher is challenged to articulate (Hickman 2007; Sullivan 2005; Eisner 2005). Sulli-
the interplays between art practice and educa- van (2008) suggests artists are not social scien-
tional practice in these corresponding worlds of tists but blend logic and consistency with imag-
enquiry. Making and remaking meaning is an ined possibilities where reason and sensation are
iterative act without conclusion or completion, compatible. Artist teachers are as comfortable
thus practice-based enquiry can be more capable with creative epistemologies as with rationalist
of capturing complexity, ambiguity and emergent epistemologies.
meaning, capable of carrying what Eisner (2005, The processes through which artist teachers
180) refers to as ‘productive ambiguity’. Work by link their art practice with teaching are complex,
artist teachers can display a more open and evoc- diverse, often unarticulated and delayed beyond
ative texture than written texts, suggesting mean- completion of an ATS or MA programme. Whilst
ing is alluded to rather than spelt out (Eisner some artist teachers regard making and teaching
2005), a philosophy that sits somewhat uneasily art feeding off each other as essential and inevita-
in an educational culture that favours the explicit ble, even synonymous, others wished to keep
and easily measurable. For Grayson Perry, some distinction between making and teaching
‘contemporary art often plays to the part of us art. Some artist teachers did not want or seek
that is very uncomfortable with not being sure, explicit links but were happy for connections to
that cannot maintain a stance of “don’t know”’ be implicit, and to emerge over time. Indeed artist
(Observer Review 2008). Macleod & Holdridge teachers can meet oppositional forces; for exam-
(2006), argue that meanings in artworks are ple, some artists’ resistance to the terms ‘educa-
created a posteriori, after the event, not a priori, tion’ or ‘teaching’ and the distancing of some HE
before the event. Such openness and uncertainty fine art departments that identify ‘education’ with
contrasts sharply with the prevailing and depress- what happens in schools.
ingly enduring technical rationality in curriculum Negotiating a new identity that integrates the
and assessment, not only at school level but also teacher self or persona with an artist self is not a
in higher education. Teaching and learning can straightforward or always comfortable process.
continue to be misconstrued as the unproblem- One artist teacher returned from the programme
atic delivery and attainment, respectively, of previ- to their school to meet some resistance and
ously defined learning outcomes. Neither in art scepticism about perceived new approaches as
nor in education do we always know what we are they were seen to be challenging the established
doing until we are doing it nor when we have practices that produced good exam results. Artist
done it – you cannot always have that transpar- teachers come from a range of backgrounds and
ency demanded by institutions: experiences; not all are teachers returning to art
practice, some are artists who do some teaching,
… the artist is not always aware of the complexity, but do not have a teaching qualification. One
richness and hidden significance of everything that such artist teacher said ‘it’s a lot of information
is created in a given artwork. (Hickman 2007, 316) we’ve been taking on board to deliver effectively
in a school or whatever because it’s still trial and
We don’t know what we are doing, therefore we error’. As Hall et al. (2007) found in their study of
seek to improvise. It could be said that what art the pedagogic identities and practices of artists
teachers try to teach is the ability to ‘not know’. working in schools, artist teachers also differ in
(Northumbria University 2009, 7) their pedagogical philosophies and strategies.
The arts have pluralistic frameworks, idiosyn- Reflexivity

cratic methodologies and implicit meanings The conceptual framework for the research
JADE 29.2 (2010)


108 started and ended with reflexivity as a key concept Self
James Hall and process for artist teachers’ professional
learning, for my own professional development In the same way that meaning exists in its negotia-
and for the research process itself. My efforts to tion, identity exists, not as an object in and of itself
explain my thinking and decisions, to draw upon – but in the constant work of negotiating the self.
intuitive responses and remain open to alterna- (Wenger 1998, 151)
tive readings were at the heart of my research. I
also claim reflexivity acted as a reciprocal prac- Common to all the artist teachers participating in
tice, embodied and lived by me and my MA the research was their deep engagement and
students in a collaborative enterprise, as impor- investment in their work, as was their ownership
tant to artist teachers’ practice as to my research. of ideas, valuing of freedom and autonomy to
Reflexivity allows us to focus on everyday prac- explore long-standing preoccupations. I found
tices, since the familiar is paradoxically largely that artist teachers construct and renegotiate
invisible; we can make it strange and interesting artist and teacher identities in communities or
again and articulate its complexities and contra- networks of practice that include artists, curators,
dictions (Hammersley & Atkinson 2007). However, lecturers, teachers and other artist teachers,
close encounters with actors’ practices can reveal developing new dispositions towards art practice
uncomfortable discontinuities and ambiguities, and pedagogy, not as additions but transforma-
which counters a common misconception that tions of professional experience.
reflective practice is a straightforward, unprob- These significant gains were also character-
lematic and somewhat cosy way of professional ised by a renewed curiosity and a desire for artist
being. The routine evaluation of practice does not teachers to give their own pupils or students
generally get at the meanings dormant in tacit, authentic experiences as artists. One MA student,
taken-for-granted assumptions. an infant teacher, established a community of
Thornton (2005) argues for a reflective practi- artists – herself and her class as artist-pupils,
tioner identity for the artist teacher in order to working, creating and evaluating together, blur-
reconcile potential conflicts of interest and a lack ring the distinction between teacher and pupil in
of institutional support. However, the concept of a continuum of learning in which the teacher
the reflective practitioner has been claimed learned from and with the pupils as they critiqued
almost universally in teacher education and devel- the teacher’s work. This practice transformed
opment programmes, at worst hijacked as a the classroom but in fact articulated and brought
straightforward improvement tool rather than as into her own understanding practices she had
a complex and challenging enquiry process with been developing over years but had not previ-
understanding as its goal. Reflexivity is not related ously had the opportunity to reflect upon and
to targets or standards and certainly not to exter- describe to herself.
nal goals set by others outside your practice. I
define reflexivity as the freedom and learning Conclusions
power to create knowledge, to question what we One of the most significant gains from the scheme
know and how we come to know it; that is, main- appears to be the knowledge, insights, confi-
taining a self-conscious and self-critical stance to dence, skills and self-esteem that artist teachers
our attempts to construct meaning for ourselves. gain from working, thinking and practising as
Reflexivity is used here as a unifying process, artists in a professional context of contemporary
bringing together disparate strands of being and art practice. Artist teachers spoke of connecting
experience in a unifying whole. In this sense, I disparate ideas, a sense of freedom and time to
concur with Thornton in promoting reflective engage in one’s own work, lending greater authen-
practice as a means for artist teachers to forge ticity to increasing challenges and risks for their
and maintain their symbiotic, hybrid identities. own students having engaged in these processes
themselves. However, for some artist teachers the
JADE 29.2 (2010)


influence on their teaching was neither immediate continuously reappraise their art practice and, 109
nor easily attained or identified. at an appropriate stage, use that practice to James Hall
The construction and development of the artist inform their teaching; reflective practice could
teacher identity is a complex and idiosyncratic provide an appropriate framework for realising
process informed by many variables including and sustaining the artist teacher identity (Thorn-
personal and professional identities as a teacher ton 2005).
and an artist; their personal and pedagogic philos- • Variance of meaning, alternative modes of
ophy and approach, the ethos and character of enquiry and plural forms of knowledge not only
their school and the stage of their career. coexist with outcomes-led pedagogies, but
The key findings of the research are summa- generate a necessary creative tension that adds
rised: to and enriches the milieu. Without challenge,
outcomes-led pedagogies run the risk of reduc-
• Links between art practice and teaching for ing learning to the uncritical acquisition of
artist teachers are complex, diverse, difficult to prescribed outcomes.
articulate and challenging to implement; artist • Artist teachers have scope to exploit and capi-
teachers are afforded space to live with and talise on the inherent creative tensions between
work through preoccupations and personal rationalist and creative epistemologies; this
interests, often more evocatively than explicitly, may mean rehabilitating intuitive approaches to
multiple perspectives and readings being enquiry and reconciling them with rational
valued above attempts at singular meanings. enquiry as important complementary means of
• Professional identities and allegiances are re- living with complexity, ambiguity and uncer-
framed as the hybrid artist-teacher fuses their tainty as they explore the intersections between
artist and teacher selves; the benefits for the art and education.
teaching of artist teachers are often longer term
and ‘slow burning’ and do not lend themselves
to simple impact measurement; this is not to References
say that there are not immediate and continu- Adams, J. (2003) The artist-teacher scheme as
ous benefits as artist-teachers begin to engage postgraduate professional development in
with the scheme. higher education, International Journal of Art &
• The ATS operates in a context that includes Design Education, Vol. 22, No. 2, pp. 183–94
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Adams, J. (2007) Artists becoming teachers:
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Education, Vol. 26, No. 3, pp. 264–73
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shadow of art. Macleod & Holdridge (2006, 12) Anderson, C. H. (1981) The identity crisis of the
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• There are many different kinds or models of
Selected Works of Elliot W. Eisner. London:
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Making Art, Teaching Art, 103

Learning Art: Exploring the

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The arts have pluralistic frameworks, idiosyn- Reﬂexivity

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