Curriculum. Группа авторов
their terminology. Sentences have been patched together from several other people’s outlines, themselves presumably cobbled together in much the same way. In terms of their genesis, outlines are hybrid monstrosities. They are part of an ecology of resource-sharing among those who work in educational environments, the outcomes of a complex genealogy of contingencies: scraps of technocratic language; hurried cut-and-pasting; pieces of strategic bad faith; as well as the sudden unlocking of connections; the sharing of ideas; the unexpected fruit.
1John Baldessari and Michael Craig-Martin, ‘Conversation’, in Art School: Propositions for the Twenty-First Century, ed. Steven Henry Madoff (Cambridge, MA: MIT Press, 2013), 45. This book presents a number of ‘propositions’ by prominent art critics and theorists on the value of art education, alongside a set of ‘profiles’ of significant school buildings, an unusual conjunction of the theoretical and the concrete. This structure occasionally threatens to undermine the rich, provocative set of critical propositions arranged by editor Steven Henry Madoff, containing the radicalism of the book’s more forthrightly anti-institutional contributors within the framework of already-extant building-based educational institutions and projects, however ambitious these may be.
2Mick Wilson and Schelte van Ruiten, eds., SHARE Handbook for Artistic Research Education (Amsterdam: ELIA, 2013), 31.
3Charles Esche, ‘Include Me Out: Preparing Artists to Undo the Art World’, in Art School: Propositions for the Twenty-First Century, ed. Steven Henry Madoff (Cambridge, MA: MIT Press, 2013), 101–13. There is an interesting disparity here between Wilson’s proposition of ‘radical autonomy’ and Esche’s quite distinct sense of the ‘anti-autonomous’ aspect of art education, but both are united in their sense that art education has to work against discipline, against specialisation.
4Nathan O’Donnell, ‘Complementary Studies’, Paper Visual Art Journal 8 (Winter 2017): 13–26.
5On Prestolee, see Catherine Burke, ‘“The school without tears”: E.F. O’Neill of Prestolee’, History of Education: Journal of the History of Education Society 34, no. 3 (2005): 263–75. On the Escuela Moderna, see Geoffrey C. Fidler, ‘The Escuela Moderna Movement of Francisco Ferrer: “Por la Verdad y la Justicia”’, History of Education Quarterly 25, no. 1/2 (Spring–Summer 1985): 103–32. On Summerhill, see A.S. Neil, Summerhill: A Radical Approach to Child-Rearing (New York: Harold Hart, 1960). For further information on the Scotland Road School and other anarchist educational projects in Liverpool, see an article originally published in The Blast, and republished on the radical resource-sharing website, libcom.org.
6See Vincent Katz, Black Mountain College: Experiment in Art (Cambridge, MA: MIT Press, 2013). To trace the influence of the principles of Black Mountain College and the Bauhaus on British art education, see Nigel Llewellyn, The London Art Schools: Reforming the Art World, 1960 to Now (London: Tate, 2015).
7See Anthony Fyson and Colin Ward, Streetwork: The Exploding School (London: Routledge and Kegan Paul, 1973).
We want to learn how people exist
Rowan Lear
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