Page 21 - Studio International - November 1966

But I do not wish to stress this demur unduly nor to system relies too heavily on the presence particular education under discussion in these inter-
imply any criticism of the Newcastle course. What I of teachers and administrators of intelli- views. Its former clear designation has been all but
am really wondering is whether there is any justifica- overrun by its increasing appearance elsewhere. Pre-
gence and vision in the schools to make
tion for a basic course for all first-year students; viously 'Graphic' was understood to refer to such
it work. Obviously this does not always
whether the basic courses to which we have become techniques within 'Fine Art' as engraving: also to
accustomed are not simply pious attempts to resolve happen. Thirdly, the fact that serious doubts describe a calligraphic or linear quality outside those
the dilemma inherent in the present situation. In the and defects are now being discussed means certain media. Today it is used for thesetwo functions,
last analysis the problem confronting the art schools that a painful process of re-thinking takes but its more frequent use is as a slack cordon for the
is how to reconcile the forces of free expression (in place within a new and inhibiting official- present uneasy realm of ' "Fine Art" and "Design" ',
painting for instance) and scientific techniques in in recognition of our technological age. As we are
industrial design without, on the one hand, relinqui- diploma-examination framework. The point the products and producers of this age, any practising
shing academic responsibility and, on the other, emerging most clearly from the interviews artist or designer draws his ideas from this fact and
compromising academic integrity and traditional is the crucial one of the importance of the his work is based, and made, on the implications that
values. This is, I suspect, what William Gaunt had development of mental equipment in de- arise and the techniques available and to be explored.
in mind when he said (The Times, Dec. 8, 1964) that sign and art education. This, alas, is one Misha Black states the ideal of having 'schools of
there was a crisis developing in the arts which has human ecology in which different departments, all
its basis in a conflict between 'individual expression thing about which, generally, there is little concerned with some aspect of human environment,
and the mechanical and standardised processes of understanding and agreement. will have parallel authority within their own discipline'.
highly industrialised society'. He further says: 'One could visualize a school in
which there were architecture, landscape architec-
from Charlotte Jennings, painter and ture, industrial design, and town planning, say, as
from Joe Tilson, the sculptor, who studied etcher, who studied at the Slade School of natural bedfellows.' I think we will come to the point
at St Martin's School of Art and the Royal
Art and now works for Editions Alecto: of including in this group, and in the same schools
College of Art and participated in the fine art and design, as they are both equally subjects
1964 Venice Biennale: of ecology. The Barlett School of Architecture is ac-
The function of 'Fine Art' and its relation
cumulating data and doing research on educational
to 'Fine Art' educational method: method, and I think it is essential that such work be
I liked particularly Richard Hamilion's very
Richard Hamilton's teaching methods are done in all the subjects under discussion. The begin-
pertinent observations on Ulm and 'guilt-
excellent, but I cannot agree with his con- ning of such an approach, and the inclusion of fine art
free non-producers'. My only comment and design into the same schools as architecture etc.
cept of the realm of his teaching: i.e.
briefly on the whole of Art education in would be a move towards the clearance of the schism
'Fine Art'—called `Non-Productivity'—which
England is contained in a favourite quote that exists between fine art and design, and the
amounts to Non-Communication. Thought dilemma exposed every time the word 'Graphic'
(of mine) from Nietzche's The Wanderer and
and action are inseparable, and since 'Fine appears would end.
his Shadow, 1880:
Art' action necessitates a product it is
'There are no educators. As a thinker, one should simply a question of what category of
speak only of self-education. The education of youth function and communication that product from Professor Denis Harper, dean of the
by others is either an experiment, conducted on one
belongs to. This is clearly defined by Sir
as yet unknown and unknowable, or a levelling on Faculty of Technology, University of
Herbert Read in his statement relating to
principle, to make the new character, whatever it may Manchester Institute of Science and
Design Schools and Art Schools. As things
be, conform to the habits and customs that prevail: Technology:
in both cases, therefore, something unworthy of the stand, I agree with him that the former are
thinkers-the work of the parents and teachers, whom beneficial and the latter questionable. It is difficult not to join the kind of discussion
an audaciously honest person has called our natural
on Art Education which could extend from
enemies. One day, when in the opinion of the world
In theory, and often in practice I think, Sir Herbert is the views of Professor Misha Black, Sir
one has long been educated, one discovers oneself:
also right that 'the good art teacher is a person who
that is where the task of the thinker begins: now the Herbert Read and Professor Richard Hamil-
has a certain kind of personality'-(vocational). This
time has come to invoke his aid-not as an educator ton. Yet to do so is to expose oneself to the
would imply that an artist is not necessarily the best
but as one who has educated himself and thus has
teacher of his own subject. But here it is difficult to charge that one knows so little about this
experience.'
draw hard and fast rules-Richard Hamilton being an subject and that there is a tendency to utter
excellent example, by his methods, of the opposite. well-worn arguments and platitudes.
from Peter Kneebone, fellow of the Society Further to this, the best teaching I received as an art I am sure your three conversationalists
of Industrial Artists and Designers, and student was a First Year Basic Design Course taught
would agree that this is not a very good way
late head of Kingston College of Art's late by Denis Bowen at Hammersmith in 1953, and Etching
taught by Anthony Gross at the Slade. I think it is to develop a most difficult and cogent argu-
Department of Complementary Studies:
significant that both these subjects were principally ment and some obvious things have been
the teaching of technique. said on the spur of the moment in answer
The three interviews underline three major
Other than as a 'teacher-technician-artist' it would
defects of 'art' education in this country. be difficult to equip either the would-be teacher or to the prodding by Victor Willing. I know so
Firstly, the Coldstream and Summerson student with what he needs and wants to know. It is much less than they all do about the many
aspects of the history of art education, and
reports show little evidence of having been perhaps further significant in this problem, and the
based on a full unprejudiced analysis of the next, that the principle subjects I have taught and as they speak I tend to agree with nearly all
considered amongst the teachable art subjects have they say. I had many years ago a fairly
problem posed (Herbert Read's 'radical re-
primarily revolved round technique, and have been
organization of art education'). Conse- in fact etching and a Basic Design Course. orthodox training as an architect, have had
quently the system contains built-in The word GRAPHIC and its relation to educational both urge and opportunity to design ever
since, and now believe that so much early
ambiguities about the meaning of 'art', method and functions of 'Arts':
'design', 'art history', 'fine art',' professional', Today a word which crops up with more and more organized intuitive design activity does
frequency and is used in exactly the same way and much damage to that eventual wider com-
and so on, and their relationship to each
context as La Macchina is loosely used in Italian, is the munication by which real art and design
other. Secondly, these ambiguities, allied 3 word GRAPHIC. This is a good opportunity to attempt
to the freedom given to schools to work out a definition, as the word's very existence as such and can flower.
their own programmes, mean that the -ecurrence today is related to the problems of the Continued overleaf