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    Artist, Researcher, Teacher: A Study of Professional Identity in Art and Education
    Artist, Researcher, Teacher: A Study of Professional Identity in Art and Education
    Artist, Researcher, Teacher: A Study of Professional Identity in Art and Education
    Ebook185 pages

    Artist, Researcher, Teacher: A Study of Professional Identity in Art and Education

    By Alan Thornton

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    About this ebook

    Artist, Researcher, Teacher explores the relationship of three professional identities that often intersect in the lives of art practitioners, educators, and students.

    Challenging conventional wisdom about specialization and professional identity, Alan Thornton shows that many individuals have complex, varied, and evolving relationships with visual art—relationships that do not fit into any single category. Against the backdrop of an expanding research culture and current employment models in the United States and the United Kingdom— where many artists also work as teachers—he argues for the necessity of a theory that both reflects and influences practice in the realm of art and art-related work. A great resource for those whose professional or creative lives encompass multiple aspects of art, research, and education, Artist, Researcher, Teacher will also provide fresh insights for those interested in identity formation and professional roles and practices. By elucidating our current situation, it opens the door to much-needed new approaches.

    LanguageEnglish
    PublisherIntellect Books
    Release dateDec 15, 2012
    ISBN9781841507804
    Artist, Researcher, Teacher: A Study of Professional Identity in Art and Education
    Author

    Alan Thornton

    Alan Thornton is a technician, teacher of general art and printmaking, and research supervisor at Anglia Ruskin University, UK.

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      Book preview

      Artist, Researcher, Teacher - Alan Thornton

      Part I

      The Artist Teacher

      Chapter 1

      Historical Impressions

      The chapter presents some impressions of the artist teacher as a historical phenomenon through the cross-referencing of historians’ interpretations with a focus on the artist teacher identity. The desire to forge links with the past compels us to try to identify patterns and clues that we can imaginatively convert into narratives that give plausible explanations for past manifestations. Each historian to a greater or lesser extent gives a personal view of the past. The subjective nature of historical data is evoked in the following passage:

      Suppose it is held – as it was, for instance, by Croce – that historical knowledge essentially involves the ‘re-creation’ of the past by each historian within his own mind; it then becomes difficult to see how any historical account can fail to be to some extent coloured and shaped by the individual interests and personality of its author.

      (International Encyclopaedia of the Social Sciences, 1968: 432)

      I proceed with this brief historical account aware of the fact that I am searching for, and deliberately interpreting other accounts in order to highlight, conceptualisations of the artist teacher. It is up to the reader to decide how convincing the evidence and the arguments are.

      A general view of historical developments in art education indicates a paradigm shift around the sixteenth century, which is seen as a ‘pivotal point’ or a ‘benchmark’ for the identity of the artist teacher as a historical phenomenon. The terms pre- and post-sixteenth century are used to convey this shift. The contemporary developments in art education in the United Kingdom that follow are seen in the context of this broader historical sweep.

      Pre-sixteenth century

      Some of the earliest human traces that exist are carvings, drawings and paintings from the Palaeolithic era, which according to Pericot-Garcia (1969) could have been made as long ago as 30,000 years. We can recognise animals and humans in these works and we believe our ancestors made them. Edward Luci-Smith, in his book Art and Civilisation (1992), reports on a discovery, from this same period, of stencil prints made from human hands. Sculpting or carving, painting and printmaking are techniques we often associate with the work of some visual artists today. We do not necessarily have to give the word ‘art’ any more meaning, in this context, than that conveyed through the processes and effects of visually representing phenomena using a plastic medium of some kind. Therefore it does not seem unreasonable to call the beings who made prehistoric artefacts artists, mindful of the concerns that compelled the creation of these artefacts. Pericot-Garcia throughout his study speaks of motifs and styles apparent in these artworks, which seem to have transferred through time and space. The assumption is that some of the content of the art and the techniques of early artists were passed on to others through migration and from generation to generation. It is conceivable that prehistoric artists passed on their knowledge and skills in ways related to learning and teaching processes that we are familiar with today. Could it be that there existed at least as long ago as 30,000 years beings who, to all intents and purposes, might be described as artist teachers? Pericot-Garcia deliberates on the idea that some form of art teaching took

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