The definition of what art — and of what an artist — is, has become more and more discursive and circular. Myths of ‘the artist’ obscure what contemporary artistic practices possibly can be. The discussion of the legitimacy of art education forms lead by artists, theorists and art educators worldwide is only multiplying. So how do we — art educators in higher education BA Fine Arts — teach art?

In order to zoom in on the ways of articulating within art school education, I have conducted a qualitative data analysis of notes made by art students and tutors at the art department at the Willem de Kooning Academy (WdKA). Here, art students follow a BFA major called ‘Autonoom’ — which differs from Fine Art — and graduate together with students of all design departments in mixed-discipline ‘Practices’ of their choice, often the self-directed ‘Autonomous Practices’.
The thesis, Mapping AUTONOOM Voices, traces different fields arising from the data analysis. It concludes that art school seems to be a place where, starting from ‘not-knowing’, both ‘new perspectives’ and ‘self-development’ can be realized. But the ‘close-reading’ of the voices of students also unveils clashing paradigms active within art school education, and urges for awareness of differences in artistic creeds inside — and between — art schools.

The educational project, Aspects cards, uses ‘card reading’ as a means to uncover more affective aspects of artistic practices. Based on my thesis research and artistic practice, I created Aspects cards using my signature imagery: physical shapes, protruding and entering, that show ideas about influence. The Aspects card readings create moments for being apart together in ‘Not-Knowing’: a temporary space for intuitive reactions. As the readings continue, an affective inventory grows: data for later research.

External critic: John Seth, 4D Pathway Course Leader in the BA Fine Art — and member of three research groups at Central Saint Martins (CSM) London.