The subject of attending University for the purposes of developing your practice is not without documented debate, and is a debate that highlights the contrasts of learning through academia against learning through intuition and life experiences. One school of thought suggests that developing artistic practice – something intuitive and which can be used as a tool for which to comment on the failure of academic systems – simply can’t be developed meaningfully within an institution. Another school of thought suggests that a university offers a platform for which to develop practice within a suited environment – and as such encourages collaboration, knowledge exchange, and all the apparatus you need in order to apply your skills to the wider world.
With regards to experiences of attending university in order to complete a fine art (or similar) degree, a tangible pattern can be traced: The first year provides a basis for which a displine can be explored, that discipline begins to be developed in the second year, but becomes stilted by the confines or an institutionalised, formal, and objective marking scheme, that sees the need for creative practice to fall within restrictive boundaries. By the third year, the student is disillusioned: Either producing work that blindly adhreas to marking schemes for the sake of a good grade, or producing work in direct conflict to the marking scheme at the sacrifice of a good grade, but with integrity. I know ten accounts of graduates that can identify with this pattern and, whilst ten accounts is by no means comprehensive, it provides a little insight into the shortcomings of attending university.
So, given the urgency a 17 year old feels with regards to attending a University from their respective college, is their faith in academia misguided? Well, yes and no. Let me explain.
Whilst there may be advantages to gaining knowledge through artistic endeavour at university, I believe a problem arises: Not with what is being taught, but the fact that you are left unequipped with any knowledge concerning how to apply what has been taught to a wider context. Nothing is said of how to establish professional contacts, how to get your work seen away from the university environment, how to sustain the interest of contacts and there is little guidance with regard to professional development strategies.
Yet in the interests of balance, and because of the fact that, on reflection, I am satisfied enough with my university experiences, I do not wish to simply wish to sully the good work done by universities. Instead, I will simply accept the fact that they can’t do everything. It is up to the graduate to forge a meaningful career out of the knowledge gained. But the feeling of disillusionment and confusion in the first months away from university can daunt, overwhelm and even allow you to lose faith in your abilities and knowledge entirely.
So, how do we combat this feeling? Well, by providing some kind of interim platform, not constricted by an academic establishment. How would such a platform manifest itself? Well, I’m still connecting the dots on that question. But an artist studio, tailored to the needs of graduates and with a programme of cooperative events, critiques and workshops, sounds like a suitable starting point.
