The Centre is Here symposium saw representatives of alternative art schools presenting their visions for art education. Kathryn Ashill, who starts an MA at Glasgow School of Art in September, found plenty to take on board as she prepares to embark on her course.
Artist Pippa Koszerek considers recent student protests within the context of alternative art school strategies.
Martin Patrick on Robert Filliou and George Brecht’s collaborative shop project La Cédille qui sourit.
Robyn Minogue reports from the ‘For a New Europe: University Struggles Against Austerity’ conference in Paris that looked to discuss and organise a common network based on European -wide issues including autonomous knowledge production, self-education and networking.
Terry Smith discusses the Experimental Art School.
Department 21 is a school within a school where designers, artists and architects can meet, collaborate and share working space beyond the institutional boundaries of their own disciplines.
Elements MA is an unfolding proposition for a educational pathway based around a titular masters course. Initially the MA will manifest itself through a series of events, exhibitions and activities from its base at Trade, Nottingham.
Set up in 2008 for the New Dark Age exhibition, Free School is a non-hierarchical, collectivist, no-cost, peer-led art school.
The Hedgeschoolproject is a participatory work by Glenn Loughran that combines art, architecture and activism to explore forms of critical pedagogy and emancipatory learning.
The Islington Mill Art Academy was set up by students for students. It is an unaccredited, collectively run higher education experience.
Emerging from the self-organised culture of the Los Angeles art scene, The Public School is a peer-led education model.
Set up in 2006, the New International School’s peer-network of fifty members organise events, publications and collaborative works in Finland, France, Serbia, the Netherlands and the UK.
The Parallel School of Art engages in collaborative workshops and projects that explore and redefine models of learning.
A consideration of the background to alternative arts schools and their current relevance, citing historical ideology and using eight case studies.
Turps Art School was founded in 2012 as a medium-specific art school providing year-long studio and distance learning programmes for painters. Co-founder Marcus Harvey talks to Michaela Nettell about the ideas and values behind the school.
School of the Damned is a free year-long alternative, and unaccredited, art school. Each year a new student group comes on board and collectively devises and develops their programme of learning. Laura Davidson finds out more from members of the founding cohort, Class of 2014, and the Class of 2018 graduating students.
The alternative art school, which relocated to Margate from east London in 2017, has moved into the former Thanet School of Arts and Crafts building where it will be based alongside the Kent Adult Education service.
Glasgow School of Art has announced that whilst this year’s MFA and Design and Architecture shows will go ahead as planned, special arrangements have been put in place for graduating BA Fine Art students following the recent fire.
Liverpool John Moores’ University, Liverpool
7 October 2010
“Thrillingly of this moment” – welcome to the 25th anniversary edition of the a-n Degree Shows Guide from CEO Julie Lomax.
A focus on alternative art education programmes, from self-organised to more structured offerings from institutions.
The history of my project of making installation art that interacts with museum artefacts.
A symposium co-hosted by a-n, the Artists’ Association of Finland and the International Association of Art (IAA) Europe.
Introducing the fourth and final set of conversations in our 40 Years 40 Artists series of artist interviews.
In this first in a series of conversations with the Shape Arts’ Transforming Leadership Programme cohort 2020-2022, Shape CEO David Hevey talks to Inky Cloak’s co-artistic director Martin Moriarty about making queer stories visible, alternative funding models, and the importance of participation.
