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The Parallel School of Art engages in collaborative workshops and projects that explore and redefine models of learning.

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.

Emerging from the self-organised culture of the Los Angeles art scene, The Public School is a peer-led education model.

The Islington Mill Art Academy was set up by students for students. It is an unaccredited, collectively run higher education experience.

The Hedgeschoolproject is a participatory work by Glenn Loughran that combines art, architecture and activism to explore forms of critical pedagogy and emancipatory learning.

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.

31 January 2012. Soho, London. Recording Time: 56 minutes
As part of Joshua Sofaer’s Artist as Leader research, Kate Love, Senior Lecturer at Central Saint Martins College of Art & Design, interrogates the idea of the ‘artist as leader’ by considering both the meaning and use of the phrase: “If you are allied to the left you are far more likely to be sceptical of the idea of leadership.”

‘Ladders for development’ argues that the visual arts sector should pull together and support small visual arts organisations cut by Arts Council England because they “punch above their weight” and provide vital development of future artists. Six months on, Dany Louise interviews these arts organisations again, to find out how they’ve fared and what their futures hold.