Ethos of Ambiguity: Artist Teachers and the Transparency Exclusion Paradox

Matthews, Miranda

doi:10.1111/jade.12277

Cited by 4 publications

(5 citation statements)

References 39 publications

(57 reference statements)

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“…In working in a standardised manner to meet requirements, like those outlined by Ofsted, the teacher may sacrifice working independently and creatively (Lightman 2015), hindering teachers' ability to take ownership of their teaching. Furthermore, Matthews (2019) highlights the level of standardisation in place for teachers can take away from their professionalism as it ‘detracts from creative risk‐taking and promotes distrust of teachers’ (2019, 854). This juxtaposes Schön's ideas around standardisation being linked to major professionals (1983) and the assumption it is a positive trait.…”

Section: Resultsmentioning

confidence: 99%

“…In doing so, it meets the criteria for being a ‘major’ profession (Schön 1983; Plowright & Barr 2012). This occur in the intersects of art being ‘ambiguous’ (Matthews 2019) and FE teaching being ‘anomalous’ (Robson 1998). These two qualities, often seen as negatives that contribute to a profession being minor, come together to elevate the role of the artist–teacher in ACL to major.…”

Section: Discussionmentioning

confidence: 99%

“…Such as exhibiting artwork (2010,11) The ambiguous nature of the artist conflicts with one of Sch€ on's criteria for professionalism (1983,23). However, Matthews (2019) argues that artists are 'ambiguous by design ' (2019, 85), which he sees as positive, as it allows for questioning and liminality (2019). This highlights the differing option of those within and outside of art.…”

Section: Professional Status Of the Artistmentioning

confidence: 99%

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Professionalism and Artist–Teachers in Adult Community Learning in the UK

Cairns

2023

Int J Art Design Ed

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The professionalism of artists and further education (FE) teachers is often questioned. This research will evaluate the impact this has on artist–teachers working in FE. Schön defines a professional as an individual who works in a highly specialized occupation. This article examines how this applies to artists and FE teachers, with reference to historical and contemporary cross‐disciplinary research. Published research focuses on professionalism in terms of meeting sets of criteria. However, research participants within this study were more concerned with the activities undertaken by artist–teachers and how these reflected their professionalism. The research findings focus on the perceived professionalism of artist–teachers in adult community learning (ACL), a sub‐section of FE in the United Kingdom that encompasses adult and community learning delivered to adults aged 19+ but local authorities or general FE colleges.

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Section: Resultsmentioning

confidence: 99%

Section: Discussionmentioning

confidence: 99%

Section: Professional Status Of the Artistmentioning

confidence: 99%

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Professionalism and Artist–Teachers in Adult Community Learning in the UK

Cairns

2023

Int J Art Design Ed

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“…The activity of learning about and making artworks may be experienced as lifting subjectivity above the 'facticities' of existence (de Beauvoir 2015;Matthews 2019Matthews , 2024); yet it might even be in the practical arrangements of space for making work that the realisation of intentions and specificity in practice (Stengers 2005) produce that enticing yet elusive attainment of 'originality'. The 'surprendre', as a surprising happening that appears to originate itself, is therefore revealed in the day-to-day zones of active making.…”

Section: Scenic Discoveries and Decision-makingmentioning

confidence: 99%

Arts Practice as the Daily Extraordinary: A Philosophy of Inclusivity

Matthews

2024

Int J Art Design Ed

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To conceive a philosophy of art education that is removed from actual practice would belie the extraordinary experience of developing and making practice. In this article, I propose to explore the philosophical implications of art practice being an experience of the ‘daily extraordinary.’ A view of practice as being at once stretching and comfortable, takes the artist and viewer's responses to the strangeness of the everyday: the delightful, the shocking, or even the miraculous, in what appear to be simple and mundane experiences. If we perceive learning in the arts as a pursuit of ideas, affect and expression that occurs in regular practice, there is an inclusivity that renders both learning in the arts and philosophy of art education accessible to everyone. In this article I will refer to the Goldsmiths Centre for Arts and Learning's research programme of 2022–2023, in which events and connected teaching activities practised being All For the Arts. With visiting speakers, museums and galleries and postgraduate students, CAL researched how the vitality and challenge of art practice, which includes the individualities and expression of persons and histories made ordinary and invisible, could bring the value of learning in the arts to the fore. Including reflections from contributors such as John Baldacchino, A Particular Reality, Carol Wild, Danny Braverman, Raphael Vella, Kevin Tavin and Andrea Kárpáti, we explored inclusivity in art practice from the daily extraordinary of each speaker's developments in educational research. Also, in the company of representatives from arts organisations such as Entelechy Arts, Autograph ABP, Whitechapel Gallery, Young V&A and Bow Arts, we considered the amazing and essential factors of inclusivity in the arts – that could be encountered on a daily basis. I will gather meeting points here among this incredible range of contributors.

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“…Artists such as Bolanle Tajudeen, Theaster Gates, Jacob V Joyce and Raju Rage are refusing to accept this inequality of access and are exploring arts practice as a force for cultural representation. Art continues to open possibilities for bridging gaps in understandings of otherness; art introduces 'strangeness' (Ranci ere 2010, 142), anticipates uncertainty and ambiguity (Matthews 2019) and enables an imaginative view beyond states of division.…”

mentioning

confidence: 99%