One of the strands that came out of the symposium for me was the
tension between the traditional art school and the changing nature
of our times.
As per Matthew Cornfords talk, the idea of an Art School becoming
a set of luxury flats or a Morrisons car park made me think about
our dwindling high streets. Just as the Art schools have dwindled, so
have the public houses (Im not sure if this is entirely a
coincidence!), the local greengrocers and the fishmongers. Those
that have managed to survive have done so for a variety of reasons;
exceptional quality, the ability to diversify their offering, an intimate
connection to the local community; surely this is no different for the
Art School.
The decision to return to the title of Swansea College of Art is
indeed an interesting one and I question how important is it to
speak of tradition, heritage and endurance. What became apparent
throughout the day is that some held a romanticised view of the Art
School. This was emphasised when some speakers advocated the
importance of traditional drawing skills, yet others promoted the
importance of ideas and creativity.
For me, creativity sits at the heart of artistic learning, this can be
recognised by core traits such as wondering, questioning, exploring,
connecting, experimenting, reflecting, developing and collaborating.
The importance of drawing has always been sacrosanct in Art
education, but I really do question, for example, whether our sound
artist of tomorrow needs to have traditional drawing skills. With
that being said, I am confident that there are plenty of practitioners
that are capable of teaching drawing in an increasingly expanded
field.
Throughout the day, I was painfully reminded that Swansea College
of Art does not have a public facing gallery. I have no doubt that
part of the reason why so many other Art Schools have disappeared
is because there was a lack of understanding about what happened
behind closed doors. Whilst Swansea School of Art rightly celebrated
its work within the community, I was conscious of the fact that much
of it was aimed specifically at the art community or schools, rather
than the public more generally. The renaissance of taking the art
college and integrating it back into the community has some
distance to travel.
Catrin Websters idea of the train carriage as a mobile studio is an
interesting proposal; surely that really is the renaissance of
integrating art back into the community. It is curious to take this
idea for a walk; what does this look like on a larger scale? Should art
New ideas need old buildings, old buildings need new ideas.