What links art history, radical pedagogy, and Wagner? Adrian Rifkin’s Bildungsroman sets the Paris of 1968 against the practice of art history.
In Martine Syms’s art school-insider satire ‘The African Desperate’, clichés such as ‘the work’ or dramatic jeopardy are long gone. Everybody is trying so hard to look like they’re not trying that they nearly succeed.
Many contemporary art schools have not abandoned the principal tools of the masterclass or the crit that stem from some stubborn 18th-century ideas and the belief that creativity is the preserve of the artistic genius.
“History is the study of past events.” “Biology is the study of living organisms.” But art? Is art a discipline? Is it a practice? Who gets to answer this most fundamental of questions, and why do we prefer not to try?
Crisis? What Crisis? The lack of a single dominant voice in criticism is not a weakness, but a strength.
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