| NAFAE

Dirty Practice Event 2018

Art School Today: Who cares? Developing a culture of care within a disembodied institution

Monday, 25 June 2018 (All day) to Friday, 29 June 2018 (All day)
Wolverhampton School of Art
Wolverhampton School of Art
University of Wolverhampton
WV1 1LY
Creative Unions Free Movement of Culture

Wednesday, 13 September 2017 - 10:00am to Thursday, 14 September 2017 - 12:00am

Borders are a concept and a reality that restrict and permit people in different measure. Physical, social, psychological, they hold slow and they hold fast.

Creative Unions: Free Movement of Culture is a two day international artist gathering where the only desire is to make space to ask questions and share different forms of knowledge about what is proximate to us now; culturally, socially, historically, geographically, personally and politically. And it invites you. In fact, it invites you plus one.
FOR, ABOUT, NEARBY

The value of diversity and difference in Fine Art practice, research and education

Wednesday, 13 September 2017 (All day) to Friday, 15 September 2017 (All day)
PARADOX, University of the Arts London and Middlesex University

Paradox conferences are developed by artist educators and provide an international forum for arts and educational practitioners, and their stakeholders, to meet and discuss education, teaching, practice and research.

I do not intend to speak about just speak nearby
Trinh T. Minh-ha

The 2017 conference is a meeting that offers opportunity to exchange ideas, practices, provocations and research that relate to core themes around issues of diversity in the contemporary landscape of higher education fine art.
Diverse Knowledge; Diverse Ethics; Diverse Means, Diverse Aesthetics
Creative Unions

Free Movement of Culture

Wednesday, 13 September 2017 (All day) to Thursday, 14 September 2017 (All day)
PARADOX
Drawing in the Age of the Artist as Networker

Call for Papers: 2017 Annual Conference and Art Bookfair

Thursday, 6 April 2017 (All day) to Saturday, 8 April 2017 (All day)
The Association of Art Historians
Loughborough University
Epinal Way
LE11 3TU

AAH2017 will celebrate the expansive spectrum of histories, theories and practices that characterize art historical research today. Internationally, the field of art history is eclectic and inclusive, reaching across geopolitical, cultural and disciplinary divides to extend our understanding of the visual and material culture of many diverse periods and places.
Professional Practice 20 Questions

Interviews with UK undergraduate Fine Art staff exploring how students are prepared for life after art school.

Friday, 18 November 2016 - 6:00pm
Q-Art
QArt
Hauser & Wirth London
W1S 2ET

The launch of Q-Art's fifth and latest publication 'Professional Practice: 20 Questions' which will be held at Hauser & Wirth London, Friday 18th November, from 6-8pm in partnership with Kingston University.
Permeate Symposium

Exploring conversations in British painting over eighty years

Friday, 11 November 2016 - 1:00pm
University of Chichester
Otter Gallery
College Lane
PO19 6PE

The Permeate Symposium offers an opportunity for intensive examination of themes explored in the Permeable Edge exhibition.
Putting Space into Action

Friday, 30 September 2016 (All day)
University of Huddersfield
Centre for Sculptural Thinking
Heritage Quay
HD1 3DH

To coincide with the launch of Huw Wahl’s film about the 1970s radical art movement Action Space, this one-day symposium, hosted by the Centre for Sculptural Thinking, explores how spaces – public and civic – can be put into action.
Art as Research in Learning & Teaching

International Conference 2016

Wednesday, 31 August 2016 - 9:00am to Friday, 2 September 2016 - 4:00pm
University of Wolverhampton
University of Wolverhampton
Telford Innovation Campus
TF2 9NN

Keynote speakers include Professor Shaun McNiff (USA), Malcolm Ross (UK), Professor Carole Gray and Professor Julian Malins (UK). The conference will be led by Professor Ross Prior of the University of Wolverhampton and Principal Editor of the Journal of Applied Arts & Health.
Transitions Out of Fine Art Education

Symposium at The Glasgow School of Art

Saturday, 25 June 2016 (All day)
Q-Art
The Glasgow School of Art
Reid Auditorium
G3 6RQ
- What and who is an undergraduate fine art education for?
- How are students prepared for life beyond art school? What is the role of local partnerships?
- How are attitudes and approaches shaped by factors such as location, intake, and the cultural/political climate?

Pages

NAFAE Events

Annual Symposium

Making Public: The Fine Art Degree Show
Making Public: The Fine Art Degree Show

Event Details

Event Papers

Annual Conference & AGM

Friday, 12 April 2019 (All day)

Event Institution:

Leeds Beckett University

Event Partner:

National Association for Fine Art Education

Event Keynote:

Kirsty Ogg (Curator of The New Contemporaries) & Paul Winstanley

Callout Link:

making-public-fine-art-degree-show

Tags:

AGM

Booking website:

Eventbrite

This event is free to NAFAE members.

Event Address:

Leeds City Art Gallery

The Headrow

Leeds

LS1 3AA
United Kingdom

Venue Google Map:

Click to view on Google Maps

Event Contact Name:

Andrew Sheridan

Event Email:

admin@nafae.org.uk

Venue website:

School of Art, Architecture and Design

NAFAE's annual symposium is intended as an opportunity to meet, discuss and exchange ideas. We invite short provocations, poster presentations, and 20 minute papers or case studies.
Call for submissions: abstracts of 200 to 500 words by January 28th, 2019
Email to admin@nafae.org.uk
Register for the symposium:
As a network we are primarily interested in what and how people are producing and how educators and art practitioners are responding to contemporary challenges and contexts across the sector.
The keynote/guest speakers are Kirsty Ogg (Curator of The New Contemporaries) talking about the link between degree shows and the New Contemporaries/graduate exhibitions.
And Paul Winstanley whose book ‘Art School’ documents British Art Schools use of studio and exhibition spaces (usually when empty).

Most institutions across the UK that offer Fine Art and Art related degree courses have a “degree show” in the form of a final year exhibition; it is frequently perceived as a standard expectation but is it a platform that meets the diverse needs and ambitions of the whole student cohort?
Are there practices that have successfully incorporated the range of experience that is being pursued across the student body?
What are the pre-requisites for success or the fulfilment of expectations and how are those metrics impacting on the student condition or their approach to independent learning?
Are art schools and courses managing the degree show differently at graduate and postgraduate levels?
Are there alternatives that are being trialled and are they affecting reforms or shifts in the delivery and design of teaching and learning?
Are we preserving a form of exposition that is constraining learning outcomes?
Is there a fear of teaching and learning resources being eroded as a consequence of changes in our behaviour as educators?
Do we sufficiently trust our managers and decision makers in the context of change and shifting requirements or reference points?
How does the art school or art course represent its regional geography and how is the exposition of final year work influenced by the local socio-economic landscape?
The ’Degree Show’ is often used as a tool of assessment and sometimes heralded as the event that students spend three years working towards. It is a historical expectation of a Fine Art education and also one that tends to receive endorsement by the institution. It can be a celebration of work. It might be framed by competition or specific expectations of being ‘noticed’ or achieving sales but can it match those expectations?
A degree show framing of art work may still seek to replicate the white cube though it is more likely to be constrained by the limitations of space and facilities. The very concept of a show or exhibition may not suit all contemporary expanded art practices, where a proportion of students operate in a post-studio context in which interdisciplinary working and collaborative practice are strongly encouraged. Is it appropriate to question the relevance of a degree show in an age where more and more students are moving into post-graduation worlds of working: with context and site, alongside social communities, in response to public realms, through media and on-line environments, or in assistive roles or as facilitators in applied fields.
Do we need Degree Shows? How representative are they of our context for teaching and developing arts practices for contemporary society?Have they become institutionalised or instrumentalised for what they might offer our institutions in terms of public engagement? Are there alternatives? Has the degree show become outdated/outmoded? Is the ownership still really with the student body and to what degree are exhibitions curated, censored and utilised as marketing material for an increasingly commodified higher education system?

Contributions are invited on themes including but not limited to:
Alternative models of exposition and public engagement
Student choice, voice and perspective
Sustainability and Resourcing
Space makers: The impact of an era of new buildings in UK higher education
Relationship of the Degree Show to Teaching, Learning and Assessment
Varying notions of display and dissemination
Curating and interpretation
The role of the University/Art School Gallery
Beyond the institution
The role of the degree show in supporting graduate outcomes.

Often, students tell me how much they dread their degree shows; it's not a celebration, but a competition. They've been equipped with a complex set of anxieties but no basic coping strategies, like inviting other people to come or contribute. The function of the degree show is not questioned, they just accept the stupid formats, like VIP breakfasts – why don't you just make tea and toast for everybody?” 2008-2009, BA Fine Art/Contextual Studies, Dartington College of Arts, Devon;
2009-2010, MA Fine Art, Camberwell College of Arts (UAL). rosalieschweiker.info

I remember my undergrad degree show feeling like it should stand for everything that I wanted to be as an artist, and for all of the years I had been studying. But in hindsight, it was the very beginning, a sort of testing ground
Holly Hendry 2013 graduate

Your degree show – whether at BA (degree) or MA (postgraduate) level – is a valuable opportunity to showcase your work to a wide range of people working in the art world. Curators, writers, other artists, gallery directors and many others visit degree shows as part of their research into artists they might want to work with in the future. It’s important that your show looks its best at all times, and that you are available and contactable in the months following your show.
Artquest Website 2018
A crucial early showcase is the art school degree show, which, following the influential example set by Goldsmiths’ Visual Arts Department in the late 1980s, has now become increasingly professional in presentation. The degree show also provides a valuable opportunity for a wider public to have access to challenging contemporary art in its earliest incarnation.
Louisa Buck (2004) Market Matters

Remarks

Gallery
12/04/2019 (All day)

Art School Today: Who cares? Developing a culture of care within a disembodied institution

Wolverhampton School of Art

The value of diversity and difference in Fine Art practice, research and education

PARADOX, University of the Arts London and Middlesex University

Free Movement of Culture

PARADOX

Call for Papers: 2017 Annual Conference and Art Bookfair

The Association of Art Historians

Interviews with UK undergraduate Fine Art staff exploring how students are prepared for life after art school.

Q-Art

Exploring conversations in British painting over eighty years

University of Chichester

University of Huddersfield

International Conference 2016

University of Wolverhampton

Symposium at The Glasgow School of Art

Q-Art

Pages

Annual Conference & AGM

Event Institution:

Event Partner:

Event Keynote:

Callout Link:

Booking website:

Event Address:

Venue Google Map:

Event Contact Name:

Event Email:

Venue website: