Pete Pinnell on mon 19 apr 10
Mr. Grant raises some interesting questions about ceramics education, =3D
and this is a question that I=3D92ve put a lot of thought into over the =3D
last 20 years. I just wish this conversation were occurring during =3D
summer break rather than in the busiest time of the semester! I don=3D92t =
have time right now to contribute much, but at a minimum you might be =3D
interested in the organizations that we (Art schools) look towards for =3D
guidance and accreditation.
NASAD (the National Association of Schools of Art and Design) is the =3D
only major North American accrediting agency (that I=3D92m aware of) that =
exists solely for the visual arts. They publish a very thorough handbook =
that provides details for the accrediting standards and process. You can =
download a free PDF copy of their handbook here:
The description of the MFA degree begins on page 120.
The College Art Association provides a nice description of the structure =
expected for an MFA degree, and you can read it here:
I=3D92m enjoying the discussion, and as a teacher, I=3D92m always intereste=
in hearing how we can do our jobs better.
Professor of Art, Department Grad Chair
120 Richards Hall
University of Nebraska
Lincoln, NE 68588-0114
Lee Love on mon 19 apr 10
I think that part of the problem (but also the advantage) is
that studio ceramics straddles two worlds: the world of craft and
the world of art. Actually, you can also add the world of commerce,
where souvenir and novelty work are made as commodities, rather than
works of art. (Yes, I know high art is commodified too.)
Studio work is also a relatively new category of of "art."
But I believe it is more advantaged than disadvantaged. The world of
art has much more to learn from craft than the other way around.
In Japan, they have, until recently, had both traditional
systems and studio arts paths available. Apprenticeships are
becoming more and more difficult to find there. The ones you can
find, are to learn how to make what I call "souvenir" work. Similar
to"classical" work on a bad day.
In N. America, we are strong in studio arts, clay centers and
the workshop system. When talking to a Japanese potter friend
about the workshop system in the West, he told me it doesn't fly in
Japan, "Because no potter wants to share their secrets."
Economics makes apprenticeships difficult. Also, folks who
never have experienced them, often end up just having "apprentices"
doing drudge work, so they don't put as much interest into the
"apprentice's" work, as they would if they had to put their name and
reputation on the work to be sold as their own.
Lee, a Mashiko potter in Minneapolis
=3D93Observe the wonders as they occur around you. Don't claim them. Feel
the artistry moving through and be silent.=3D94 --Rumi