Art School: What could/should it be? The importance of a studio space, and How/why do we talk about art practice? Discussions at Chelsea (ongoing)

An ongoing conversation about the art school and the studio at Chelsea College of Arts. The first session asked: What is the art school now? What should, or could, it be? Should art school be a preparation for the pressures of the contemporary art world or a counter-space to the accelerated temporality of capitalism?

The second session, on the studio, asked: What is a studio? How might the artist’s studio be conceived (as workshop, office, study, laboratory, etc.), and differentiated from other types of space?

What is done in the studio?  What forms of physical and intellectual labour does the studio accommodate, and can this work be done elsewhere?

Who occupies the studio and who is excluded? Does the studio confirm an artist’s identity? Is the studio a space for solitary or collective work?

In the present landscape of contemporary art practice – which often focuses on ‘post-studio’ or dematerialised models – is the studio still necessary or relevant?

Dan Richards, whose discussions with artists in the book The Beechwood Airship Interviews have been important to Emma’s research, joined us for the conversation.

The third session in June 2018 is on language: How do we talk about art and why? Theory over practice? Sign language in art school – what does it let us do – does it tell us something about how dependent we are on written and spoken language? A spin-off course in sign language runs parallel to this.

Any further info or questions email e.gradin0720161 [at]  arts.ac.uk

Image courtesy of Dan Richards.

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