BKPhoto@aol.com
Date: 10/19/01-09:10:23 AM Z
Shannon:
One of the central issues in MFA education today is that most graduate
instruction is being handled by artists who are now second, and sometimes
third, generation MFA graduates. It is the equivalent of genetic inbreeding
applied to art instruction.
The majority of academic artists compete almost solely among themselves. They
compete for teaching positions, for rank and tenure, for budget, space and
resources, for wall space in exhibitions, for awards and recognition within a
fairly restricted academic environment and it's environs. They have their own
cultivated networks, their own vocabulary and a very refined understanding of
how one accomplishment in their context relates to any other. Some are very
talented and committed artists, others are talented and committed competitors.
This has to affect the quality of their teaching. In fact, at many of the
larger state institutions promotion and tenure is heavily weighted towards
professional growth (exhibitions, reviews, publication) and teaching eff
ectiveness is a secondary consideration. Because only a very small number of
artists can exhibit or publish in the commercial art market/museum circuit,
the vast majority of what accounts for professional growth happens within
university galleries or smaller, local spaces.
The entire system is amazingly insular.
The best academic artists, in my opinion, resist the temptation to define
themselves solely in that context. Perhaps their view of what art is, and
what is can be, is more broadly defined. Perhaps they have succeeded in
plugging into the larger market and enjoy a deeper relationship with
non-academics in the art world. Or perhaps they love the teaching process and
embrace their time with students instead of "managing" it around their
careers.
If you had the opportunity to look around, and the means to attend the school
of your choice (grades, portfolio, money, time), you could find excellent
artists who are also excellent teachers. There is no telling what their view
on craftsmanship might be, but I'd bet the farm that it is a well considered
and appropriate conclusion.
By the way, any critique that lasts longer than 45 minutes to an hour (with
rare exception) is misguided.
Bill Kennedy
Austin, Texas
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