Convenors: Dean Hughes, Edinburgh University, Scotland & , Crawford College of Art and Design, Cork. Ireland


How do differing forms of teaching effect the type of artistic work that is subsequently made? Art education offers many differing examples of how young artists are educated, relative to the values and dogma of contemporary fine art.

Firstly, the origins of artistic pedagogy are often in evidence in many art schools in the form of Sculptural cast collections. These objects are useful reminders that art education was once the sole preserve of mimesis, whereby the activity of the student was measured and checked against the standards of the ideal form. Secondly, it can be noted that in the contemporary period post-1945 a discursive approach became much more in evidence. A singular approach to teaching via the individual tutorial was dispensed with in some countries in favor of a more nuanced relationship to the individual needs and direction of the student. Is this now being challenged? Is it time to re-evaluate?

What are the present means by which young artists are educated across European Institutions? What is the subsequent meaningfulness that young artists find within these teaching situations? And how is this meaningful activity representative of contemporary concerns? Have art students adopted their own form of mimesis or imitative practices as they respond to the challenges of contemporary art? With a more discursive model of art education now more prevalent, what are the new and emergent models of peer based learning? (paragogy). How do we inculcate the relationship between meaning and means?

The conveners are interested in receiving all forms presentation for this strand, papers, case studies, projects, performances or workshops.


Keywords; Paragogy, Mimesis, Skill and Technique, Hermeneutics