Ch-ch-ch-changes: Artists talk about teaching by John Reardon, David Mollin

By John Reardon, David Mollin

An vital advisor for artists, academics and scholars, this quantity of newly commissioned interviews makes a speciality of artists instructing within the united kingdom and Europe. The interviews supply an exciting perception into the demanding situations and anxieties that impact the artist-teacher, and convey to gentle their usually heroic endeavors to outlive in the global of artwork schooling. chosen from quite a few associations together with vital St. Martins, Glasgow college of paintings, Städelschule Frankfurt, and Kunstakademie Münster, each one representing a unique method of educating. Artists interviewed comprise John Armleder, Guillaume Bijl, Phyllida Barlow, Pavel Buchler, Michael Craig-Martin, Liam Gillick, John
Hillard, Tobias Rehberger, Karin Sander, Christoph Schlingensief, Jon Thompson, Erwin Wurm and extra.

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Of course he was in a different position He had five tongues when he talked, but he understood me, he understood this lingering I wasn't this cool guy who takes risks; I was this conservative guy, and I was suffering through it That's maybe what students felt; that it wasn't me trying to be cool Some people tried to help by saying, 'oh, it's OK, everything goes' Nothing went with me, it just didn't go I was so red-faced when students approached me. I was embarrassed and I had to step aside. But after several years I found that wasn't such a bad thing and good students came into my class in any case At first I thought maybe they came because I wouldn't bother them But a dynamic grew around me, which wasn't my doing, I didn't shape it But when it was there I could pretty much work with it, and it made me mature a bit That had nothing to do with generosity, it had more to do with helplessness.

And in any case, no one was actually really that dumb or stupid You could come up with the most outsider kind of person in the art world and find he knows a lot, at least about some things, if not many things. Today if you go and talk with an artist who is supposed to be extremely knowledgeable, maybe he knows some things very well, but then you maybe just move slightly out of that frame and he's lost- he has no knowledge at all I don't think people have to have universal knowledge but it's true - 31- John Armleder - that everyone has a very specialised field, and if they know a lot then they usually know a lot in very few domains And even their perception of that knowledge is very restricted You said earlier that you're in exactly the same position as the students when you're working with them, because you're discovering things as much as they do .

It has to do with wasting values, the kind which have been valued by people like Samuel Beckett, James Joyce or Fiann O'Brien They were modern people, and they weren't sentimental It's about existence. ' You talked to her about having worked late into the night to produce a poster of Rudi Dutschke and how you 'cheerily went into work the next morning producing Mon Cheri' at the company you ran with Hans Kellermann . ' I want to add; teaching and socialising, or teaching and community, something like that ....

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