I studied for a Bachelor of Arts in Japan and a Master of Arts in the UK. I also spent a year as an exchange student at the University of Manchester.
During my undergraduate studies in both Japan and the UK, I was given a large number of readings, lectures, and assignments. The marking was brutal, as it directly impacted future opportunities, such as studying abroad or securing scholarships. To achieve higher marks, I had to study hard and seek advice from tutors and professors. Everyone understood that we were in a university setting where grades carried significant weight. However, this was higher education in social sciences—not fine arts.
In contrast, passing a master’s degree—especially in art studies—seems much easier. What truly matters is NOT how engaged you are in your studies but how well you can connect your study experiences to your future career. In my experience, the vocational aspect of art education is quite strong.
Central Saint Martins holds significant global prestige, which naturally attracts students. The institution heavily relies on international students due to their high tuition fees. While the university presents various strategies (UAL, 2022), these often appear to serve bureaucratic purposes—mainly to secure funding. Ultimately, the institution is deeply tied to the capitalistic and economic structures of the country.
Despite its ability to attract students, there is no real safety net for artists after graduation in the UK. The cost of living in London continues to rise, making it extremely difficult to sustain a career as an artist. Of course, not everyone can—or should—become a professional artist or designer. However, countries like the Netherlands (with the Mondriaan Fund) and Finland (through The Arts Promotion Centre Finland, Taike) have schemes to support freelance artists. Although the UK has Arts Council England (ACE), it does not fully accommodate the needs of individual artists or the scale of demand.
That said, one criticism of such support systems is that they do not necessarily produce better work. Some argue that artists working under these structures tend to create more mediocre art due to the security provided. Additionally, the sustainability of these government support systems remains uncertain, given the unpredictable global economic climate.
There is no doubt that universities operate as businesses—this is undeniable. However, individual tutors often place great value on higher education, beyond the institution itself. As Grayson Perry says successful artists are not necessarily those who are frequently referenced by others, but those who develop a strong internal reference system understanding their sensitivities and feelings. (Alexander and Meara, 2022). While universities emphasise visibility and employability, it is equally important to maintain a critical, provocative, and challenging identity—just as institutions themselves should.
Alexander, L. and Meara, T. (2022) Central Saint Martins Foundation: Key Lessons in Art and Design. London: Thames & Hudson.
Arts Council England (n.d.) Arts Council England. Available at: https://www.artscouncil.org.uk/ (Accessed: 4, March, 2025).
Arts Promotion Centre Finland (Taike) (n.d.) Taike – Arts Promotion Centre Finland. Available at: https://www.taike.fi/en (Accessed: 4, March, 2025).
Mondriaan Fund (n.d.) About the Fund. Available at: https://www.mondriaanfonds.nl/en/about-the-fund/ (Accessed: 4, March, 2025).
UAL (2022). Our strategy 2022-2032. [online] UAL. Available at: https://www.arts.ac.uk/about-ual/strategy-and-governance/strategy.