These are personal reflections on teaching as part of my artistic practice. I will raise questions and explore them accordingly.
Can non-artists teach artists?
One of my best educational experiences came from a professor of social science. Equally, I’ve learned a lot from farmers, elementary school teachers, and my grandmother! My background is in social science, and ideally, I would like to incorporate different areas of expertise into my pedagogy in higher education of art.
Art theory books are not necessarily ideal for artists to study. In my opinion, they are written for art historians, curators, and academics—not for practitioners—because they often suggest what is “right” rather than allowing for exploration. Instead, I would recommend reading philosophy books, art history books, novels, and academic journals from other disciplines.
Can artists teach artists?
As a Visiting Practitioner, I assisted the Site-Specific Project led by AL and artist Geraldine Pilgrim. Here’s what I learned from her:
- She doesn’t compromise on details. She shows commitment, works long hours, and takes her practice seriously. Sometimes she is quite strict, but students follow and understands the moral code.
- Adapting to students’ needs isn’t always beneficial. It’s important to clarify priorities and set clear expectations.
- Sometimes she exposes students to her artistic ideals. A very established artist might be in a position to do so. long hours of waiting and physical labor can be exhausting for both students and assistants and lose momentum for learning rhymes.
- Not managing emotions well is not ideal in an (contemporary) educational setting.
What can artists teach in universities?
As seen in Geraldine’s project, she teaches what she specialises in—site-specific work—by sharing her skills, knowledge, and methods. Similarly, many workshops in art galleries, such as those at Tate Modern, often feature artists leading sessions.
https://www.tate.org.uk/whats-on/tate-modern/an-introduction-to-collage
But what distinguishes higher education pedagogy from this? Should it be different? Learning Outcomes (LOs) make things different? I don’t have a definite answer as it likely varies across institutions and individual’s skill set. So far, Joseph Beys is my leading model. I would like to discover more on this.
Can artists work with their students?
As an artist, I sometimes struggle with this dilemma. I once made the mistake (?) of involving a student in my work, only to be accused of exploiting the student—even though that was never my intention. The answer to this question is unclear. Perhaps the safest approach is to avoid involving students in personal projects altogether. Alternatively, could I frame a project as a collaborative workshop instead? I need to research this further by speaking with other artist-educators.
How to avoid becoming a slave of students?
Supporting students is energy-consuming, especially when combined with administrative responsibilities. At this stage of my career, balancing these demands is challenging—I need to perform well, but I also need to protect time for my own practice and earn enough to survive in London. Setting boundaries with students is often the topic. Since they pay high tuition fees, their expectations are often high—and criticism can be brutal if they feel unsatisfied.
Tate (2024). An Introduction to Collage | Tate Modern. [online] Tate. Available at: https://www.tate.org.uk/whats-on/tate-modern/an-introduction-to-collage [Accessed 17 Mar. 2025].