Profits before Plight

London's art scene is no doubt, one of the most competitive in the world. So, it follows that it also boasts some of the World's leading art schools to stimulate modern thinkers and idea generators.

To find out a little more about how art schools used to operate in the past, I attended a lecture held at University College London. The talk covered Printmaking at The Slade in the 1970's and was led by Paul Coldwell, graduate of Slade Art School and now esteemed artist and Professor at the London College of the Arts. During his talk he enlightened us on a time where art school entry was at the grace of carefully selected grants, only 6 from a pool of 250 people were chosen yearly. He explained that the school ran on the principal of independence and encouraged the ongoing development of one's own creative ideas.

At the time printmaking was considered a 'lesser' rank than painting, students were free to undertake philosophical investigation of ideas, observing the process, rather than producing as a commercial activity. Under the tactile wings of their lecturer Barteau, also a practising artist, the students at The Slade learnt from a process of 'osmosis', invited by Barteau to even participate in doing editions with him. The work on display was nonetheless outstanding, intellectual, and hardly outdated or outmoded. I was impressed and felt somewhat nostalgic for these times where a more personal approach could be afforded to develop individual talent.

An experience prior to this lecture had prompted me to question how art schools see their students today, in a world where money talks and commercial interests drive student recruitment. This reality rang especially true when dealing with one particular art school here, whose administration department have replaced empathetic thought with thuggish antics and grasp tightly to their rule books, lined with red-tape jargon. Here it seems that compromise does not fit the vocabulary and the artist's plight is misunderstood. It demonstrates to me the danger of an arts organisation putting business needs and profit margins before their students. I felt so passionately I did complain and attached an image I quickly illustrated to draw some understanding of how I felt at the time.

Standing in complete antithesis of the Slade's practice in the 1970s, I wonder how many other schools in London operate this way and what the ramifications on producing and maintaining world-class artists will be? I must also mention here though that I have had a positive experience with two other art schools in my so far brief time in London and their operations have been more closely aligned with the workings of The Slade. During my time here I will no doubt attend and explore the courses offered at many other art schools; however, now my approach will be made with much more caution, ensuring that it is me and not only their pockets they are looking to benefit.