Those of you with artistic leanings may want to catch up with this ongoing thread at Artblog, in which I trade views with a couple of artists, chiefly on the subject of public funding. It’s informative and fun, if you like that kind of thing. I learned, for instance, that,
Art is for the people. But I would never leave it up to the taste of “the people” or “taxpayers” to get it done.
Bold, very bold.
Nik,
There was no-one among my contemporaries doing ‘A’ levels… that would ever have thought twice about it as a drain on the state much less immoral… I can be accused by others of pulling up the ladder behind me and to be actively denying the same benefits to the generation finishing high school in the next couple of years.
I’m sure some people will make that accusation. We have a generation of students who’ve been led to believe, by the left, that they have an unchallengeable “right” to spend years studying X at someone else’s expense, regardless of whether a degree in X will lead to employment, to the repayment of that debt, and to fairness for those actually footing the bill. Intergenerational subsidy depends on repayment, ideally via lucrative employment in the private sector. If that doesn’t happen, or doesn’t happen enough, it’s unsustainable.
For how many years can we go on bankrolling, say, 20,000 students of fine art or 27,000 enthusiasts of media studies if their qualifications have little value in the job market and don’t lead to employment? As we’ve seen, very few of those art students will make even the most basic living as artists. A majority of those surveyed earned less than a quarter of their income from art, the rest often coming from low-paid temp work and/or state benefits. The supply of artists exceeds demand by quite some margin. A few may find a niche in academia, where their debt to the taxpayer may eventually be ‘repaid’ with taxpayers’ money. Shouldn’t students be advised of these practicalities and bear some responsibility for their subsequent choices? And shouldn’t that inform any argument about fairness?
You may want to point those doing the accusing to some recent political history. Subsidised tuition for a gifted minority from modest backgrounds – say, 2% or 5% of the student population – is admirable, something I’d endorse. But doing the same for 20% or 50% of the country’s teenagers, regardless of their abilities, simply isn’t viable, and never was. Yet this was New Labour policy and so we arrived at some arbitrary target of 50% of young people in higher education, supposedly in the name of fairness. And so joke courses multiplied and standards fell.
It seems to me that the “devaluation of academia” has already happened – in the name of egalitarian progress. And this policy of fairness, so conceived, makes grants and intergenerational subsidy unworkable, and thus the need for loans. It’s no coincidence that the far-left academics who’ve championed student rioting and disruption are those whose areas of study are disreputable, dogmatic and economically frivolous, and which will be very hard to sell in the harsh light of day. As I’ve said before, those students who feel entitled to protest, even riot, might at least direct their feelings towards the egalitarian architects of the situation now at hand. People whose worldview isn’t far removed from that of Zygmunt Bauman.
[ Edited. ]
Franklin: That Radford job and the “national reputation” needs to be qualified somewhat for those who are not familiar with the US postsecondary system. No one with a genuine *professional* reputation, that is, some one who really sells art nationally, would bother teaching there. It is a nice school (I worked at Virginia Tech up the road from it for a while), but it is a third tier place. This means most of the faculty time is spent on campus, teaching, going to meetings, doing community work, stuff like that. Radford, Virginia is not a good place from which to manage a true national presence in the USA art system. As you note, population 16k or so. Nor would the school allow such a person the time necessary to conduct such an endeavor. (It is a good place to paint landscapes, though, and they will allow time for that.)
What “national rep” means in academia is a “national academic reputation”. It means speaking at national art educational conferences once in a while. It means being juried into academicly oriented exibitions that correlate well with the refereed journal that is popular in other departments on campus when they think “publish or perish”. It hopefully means having a show or two in a commercial gallery in a large city somewhere, hopefully in another state. They are likely to get someone like this. But they won’t get anyone with a truly successful career at the national level of exposure who makes a living selling their art. Nor, in their secret heart of hearts, do they expect such a result.
present & correct: You are absolutely right. Nothing is forever.
John,
Welcome aboard. Help yourself to drinks and nibbles.
What “national rep” means in academia is a “national academic reputation”.
When (say) Yale asks for a national or international reputation, they mean an art career. What a school asks for and what it can reasonably hope for are two different discussions. Radford would likely settle for what you describe – no disrespect to Radford, town or college; I’m sure they’re lovely – but the request is aimed at the art career. And in fact, competition is so fierce that someone who’s exhibiting around the country if not exactly selling all over the place is likely to take the position.
Yale, of course, is at the very top of the first tier and yes they will get what they want – the national or international art career. But they will also allow the successful applicant free reign to continue to pursue his or her art career. By definition, not many schools are at the very top. Yale’s School of Art is so satisfied with itself, for instance, that it does not bother with specialized accreditation – and I wouldn’t either if I were them. When you are that far up, why let anyone underneath tell you what to do, much less pass judgment on you? But you were quoting a Radford ad. They ask for a national exhibiton record, which leaves a lot of wiggle room, definition wise.
For a third tier school (of which there must be at least a thousand), “national” can be satisfied by exibitions at other third tier universities as long as they are in other states. I dare say that exibiting in such a place would “count” more at Radford than exibiting at the first tier university (Virginia Tech) up the road. It is a very complicated system that tallies up “prestige” in terms that suit the academic value system. I think that your point remains valid, however. A Radford U can get quite persnickety with its academic point system as it applies it to a hundreds of candidates for an entry level position in a rather obscure institution. Notice they are considering drawing exhibitions specifically; that detail is not insignificant. Where there is significant wiggle on “national”, there may be very little on “drawing”. I can imagine the search committee diligently searching for and counting up the exact number of exhibitions in each resume with the word “drawing” in their title. Candidates accept this as their lot in life. This says a lot about the economic prospects of those who seek advanced degrees in art for the purpose of teaching. It says a lot about those who have the degree in hand and think of it as a ticket for entry into the teaching profession.
David,
“For how many years can we go on bankrolling, say, 20,000 students of fine art or 27,000 enthusiasts of media studies if their qualifications have little value in the job market and don’t lead to employment? … we arrived at some arbitrary target of 50% of young people in higher education, supposedly in the name of fairness … It seems to me that the “devaluation of academia” has already happened – in the name of egalitarian progress.”
There is nothing that you’ve saying here that I can find any real disagreement with – in fact if anything, the situation is even worse than you describe it.
The New Labour policy wasn’t simply about making things fairer, it was about bringing society together. Blair, as we know, was someone who was quite invested in that vague wishy-washy spirituality that obsesses about everyone ‘becoming one’, so it should be no surprise that universities under New Labour became far more than simply places where higher education was conducted.
Literally hundreds of millions of pounds have been spent by universities up and down the country on swanky new buildings, huge purpose-built halls of residence, student ‘villages’ and so on. It’s unlikely the universities could have received the investment for such projects if they weren’t able to project income based on a vast increase in student numbers. In cities like Hull, Leicester or Stoke-on-Trent, I suspect that the universities are probably really quite significant to the local economies of the area and I don’t just mean late night kebab shops or 24-7 grocery stores.
So yes, sending 50% of high school leavers to *is* an absurd and unsustainable plan for many reasons but if (when) subsidies are withdrawn, it won’t simply be the universities that will go down but in many places, half the small businesses in the community will probably go along with it.
If Blair’s policies did communities closer, it has done so by tying them great numbers of them into the same fate, all of which is predicated on massive amounts of debt and borrowing.
Not only that, but if the plan really were to make society more egalitarian it has done nothing but lead to precisely the opposite result. Once the fact of having a degree itself becomes no longer remarkable or noteworthy, it starts to matter greatly where that degree was awarded.
There may have been a time from the 60s onward that having a degree from the University of Hull probably was as valuable as one from Oxford or Cambridge, even if it lacked the same cultural prestige.
Now, though, it hardly seems worth trying to get a degree unless you’re going to get it from one of the top 20 universities and colleges in the country. In other words, Blair’s policy has arguably reintroduced a spirit of elitism probably not seen in the UK since before the First World War.
In the not too distant future, I suspect the legacy of this policy will make another useful warning of the perils of overt government interference on society.
Literally hundreds of millions of pounds have been spent by universities up and down the country on swanky new buildings, huge purpose-built halls of residence, student ‘villages’ and so on
I live not far from the university and two of those new ‘villages’. The money being thrown at the expansion is extraordinary. It feels like the university is keeping the local construction industry going.
In the not too distant future, I suspect the legacy of this policy will make another useful warning of the perils of overt government interference on society.
And you have to wonder exactly how many times the same lesson has to be taught.
Well, quite – it’s a situation that we can’t afford to continue and yet seemingly can’t afford to discontinue either, not without a precipitous descent into wrack and ruin.
There’s a huge difference between using borrowing/lending as a necessary resource to get things done and move things forward and making a near bottomless ocean of debt the foundation of your entire culture.
As for the lesson, well, it’d be nice if it could learned at least once by somebody, somewhere.
On a less depressing note and just in case you haven’t already seen it, you may well also enjoy this exchange between Dave Gibbons (of Watchmen etc. fame) and a typically effulgent TV presenter-type on the question of Roy Lichtenstein and plagiarism (the relevant part of the documentary starts at 34:54 here: https://www.youtube.com/watch?v=I0gyP17bs8I
you may well also enjoy this exchange between Dave Gibbons (of Watchmen etc. fame) and a typically effulgent TV presenter-type on the question of Roy Lichtenstein and plagiarism
Enjoy would be too strong a word. I generally find art criticism a life-sapping experience. I’d much rather read comics. Or clean a neglected roasting tin.
Alistair Sooke, the BBC critic/broadcaster in the Lichtenstein docu is such a pretentious nob, endlessly finding supreme value in all sorts of banal contemporary art-wankery.
Fair enough.
I did enjoy Sooke’s repeatedly failed attempts to persuade Gibbons that Lichtenstein was not a mere copyist but a transformer of base comics metal into art gold (as Bolland had it).
I did enjoy Sooke’s repeatedly failed attempts to persuade Gibbons
Maybe there’s a short documentary to be made there: Art critics and curators trying to persuade people from other walks of life of the merits of half a dozen recent works. Have them talk with graphic designers, comic book artists, games developers, etc. See if their views collide. Though as I said, a little art criticism goes an awfully long away.
Sooke’s got form..
I saw him try the same persuasion job on old master expert, Bendor Grosvenor (he of BBC’s Fake or Fortune fame).
Can’t remember the programme.. but supposedly, Bridget Riley’s op-art patterns were pure genius.
Bendor was not convinced.