*Winner of the American Society for Aesthetics 2019 Outstanding Monograph Prize* Until now, research on art schools has been largely occupied with the facts of particular schools and teachers. This book presents a philosophical account of the underlying practices and ideas that have come to shape contemporary art school teaching in the UK, US and Europe. It analyses two models that, hidden beneath the diversity of contemporary artist training, have come to dominate art schools. The first of these is essentially an old approach: a training guided by the artistic values of a single artist-teacher. The second dates from the 1960s, and is based around the group crit, in which diverse voices contribute to an artist’s development. Understanding the underlying principles and possibilities of these two models, which sit together in an uneasy tension, gives new insights into the character of contemporary art school teaching, demonstrating how art schools shape art and artists, how they can be a potent engine of creativity in contemporary culture and how they contribute to artistic research. A Philosophy of the Art School draws on first-hand accounts of art school teaching, and is deeply informed by disciplines ranging from art history and art theory, to the philosophy of art, education and creativity.

Investigating the study of art and design education in Italy, France, Britain, Germany and the United States, this text traces the philosophies of teachers from the age of the guilds and the academies, setting them in the context of the general educationtheories of their times.

In his best-selling book You Must Change Your Life, Peter Sloterdijk argued exercise and practice were crucial to the human condition. In The Art of Philosophy, he extends this critique to academic science and scholarship, casting the training processes of academic study as key to the production of sophisticated thought. Infused with humor and provocative insight, The Art of Philosophy further integrates philosophy and human existence, richly detailing the foundations of this relationship and its transformative role in making the postmodern self. Sloterdijk begins with Plato's description of Socrates, whose internal monologues were so absorbing they often rooted the philosopher in place. The original academy, Sloterdijk argues, taught scholars to lose themselves in thought, and today's universities continue this tradition by offering scope for Plato's "accommodations for absences." By training scholars to practice thinking as an occupation transcending daily time and space, universities create the environment in which thought makes wisdom possible. Traversing the history of asceticism, the concept of suspended animation, and the theory of the neutral observer, Sloterdijk traces the evolution of philosophical practice from ancient times to today, showing how scholars can remain true to the tradition of "the examined life" even when the temporal dimension no longer corresponds to the eternal. Building on the work of Husserl, Heidegger, Nietzsche, Arendt, and other practitioners of the life of theory, Sloterdijk launches a posthumanist defense of philosophical inquiry and its everyday, therapeutic value.

This volume has been brought together to generate new ideas and provoke discussion about what constitutes arts education in the twenty-first century, both within the institution and beyond. Art, Artists and Pedagogy is intended for educators who teach the arts from early childhood to tertiary level, artists working in the community, or those studying arts in education from undergraduate to Masters or PhD level. From the outset, this book is not only about arts in practice but also about what distinguishes the ‘arts’ in education. Exploring two different philosophies of education, the book asks what the purpose of the arts is in education in the twenty-first century. With specific reference to the work of Gert Biesta, questions are asked as to the relation of the arts to the world and what kind of society we may wish to envisage. The second philosophical set of ideas comes from Deleuze and Guattari, looking in more depth at how we configure art, the artist and the role played by the state and global capital in deciding on what art education has become. This book provides educators with new ways to engage with arts, focusing specifically on art, music, dance, drama and film studies. At a time when many teachers are looking for a means to re-assert the role of the arts in education this text provides many answers with reference to case studies and in-depth arguments from some of the world’s leading academics in the arts, philosophy and education.

The primary aim of the book is to raise the questions and issues which should be of importance to art teachers by relating the practices and concerns of art teaching to some of the main problems of philosophy. It integrates both subjects of art education and art teaching; presents many of the principle issues regarding art education that are of concern to art teachers; and provides future and current teachers of art with a means of reflecting on the reasons and goals for teaching art.

Leading international artists and art educators consider the challenges of art education in today's dramatically changed art world. The last explosive change in art education came nearly a century ago, when the German Bauhaus was formed. Today, dramatic changes in the art world—its increasing professionalization, the pervasive power of the art market, and fundamental shifts in art-making itself in our post-Duchampian era—combined with a revolution in information technology, raise fundamental questions about the education of today's artists. Art School (Propositions for the 21st Century) brings together more than thirty leading international artists and art educators to reconsider the practices of art education in academic, practical, ethical, and philosophical terms. The essays in the book range over continents, histories, traditions, experiments, and fantasies of education. Accompanying the essays are conversations with such prominent artist/educators as John Baldessari, Michael Craig-Martin, Hans Haacke, and Marina Abramovic, as well as questionnaire responses from a dozen important artists—among them Mike Kelley, Ann Hamilton, Guillermo Kuitca, and Shirin Neshat—about their own experiences as students. A fascinating analysis of the architecture of major historical art schools throughout the world looks at the relationship of the principles of their designs to the principles of the pedagogy practiced within their halls. And throughout the volume, attention is paid to new initiatives and proposals about what an art school can and should be in the twenty-first century—and what it shouldn't be. No other book on the subject covers more of the questions concerning art education today or offers more insight into the pressures, challenges, risks, and opportunities for artists and art educators in the years ahead. Contributors Marina Abramovic, Dennis Adams, John Baldessari, Ute Meta Bauer, Daniel Birnbaum, Saskia Bos, Tania Bruguera, Luis Camnitzer, Michael Craig-Martin, Thierry de Duve, Clémentine Deliss, Charles Esche, Liam Gillick, Boris Groys, Hans Haacke, Ann Lauterbach, Ken Lum, Steven Henry Madoff, Brendan D. Moran, Ernesto Pujol, Raqs Media Collective, Charles Renfro, Jeffrey T. Schnapp, Michael Shanks, Robert Storr, Anton Vidokle

Danto argues that recent developments in art--in particular the production of works that cannot be told from ordinary things--make urgent the need for a new theory of art. He demonstrates the relationship between philosophy and art and the connections that hold between art, social institutions, and art history.