Throughout the twentieth century, European
schools of art and design have been subject to successive waves of criticism,
reform and reinvention. The traditional system based on patterns of validation
and career networks, as well as on a strict value scale, was rendered more or
less obsolete by the artistic and social revolutions of the first avant-gardes.
Having lost one of its key raisons d’être,
traditional art education has since been constantly re-evaluated. Ongoing attempts
have been made to make teaching more relevant, in particular through an
increasing openness to the contemporary. The methods, techniques and even
attitudes passed on in the schools have been constantly adapted and updated,
far from the putative ‘objectivity’ that had been long been promoted in the
Academies. Numerous models have been constructed and tested in Europe and
around the world, such as those of the Bauhaus, Black Mountain College,
CalArts, the Ulm School, the Freie Internationale Universität, the Banff Centre
for Arts and Creativity, and La Cambre, or more recently Le Fresnoy, along with
those of various independent and ephemeral summer schools. With this turn
towards the contemporary, art education has become more complex across the
board. The circulation of students, artists and more generally of forms and
ideas has contributed, above and beyond different national contexts, to a
global transformation of artistic education.
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