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Introduction

Becoming an artist is today a very different process, compared to when apprenticeship was commonly practiced (Riley, 2007; Singerman, 1999). Now, we educate artists at universities and the student’s practice is the natural context for the teacher’s activity, as opposed to the master-apprentice model, where the student's practice is subordinate to the master's professional context. Today an artist's work is largely cognitive in character, often with a high level of abstraction (Efland, 2002). This orientation of the artwork clashes with the educational ideal of apprenticeship. As Efland says, the apprentice ideal “is taken from a romanticized view of European medieval guilds, or from situations where the teacher is guru, as in pre-industrial cultures, and I question whether these practices are likely to be useful to emulate in future situations in industrialized contexts” (Efland, 2002, p. 72).

The development of education for artists at universities has not involved a corresponding development of a theoretical frame for learning of visual art practice (Edström, 2006). Harwood concludes that, “There is no established or even tentative theory of artistic development in the college years comparable with the multiple models of intellectual, ethical and psychological development” (Harwood, 2007, p. 315). This means that there is little besides the master-apprentice model to refer to, which, from a pedagogical perspective, is not sufficient when describing and discussing contemporary art education. In practice, this means that a teacher, employed on outstanding artistic merits, mainly relies on his/her own experiences of art education as a pedagogical reference (Hjelde, 2008). To a large extent, these personal experiences are likely to be non-articulated, and this lack of theoretical reference frames may very well account for some of the confusion that springs from the double identities of being both an artist and a teacher (Hall, 2010).

Harwood (2007) brings studio teaching, the most frequent form of teaching within the art disciplines, to the fore as a crucial object of research because of its unique setting and potential to contribute to our educational knowledge. The study presented in this article is in line with Harwood’s request for empirically based research on studio teaching from a student perspective. The results presented hopefully will add to our knowledge about visual art practice and also suggest how other educational practices may benefit from deepened knowledge of this very special form of teaching. The specific character of the studio teaching studied here is the one-to-one meeting between student and tutor taking place in the student's private studio. This setting with private studios for the students is common in Swedish higher education in visual arts, and these one-to-one tutorials, or studio conversations, is the most frequent form of teaching. Thus, studio conversations form an important part of the students’ learning environments. Svensson (2002) discusses learning environment in the context of learning at work, as dependent on the activity of the learner:

The most immediate context for learning is the activity itself. When it comes to learning at work, the activity of work is the most central part of the activity that possibly involves learning. […] here we are using the term learning environment to refer to what is outside the activity of the individual, but important to learning involved in the activity (Svensson, 2002, p. 24).

The present investigation is based upon a tradition of research on studying and learning, started in 1970 (Svensson 1977). A central orientation of this research was named phenomenography (Marton, 1981). Phenomenography was defined as aiming at describing, analyzing and understanding people’s conceptions of, or ways of experiencing, phenomena in and aspects of the world. A person’s experience of a phenomenon is understood as an internal relation between the experiencing subject and the object experienced. Learning is seen as a qualitative change in the relation between the subject and the experienced object. In phenomenographic research on learning, descriptions of qualitative differences in students’ approaches to subject matter, related to qualitative differences in learning outcome, have been a central part (Svensson, 1977).

Phenomenographic research has grown considerably, and the orientation is often used in educational research, especially in relation to higher education. In this research tradition there is an emphasis on students as agents and their approaches in learning. In recent research the focus on students’ approaches to subject matter has been deepened to descriptions of students’ use of language in expressing their understanding of subject matter in different fields of study (Anderberg, 2000). In the present investigation students’ agency in making use of studio conversation in developing their own artwork is in focus.

Two previous studies (Edström, 2008), carried out within the phenomenographic research tradition, and using the same empirical material as the present study, form an immediate backdrop to the present study. The first study (Edström 2008) focused on changes in the students’ relation to their own artwork. The notion of ‘resting assured’ was used to describe a central characteristic of the qualitative change found in this relation. ‘To rest assured’ refers to a state of trust that the students developed over time. The students’ capacity to rest assured was discerned in relation to three fundamental aspects of their relations to their artwork, which the author labeled ‘to rest assured’: 1) In the intimate, 2) in the uncertain and

3) in the work process. To rest assured in the intimate refers to experiences of confidence and trust in the individual’s unique artistic expression. To rest assured in the uncertain has two meanings, one related to the initial phase of uncertainty when starting a new artwork, while the other refers to the kind of uncertainty that is present all through the work process. Finally, to rest assured in the work process refers to an experience of confidence and trust related to the practical aspect of the artistic work.

The second previous study (Edström, 2008) focused on the students’ use of studio conversations. Within the MFA-program studied, studio conversations are the main form of teaching/supervision. The educational program attaches great importance to this specific form of teaching. The results reported bring five aspects of the students’ use of studio conversations to the fore. The two first aspects concern who to talk to and when to talk. The three other aspects concern the function of the talk: expanding the student’s options, testing the artistic expression, and exploring the context of the student’s artwork. To a great extent, the studio conversations rest upon the student’s initiative. The student decides to whom to talk, when, and also sets the theme for the studio conversation, usually by presenting some finished or unfinished work. In the program, the studio conversation as a teaching form depends on the student’s initiative, in fact there would be no studio conversation without it. Also, the different functions of studio conversations are dependent on the student’s initiative.

In the previous two studies, what was most striking in the students’ descriptions of changes in their relation to their artwork respectively in their use of studio conversations was described separately. The present analysis does not relate these two previous separate results. Instead it presents an entirely new analysis, taking its starting point in the whole of the experience of the development of the own artwork and the use of studio conversations to find how these two aspects are internally related. Our aim is to explore the character of the internal relation, unique to each student, between the students’ relation to their artwork and their use of studio conversations. Since other conditions than the students’ relation to their artwork may also influence the use of studio conversations, the question raised here is if it is possible to find a meaningful relation between the students’ relation to their artwork and their use of studio conversations, within the context of how they themselves express and describe these two aspects of their studies.




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