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1. The Nature and Art of Workmanship, David Pye, Herbert Press/ Cambridge University Press, UK. 1968
If there was one publication that translated into my particular understanding of ‘workshop’ opportunities for specialist teacher trainees it would be this one. Written in a very different period for curriculum development it made a strong case for what is still essential in the creative process. Providing a meaningful distinction between the concept of ‘risk’ and ‘certainty’ it stimulated considerable interest at the time for the pursuance of craft and design experimentation. As a former architect, industrial designer and craftsman he describes and illustrates the importance of diversity in the visual environment. Prof. Tom Davies. |
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2. Change in Art Education, Dick Field, 1970, Routledge and Kegan Paul, London.
This publication is of its time and points to what was thought to be the major challenges for the subject and what the future may offer. Elements observed here did certainly sustain in the decades that followed and the title signalled a ground swell of interest in provision in UK state schools. In addition to the advocacy of ‘unconventional thinking’ due regard was made for art’s contribution to developing moral values as part of actively employing the ‘whole person’. In this respect the author explored the unique value of art education as a contributor to mental, physical and emotional growth. Having taught at Birmingham School of Art before his post as a senior lecturer at the University of London, Institute of Education I personally engaged with his sentiments and indirectly incorporated these laudable aspirations into the more contemporary specialist teacher education of the late 1980s and 1990s (Postgraduate Certificate of Education: Art and Design (PGCE), Birmingham School of Art /Institute of Art and Design, Margaret Street). Prof. Tom Davies. |
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3. Art Education: a strategy for course design, Maurice Barrett, Heinemann Educational Books, London. 1979
As a young art teacher in the London borough of Redbridge I was directly involved in the research related to Maurice’s scrutiny of what contributed to our individual thoughts on ‘value’ in art education. This book is the distillation of his findings and while much of this focus was across the borough I personally benefited from his thoughtful interpretation of his role as ‘subject adviser’. This served as an early introduction to what was then an association of art advisers and their various constituencies. This publication explored the notion of ‘operational rationales’ and how they formed the tacit understanding that was shared by the departments. The breadth and diversity of the management strategies within and across art departments contributed greatly to its unique position. Acknowledgement was given to the connections made with the range of specialist fields and constituted to the potential of the discipline (e.g. Fine Art, Visual Communication, Film, Three Dimensional Design, Ceramics, Jewellery, Furniture Design, Textiles etc.). Prof. Tom Davies. |
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4. Specialist Teacher Education (Art and Design) and the movement to school-based training, MPhil/PhD Research 1980-1990, Registration London University (MPhil, Supervisor Alfred Harris), Liverpool University (PhD, Supervisor Prof. David Thistlewood).
This research grew out of the perception that the ‘writing was on the wall’ for teacher education/training. Demonstrably there was increasing pressure for more control over content and delivery with a movement towards a common system of accountability and compliance. Successive Government directives had prioritised meeting the ‘standards’ over ‘understanding’ any principle and those elements of teacher education that were concerned with personalized, experimental aspirations were being eroded. The philosophy of education, extending subject knowledge and psychology were being replaced by prescribed methodology and ‘teacher – proof’ content. Where at one time the very content grew out of teacher interest, knowledge and expertise the trend was quickly becoming ready made plans combined with guided teacher interaction. The consequences of such a move were obvious as the initial teacher qualification was being tailored for a biddable, compliant work force. The requirement to extend and develop subject knowledge, explore different operational rationales and critically analyse practices were being replaced by an unquestioning dependence on shadowing and emulating the narrowing range of teaching styles. The ten year study did not proceed to a final stage due to both the increasing personal work pressures (promotion to Head of School) and the tragic passing of my research supervisor. Prof. Tom Davies. |
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5. Art in Secondary Education 11-16, Her Majesty’s Stationary Office, London. 1983
This publication featured 14 schools that had, in the opinion of Her Majesty’s Inspectors of Schools (HMI), demonstrable elements of ‘good practice’ in the teaching of the subject. The diversity of schools included largely state schools but one major public school was included. The selection of the final fourteen schools followed visits in 1881 and follow up visits in 1882 when 2 inspectors spent five consecutive days in the respective departments. ‘The object of these extended visits was to attempt to answer the question, “Is this a good art department?” and then to ask “If it is, what makes it so?” Prof. Tom Davies. |
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6. Innovation, Interpretation and the ART of Design in the secondary school curriculum: a review of the theory and practice with particular regard to changing patterns in specialist art education. Masters dissertation/MA Curriculum Studies Dept, Institute of Education, London University 1986.
This research represented a research dimension in my role as Head of Art and Head of an Arts Faculty in a newly formed VI form college in east London. Concerned about the breadth and balance of the art curriculum I developed the work first identified by HMI in their publication of 1983, when my previous department was identified as one of 14 departments nationally exhibiting what they thought represented ‘good’ practice. In this account of the work of my department, observed over a week by two specialist HMI inspectors, the craft elements were particularly singled out for comment as the blend of three dimensional work, ceramics, print-making and textiles offered, in their opinion, ‘considerable range’. Vertical ‘mixed age groups’ were also commended in the nurturance and support of quality outcomes. This research focused on Craft and Design in the context of Art education and this was compared and contrasted with the practices and declared provision offered in what was then called departments of ‘Craft, Design and Technology’ (CDT). Considerable differences existed in the content and aspiration of teachers from these two disciplines and the work represented a degree of imbalance in funding. Arguably, creative design outside of schools did not follow a sequence of instruction and prescription but embraced those notions of risk, surprise or challenge. Prof. Tom Davies. |
