I’m Scott Carlson, a senior writer at The Chronicle covering higher ed and where it’s going. This week, I explore what I learned at a recent conference of art schools, and I share a recommendation for a podcast that looks at big forces shaping our world.
From Art School to Career
My Hacking College co-author Ned Laff and I were in Providence, R.I., last week to speak at the Association of Independent Colleges of Art and Design’s conference on student success. It drew a crowd of advisers, career counselors, mental-health counselors, and various administrators focused on how students get through college to something somewhat secure on the other side. (These are art students, after all, and many go into their fields knowing what kind of nontraditional career path might be ahead of them.)
Art schools are in many ways professional schools: While some students want to become the next Kahlo or Monet, many students are preparing to work more commercially — in graphic design, illustration, animation, or another role. Artificial intelligence’s ability to create illustrations from simple prompts certainly threatens some of the entry-level roles that art students might try to land after college — but a number of artists already incorporate AI into art. The technology’s impact on students isn’t clear, as Deborah Obalil, the president and executive director of AICAD, pointed out in this column in April.
From casual conversations with attendees, it seemed that art schools grapple with many of the same challenges facing traditional colleges, but are in some ways further behind. Some art colleges had only recently established career-counseling centers, and were just starting to figure out the college-to-career puzzle. We emphasized that institutions should create an “asset map,” which describes the opportunities students can tap into on their campus and beyond. That work has to focus on thinking broadly about possible hidden jobs in art and design. And since art students are often called to art by some social issue or personal conviction — related to the environment, one’s sexuality, or a political position, for example — advising strategies could use those convictions to help students brainstorm under-noticed organizations where they can hunt for opportunities and experience.
Some attendees noted that change happens slowly at their institutions — that progress was locked up in the tug of war over the curriculum between administrators and faculty members. One of the questions onstage from Obalil: “Perhaps because BFAs are seen as professional degrees, we often hear of resistance from faculty of the need to even be concerned with career outcomes or how to make a life as an artist/designer, that their only responsibility is to developing the disciplinary skills of the student. What would you say in response to such a statement?”
My take: Being a tenured professor at any institution is a tremendous privilege — and in the case of art schools, that position is often a life raft that provides a steady salary and health benefits, allowing those professors to create art with some security in their lives. Part of the job should be to help students find that security for themselves on the other side of graduation.
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