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Gifting an Artistic Licence: Printing, Radicalism and Pedagogy

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Title: Gifting an Artistic Licence: Printing, Radicalism and Pedagogy
Language: English
Authors: Vega Brennan, Alys Mendus (ORCID 0000-0001-6564-1659)
Source: International Journal of Art & Design Education. 2025 44(2):396-411.
Availability: Wiley. Available from: John Wiley & Sons, Inc. 111 River Street, Hoboken, NJ 07030. Tel: 800-835-6770; e-mail: cs-journals@wiley.com; Web site: https://www.wiley.com/en-us
Peer Reviewed: Y
Page Count: 16
Publication Date: 2025
Intended Audience: Teachers
Document Type: Journal Articles
Reports - Research
Education Level: Higher Education
Postsecondary Education
Descriptors: Student Teachers, Art Teachers, Art Education, Instructional Innovation, Art Products, Poetry, Autobiographies, Ethnography, Imagination
DOI: 10.1111/jade.12566
ISSN: 1476-8062
1476-8070
Abstract: Spurred by an observation that 'student art teachers don't want to be radical teachers', this paper explores how the gift by a lecturer of a tongue-in-cheek hand-printed 'Artistic Licence' to a new cohort of pre-service teachers, gives permission to imagine new futures. Through a dialogic image-exchange two educators bring their radical manifesto for art teachers/teaching as a performative autoethnography where they imagine new forms of teaching through small acts: printing, walking and talking, and being parents and artists. Similar to performative autoethnography, the act of giving projects materiality into the future and is transformative both for the giver and the gifted. The object (an artistic licence, an artwork, a poem) is an autonomous vessel that has its own agency and affect as it moves from one person to another, shifts and accrues meaning. When times are hard, art teaching can run the risk of becoming too outcome-led, working backwards from a preconceived notion of what art should be, not what art could be. This paper draws on the imagination to counteract the internalised negative pull of art as part of a neoliberal system. It offers new art teachers, through the act of giving, the potential to give themselves permission to imagine their art practice and their artist identity as integral to situating themselves within the exchange of value and meaning in the human and post-human world.
Abstractor: As Provided
Entry Date: 2025
Accession Number: EJ1474667
Database: ERIC
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  Value: <anid>AN0186111006;q0t01may.25;2025Jun25.05:53;v2.2.500</anid> <title id="AN0186111006-1">Gifting an Artistic Licence: Printing, Radicalism and Pedagogy </title> <p>Spurred by an observation that 'student art teachers don't want to be radical teachers', this paper explores how the gift by a lecturer of a tongue‐in‐cheek hand‐printed 'Artistic Licence' to a new cohort of pre‐service teachers, gives permission to imagine new futures. Through a dialogic image‐exchange two educators bring their radical manifesto for art teachers/teaching as a performative autoethnography where they imagine new forms of teaching through small acts: printing, walking and talking, and being parents and artists. Similar to performative autoethnography, the act of giving projects materiality into the future and is transformative both for the giver and the gifted. The object (an artistic licence, an artwork, a poem) is an autonomous vessel that has its own agency and affect as it moves from one person to another, shifts and accrues meaning. When times are hard, art teaching can run the risk of becoming too outcome‐led, working backwards from a preconceived notion of what art should be, not what art could be. This paper draws on the imagination to counteract the internalised negative pull of art as part of a neoliberal system. It offers new art teachers, through the act of giving, the potential to give themselves permission to imagine their art practice and their artist identity as integral to situating themselves within the exchange of value and meaning in the human and post‐human world.</p> <p>Keywords: A/r/tography; gift‐giving; performative autoethnography; printmaking; student teachers</p> <p>Figure 1</p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/Q0T/01may25/jade12566-fig-0001.jpg?ephost1=dGJyMNXb4kSepq84yOvqOLCmsE6epq5Srqa4SK6WxWXS" alt="jade12566-fig-0001.jpg" title="1 Artistic Licence." /> </p> <p></p> <p> <bold>Vega</bold>: Delivering the first year of specialist art and design sessions to pre‐service teachers, I am nervous, I want to do a good job by giving them the confidence to be teachers <emph>and</emph> artists, artists <emph>and</emph> teachers; to have their own voice (Daichendt [<reflink idref="bib1" id="ref1">1</reflink>]). I start by giving them each an Artistic Licence. We talk about the ideal qualities for a teacher; I ask them to choose a few things they would like to be as teachers and what they would <emph>not</emph> like to be. Quite a few say they do not want to be 'radical' as, at this early stage, they consider radical to be problematic; a 'radical' teacher would be extreme in their views, confrontational, difficult, challenging.</p> <p>Figure 2</p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/Q0T/01may25/jade12566-fig-0002.jpg?ephost1=dGJyMNXb4kSepq84yOvqOLCmsE6epq5Srqa4SK6WxWXS" alt="jade12566-fig-0002.jpg" title="2 Revolution." /> </p> <p></p> <p> <bold>Alys</bold>: As a feminist and an educator, I am keen to remind the pre‐service teachers that I work with that everything we do is political (Freire [<reflink idref="bib2" id="ref2">2</reflink>]) and I try to hold this in my imagination while printmaking. I created 'Revolution' to invite my audience to think differently, inspired by the landscape of my time back in Cumbria in the North of England. This print calls out for change as a piece of inclusive activist art depicting wind turbines, two adults and a child holding protest banners, and a cat in bright magenta ink. This image in poster style offers a possibility of a world that cares about the climate, animals, societal change, and inclusion.</p> <p>Figure 3</p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/Q0T/01may25/jade12566-fig-0003.jpg?ephost1=dGJyMNXb4kSepq84yOvqOLCmsE6epq5Srqa4SK6WxWXS" alt="jade12566-fig-0003.jpg" title="3 Reflect." /> </p> <p></p> <p> <bold>Alys</bold>: I am influenced by the work of Tami Spry on Performative Autoethnography ([<reflink idref="bib8" id="ref3">8</reflink>]) as we share the performative story of our art making and gift giving. Performative autoethnography is a methodology that critiques the self within culture, and where the end point of the performance is beyond the original act. When we began, we did not know where this would take us, and when we gift our work, we do not know where it will go.</p> <p>Figure 4</p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/Q0T/01may25/jade12566-fig-0004.jpg?ephost1=dGJyMNXb4kSepq84yOvqOLCmsE6epq5Srqa4SK6WxWXS" alt="jade12566-fig-0004.jpg" title="4 Print Multiplies the Joy." /> </p> <p></p> <p> <bold>Vega</bold>: My artistic practice is based around printmaking (image) and printing (text) and the combination of both. I make prints to explore the theory and effects of multiplicity on value, image/object exchange, sharing and gift‐giving (Hyde, [<reflink idref="bib3" id="ref4">3</reflink>]; Roberts, [<reflink idref="bib7" id="ref5">7</reflink>]). Learning from Hyde ([<reflink idref="bib3" id="ref6">3</reflink>]) who argues that 'The commerce of art draws each of its participants into a wider self. The creative spirit moves in a body or ego larger than that of a single person' (p. 154). So we are conceiving of the making of art with generosity in mind, a new way of imagining how value can accumulate through that outward flow.</p> <p>Figure 5</p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/Q0T/01may25/jade12566-fig-0005.jpg?ephost1=dGJyMNXb4kSepq84yOvqOLCmsE6epq5Srqa4SK6WxWXS" alt="jade12566-fig-0005.jpg" title="5 Alys Printing on Adana Letterpress Machine." /> </p> <p></p> <p> <bold>Vega</bold>: The 'slippery‐ness' of print has the ability to counteract 'thin' or outcome‐led artistic practice (Pelzer‐Montada [<reflink idref="bib6" id="ref7">6</reflink>]). Small, quickly produced objects transcend the gallery wall and circumvent the value systems, expectations and aesthetics of commercial art markets. The prints slide through the world and slip into the gaps: tucked in a book, stuck on a fridge, shared with friends, collected in a carrier bag to knock against other objects (Le Guin [<reflink idref="bib4" id="ref8">4</reflink>]). They invite interaction; they have a value beyond and outside the fixed transactions of 'I make: you consume, I sell: you buy.' We treasure our time—this is where the value lives.</p> <p>Figure 6</p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/Q0T/01may25/jade12566-fig-0006.jpg?ephost1=dGJyMNXb4kSepq84yOvqOLCmsE6epq5Srqa4SK6WxWXS" alt="jade12566-fig-0006.jpg" title="6 Observe." /> </p> <p></p> <p> <bold>Alys</bold>: We take a walk with my 4‐year‐old and her scooter. We bring a stack of cards with the words from the artistic licence taped on. Similar to Lee <emph>et al</emph>.'s concept of 'living deeply' ([<reflink idref="bib5" id="ref9">5</reflink>]), we chat, walk, get blown by the Spring breeze, watch the wind turbines while looking out to the Lakeland fells and wonder, 'Could we capture these words as images printed onto a set of cards to share with preservice teachers?'</p> <p>Figure 7</p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/Q0T/01may25/jade12566-fig-0007.jpg?ephost1=dGJyMNXb4kSepq84yOvqOLCmsE6epq5Srqa4SK6WxWXS" alt="jade12566-fig-0007.jpg" title="7 Vega Printing Boxes." /> </p> <p></p> <p>Figure 8</p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/Q0T/01may25/jade12566-fig-0008.jpg?ephost1=dGJyMNXb4kSepq84yOvqOLCmsE6epq5Srqa4SK6WxWXS" alt="jade12566-fig-0008.jpg" title="8 Box Nets." /> </p> <p></p> <p> <bold>Vega</bold>: The cards are designed to fit in boxes that will be dispensed using a vintage cigarette vending machine.</p> <p> <bold>Alya</bold>: In my box design, I wanted to capture the concepts of the Cumbrian landscape, the ideas of gifting and diversity, including all abilities.</p> <p> <bold>Vega</bold>: I chose to create a box design that could suit future unknown purposes, so I referenced tarot cards and esoteric symbols. For example, the heart with wings could stand for freedom to love; equally, it could be a gift flowing outwards. 'No fear' reminds the recipient that risk‐taking is part of play. Place‐making is important for both of us, so we referenced the fells and Carlisle, on the edge of the Solway.</p> <p>Figure 9</p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/Q0T/01may25/jade12566-fig-0009.jpg?ephost1=dGJyMNXb4kSepq84yOvqOLCmsE6epq5Srqa4SK6WxWXS" alt="jade12566-fig-0009.jpg" title="9 Alys' Eye." /> </p> <p></p> <p> <bold>Alys</bold>: Representing the words on the artistic licence was tricky. We chose images to inspire curiosity from Vega's collection of wood blocks and linocuts, and she makes a couple of new blocks.</p> <p>Figure 10</p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/Q0T/01may25/jade12566-fig-0010.jpg?ephost1=dGJyMNXb4kSepq84yOvqOLCmsE6epq5Srqa4SK6WxWXS" alt="jade12566-fig-0010.jpg" title="10 Wood Engraving 'Observe'." /> </p> <p></p> <p>Figure 11</p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/Q0T/01may25/jade12566-fig-0011.jpg?ephost1=dGJyMNXb4kSepq84yOvqOLCmsE6epq5Srqa4SK6WxWXS" alt="jade12566-fig-0011.jpg" title="11 Playing Cards." /> </p> <p></p> <p> <bold>Vega</bold>: A fist, an eye, a branch, a ship, a mirror</p> <p>Age‐old shorthand</p> <p>But we reclaim these and make new ones: this is Alys's eye, this is my fist, these are some scissors that I bought from a junkshop and use every day in the studio</p> <p>The motifs themselves are slippery—they carry the weight of previous usage and are open to interpretation for new, radical journeys into the imagination</p> <p>Figure 12</p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/Q0T/01may25/jade12566-fig-0012.jpg?ephost1=dGJyMNXb4kSepq84yOvqOLCmsE6epq5Srqa4SK6WxWXS" alt="jade12566-fig-0012.jpg" title="12 Badges." /> </p> <p></p> <p> <bold>Vega</bold>: Towards the end of the course with my students, I brought my badge maker and asked them to think about their artist‐teacher identity. Many followed my call and made a radical teacher badge to wear in their schools. I realised that as they progressed through their teaching placements, their interpretation of 'radical' had changed. A year's worth of challenge and encouraging them to be critical and confident in their own teacher voice had led to their understanding of the need for change: to give the gift of art to the pupils in the schools was a radical act, full of risk and unknown outcomes.</p> <p>Figure 13</p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/Q0T/01may25/jade12566-fig-0013.jpg?ephost1=dGJyMNXb4kSepq84yOvqOLCmsE6epq5Srqa4SK6WxWXS" alt="jade12566-fig-0013.jpg" title="13 Vending Machine." /> </p> <p></p> <p> <bold>Alys</bold>: I was invited to meet Vega's students. We ask each student to take a turn at operating the vending machine and pull out their box, then carefully explore each card. There was joy in the room, sheer elation at the gift‐giving but also the care and time spent to create something small, thoughtful and change‐making.</p> <p> <bold>Vega</bold>: We included blank cards so they could add their own images and words. We invited them to use them and not to treat them as fragile and 'for best'.</p> <p> <bold>Alys</bold>: How can we find time as artists and teachers for risk?</p> <p> <bold>Vega</bold>: Play is rehearsing risk ‐</p> <p>configurations of cards,</p> <p>shuffling them</p> <p>while telling our future selves to be brave.</p> <p>The cards invite us to action</p> <p>the dance of objects to make new stories and new things.</p> <p>Figure 14</p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/Q0T/01may25/jade12566-fig-0014.jpg?ephost1=dGJyMNXb4kSepq84yOvqOLCmsE6epq5Srqa4SK6WxWXS" alt="jade12566-fig-0014.jpg" title="14 Cards and Hands." /> </p> <p></p> <hd id="AN0186111006-16">Acknowledgements</hd> <p>We would like to thank the 2023/2024 PGCE Art and Design Students at the University of Cumbria for being an essential and radical part of this research.</p> <ref id="AN0186111006-17"> <title> References </title> <blist> <bibl id="bib1" idref="ref1" type="bt">1</bibl> <bibtext> Daichendt, J. (2010) Artist teacher: a philosophy for creating and teaching. Bristol : Intellect Books Ltd.</bibtext> </blist> <blist> <bibl id="bib2" idref="ref2" type="bt">2</bibl> <bibtext> Freire, P. (1970) Pedagogy of the oppressed. New York : Seabury Press.</bibtext> </blist> <blist> <bibl id="bib3" idref="ref4" type="bt">3</bibl> <bibtext> Hyde, L. (2007) The gift: how the creative spirit transforms the world. Edinburgh : Canongate.</bibtext> </blist> <blist> <bibl id="bib4" idref="ref8" type="bt">4</bibl> <bibtext> Le Guin, U. K. (2019) The carrier bag theory of fiction. London : Ignota Books.</bibtext> </blist> <blist> <bibl id="bib5" idref="ref9" type="bt">5</bibl> <bibtext> Lee, N., Morimoto, K., Mosavarzadeh, M. & Irwin, R. L. (2019) Walking propositions: coming to know A/r/tographically, The International Journal of Art & Design Education, Vol. 38, No. 3, pp. 681 – 90.</bibtext> </blist> <blist> <bibl id="bib6" idref="ref7" type="bt">6</bibl> <bibtext> Pelzer‐Montada, R. (2020) Perspectives on contemporary printmaking critical writing since 1986. Manchester : Manchester University Press.</bibtext> </blist> <blist> <bibl id="bib7" idref="ref5" type="bt">7</bibl> <bibtext> Roberts, J. L. (2021) Contact: art and the pull of print. The 70th A. W. Mellon Lectures in the Fine Arts [Lecture]. https://<ulink href="http://www.nga.gov/research/casva/meetings/mellon‐lectures‐in‐the‐fine‐arts/roberts‐2021.html">www.nga.gov/research/casva/meetings/mellon‐lectures‐in‐the‐fine‐arts/roberts‐2021.html</ulink></bibtext> </blist> <blist> <bibl id="bib8" idref="ref3" type="bt">8</bibl> <bibtext> Spry, T. (2016) Body, paper, stage: writing and performing autoethnography. New York : Routledge.</bibtext> </blist> </ref> <aug> <p>By Vega Brennan and Alys Mendus</p> <p>Reported by Author; Author</p> <p></p> <p>Vega Brennan has over 16 years' experience teaching art in schools. She has MAs in the History of Printmaking (London) and Fine Art and Education (Northumbria). She worked at Tate Britain's Print Study Room, Leeds City Art Gallery and West Yorkshire Print Studio (formerly Eastthorpe Visual Arts). She is a founder‐member of Cumbria Printmakers and in 2009 she set up Cumbria Art Educators, a network for artist educators and art teachers. She lectures on the PGCE course at the University of Cumbria, specialising in Art and Design education. She also runs Linden Print Studio, an open‐access printmaking studio. Vega Brennan (she/her), Lecturer, Art and Design PGCE, Institute of Education, Arts and Society, University of Cumbria, Bowerham Road, Lancaster LA1 3JD,.</p> <p>Alys Mendus (she/her) is a feminist artist academic who gained a PhD on a Freedom to Learn Scholarship from the University of Hull, UK in 2018. She published a book from her thesis, 'Searching for the Ideal School Around the World: School Tourism and Performative Autoethnographic‐We' (2021) filled with her stories, poems, photos and lino cuts. Alys works as a Casual Academic lecturing and as part of research teams at University of Melbourne, Deakin University and Western Sydney Universities in Australia. Alys was based in Cumbria, UK when this paper was written and crafted..</p> </aug>
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  Data: Spurred by an observation that 'student art teachers don't want to be radical teachers', this paper explores how the gift by a lecturer of a tongue-in-cheek hand-printed 'Artistic Licence' to a new cohort of pre-service teachers, gives permission to imagine new futures. Through a dialogic image-exchange two educators bring their radical manifesto for art teachers/teaching as a performative autoethnography where they imagine new forms of teaching through small acts: printing, walking and talking, and being parents and artists. Similar to performative autoethnography, the act of giving projects materiality into the future and is transformative both for the giver and the gifted. The object (an artistic licence, an artwork, a poem) is an autonomous vessel that has its own agency and affect as it moves from one person to another, shifts and accrues meaning. When times are hard, art teaching can run the risk of becoming too outcome-led, working backwards from a preconceived notion of what art should be, not what art could be. This paper draws on the imagination to counteract the internalised negative pull of art as part of a neoliberal system. It offers new art teachers, through the act of giving, the potential to give themselves permission to imagine their art practice and their artist identity as integral to situating themselves within the exchange of value and meaning in the human and post-human world.
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              Y: 2025
          Identifiers:
            – Type: issn-print
              Value: 1476-8062
            – Type: issn-electronic
              Value: 1476-8070
          Numbering:
            – Type: volume
              Value: 44
            – Type: issue
              Value: 2
          Titles:
            – TitleFull: International Journal of Art & Design Education
              Type: main
ResultId 1