NESTA PROJECT: FINE ARTSITS AND INNOVATION

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gaps in their knowledge and the limitations of quantitative data. For example, they are unable to include or assess the income of self-employed artists or accurately to reflect the number of artists who work a combination of PAYE and selfemployment (2003: xvii). 4.1.2 Art and design in UK higher education According to the most recent figures from ‘Higher Education & Research Opportunities in the United Kingdom’ (HERO, 2007) over two million students in higher education in the UK are studying at over 170 universities and colleges. Their number has increased from just over 1.6 million students in 1996. In 1960, there were 270,000 students at just 20 universities. The expansion of higher education and government efforts to widen participation and reduce social inclusion in the UK are well documented, exemplified in the Government’s target that 50 per cent of people under thirty should participate in Higher Education by 2010 (DfES, 2003). The annual Students and Qualifiers Data published by the Higher Education Statistics Agency (HESA) for 2005/06 reveals more than 156,000 students in creative arts and design, an increase of over 60 per cent in the past decade. Looking specifically at the figures for fine art programmes, there were just under 40,000 in 2005/6 (HESA, 2005). The annual ‘Pattern of Higher Education Institutions in the UK’ report published by Universities UK (Sixth Report, 2006) finds a consistent increase in enrolments in medicine, biological sciences, business and administrative studies, and creative arts and design. This report also notes a 5.8 per cent increase in the number of creative arts and design students from the previous year (2003/04-2004/05). Between 1996/97 and 2004/05, Universities UK identified a 42 per cent increase in the number of fine art students, a 15 per cent increase in the number of higher education institutions teaching fine art (from 72 up to 83), and a 23 per cent increase in the average number of students at each institution. 46
Compared with some European countries, such as Italy or France, the history of formal art and design education in the UK is relatively short. Yet art and design was also the first area of education to receive public funding. Design Education was funded by Parliament in 1837 to improve the knowledge of art and design principles in the manufacturing industry, in order to improve competition with European exports after the passing of free trade agreements (Bird, 2000). By the mid-20 th century, national diplomas were awarded in painting and sculpture. The Coldstream Report on Fine Art Teaching (Ministry of Education,1960) had a major impact on the formal structures of art and design education, provisions for study and the curriculum. After its publication, the National Council for Diplomas in Art and Design (NCDAD) was established to validate art and design courses. In 1974, the CNAA (Council for National Academic Awards) assumed responsibility for art and design courses, overseeing the awarding of Honours and Masters degrees in art and design by schools around the UK. While the Coldstream report also mandated a component of historical and contextual study in fine art degrees, it also supported what has been called the ‘open model’ (Mulvey, 2006) of fine art teaching based on the concept of unstructured time for studio practice. If creative practice was conceived of as discrete from theoretical study in the 1960s, by the 1990s theory was well established within fine art in higher education, as exemplified by practice-based fine art doctorates. 4.1.3 Studies of fine art students and graduates A series of research projects into the careers of art and design graduates was launched at the Birmingham Institute of Art and Design (BIAD) in 1996. The pilot project took the annual Higher Education Statistics Agency (HESA) ‘First Directions Statistics’ survey (FDS) of graduates six months 47
Page 1 and 2: THE NATIONAL ENDOWMENT FOR SCIENCE,
Page 3 and 4: • Cultural products are becoming
Page 5 and 6: Introduction and methodology The ai
Page 7 and 8: culture, creativity and innovation.
Page 9 and 10: on the core skills base. Choosing f
Page 11 and 12: greater ‘buy-in’ and helps boos
Page 13 and 14: LITERATURE REVIEW Section 1: Introd
Page 15 and 16: some that are innovative. Without t
Page 17 and 18: Similarly, critics or other artists
Page 19 and 20: extension to Tate Modern, as well a
Page 21 and 22: Figure 1: EU Cultural and Creative
Page 23 and 24: derives from their perceived cultur
Page 25 and 26: etween the cultural sectors and oth
Page 27 and 28: 2.3.1 Culture is everywhere The arg
Page 29 and 30: production. What is less clear is t
Page 31 and 32: and technology transfer is sometime
Page 33 and 34: Lampert argues that these categorie
Page 35 and 36: attractiveness of cultural workers
Page 37 and 38: workers remain bound to place, as d
Page 39 and 40: The existence of a large service se
Page 41 and 42: • To what extent does the type of
Page 43 and 44: that the latter “are more likely
Page 45: themselves, with some citing the ne
Page 49 and 50: unemployed or unemployable arts gra
Page 51 and 52: In Throsby and Hollister’s study,
Page 53 and 54: ‘Portrait of the Artist’ finds
Page 55 and 56: example, it may not be possible to
Page 57 and 58: due to the informal organisation an
Page 59 and 60: “workers are assumed to have a po
Page 61 and 62: The intangible spark that comes fro
Page 63 and 64: Along with Throsby, Rengers and Mad
Page 65 and 66: An exception to this is the relativ
Page 67 and 68: find that most of the artists they
Page 69 and 70: Bakhshi, McVittie and Simmie (2008)
Page 71 and 72: Castañer and Campos (2002) The Det
Page 73 and 74: Frith and Horne (1987) ‘Art Into
Page 75 and 76: Jeffri (1991b) ‘The Artists Train
Page 77 and 78: Mulgan (2006) ‘Social Silicon Val
Page 79 and 80: Rensujeff (2003) ‘The Status of t
Page 81: Venturelli (2000) ‘From the infor

NESTA PROJECT: FINE ARTSITS AND INNOVATION

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