Reflections on the Intersections of Art, Education and Anti-Racism

Dianne Minnicucci’s new exhibition at Autograph – rich in themes of vulnerability, identity, and self-discovery – resonates with me deeply. Her insights into how art can catalyse learning and personal growth through collaboration and research add to my recent personal reflections on my experiences as an artist, teacher and creative education consultant dedicated to anti-racist practice. Bridging the practices and theories of art and education are challenging, not least because of the ‘professionalism’ required of teachers, the rigidity of their definitions, and a lack of opportunity for both artists and teachers due to limited time, resources and subject-specific continued professional development opportunities.

Key moments I’ve recalled on my personal reflective journey include 1995, when I was accepted onto the Goldsmiths Post Graduate Certificate of Education course for secondary art and design. I was incredibly fortunate to have artist Paul Dash as my tutor, whose advocacy for the artist-teacher approach and specific research interest and subsequent book on the experience of African Caribbean Pupils in Art Education influenced me greatly. The artist-teacher approach promotes both the creative and the educational practices of an artist-teacher, with each element understood as desirable and mutually beneficial to the learning process.

Autograph has also played a part in my personal journey. In 2011, I was entrusted with distributing their learning resource pack to primary and secondary schools. The pack provides examples of diverse photography produced in Britain since 1945 and seeks to support teachers in fostering a deeper understanding of the complex intersections of race, cultural and individual identity within a classroom setting.

This role felt like the perfect fit for my profile as a creative educational consultant interested in the power of visual media to provoke dialogue, challenge perspectives and foster critical thinking. I was profoundly moved seeing images of people who looked like they could be members of my own family, reproduced in a high-quality resource. Until then, I had not seen a resource of such quality made freely available to schools in this way. My enthusiasm for ensuring this was made available was supported by delivering presentations and workshops wherever possible. That experience and the responses deepened my appreciation of the educational value of photography and art and cemented my commitment as an artist educator and consultant who wanted to bridge the worlds of formal education and creative exploration.

Exploring Minnicucci’s exhibition, Belonging and Beyond, I am struck by the moving sensitivity and vulnerability shown in the artist’s process of involving her school students in developing this new body of work. As artists, we might expect collaborative self-expression to come naturally; however, for many art teachers, the idea of bringing one’s personal practice into a teaching space and collaborating with students has the potential to feel very exposing and risks being seen as a weakness, to be exploited in the learning environment. Instead, what I believe is evidenced here is an experience of empowerment for both the artist and her students. With the support offered through the Visible Practice Residency, Minnicucci has merged her artistic and teaching practices, meaning the studio and classroom have be redefined. I find myself in a state of awe and wonder at what has been achieved through this process.

In close collaboration with her students, Minnicucci has courageously explored and documented an ‘artist-teacher’ approach that has been discussed and debated over many years within creative educational institutions and communities. What is different and important here is the race dimension. It must be discussed. Minnicucci talks openly about her identity, where being an artist means being empowered to explore her whole self as an artist, a teacher, a mother and a black leader of learning who is prepared to make mistakes in front of her students in a way that allows for learning to be experimental and exponential. And all this against a challenging educational, political and socio-economic climate. It’s a huge feat and one that’s clearly had a significant positive impact on her students, as evidenced by the film featured in the exhibition in which current and former students articulate the effect that seeing Minnicucci as an artist has had on them.

Inclusivity in education goes beyond simply integrating diverse perspectives; it actively works to empower marginalised voices and different practices. Teachers who incorporate multiple cultural, racial and social narratives into their curriculum validate each student's identity. This method encourages students to view themselves as integral contributors to the educational conversation. At the same time, vulnerability exhibited by educators like Minnicucci, who demonstrate a willingness to critique their practices in dialogue with students reinforces that learning is an evolving journey for everyone. The recently published report Visualise: Race and Inclusion in Secondary School Art Education suggests that when students see diverse experiences reflected in the curriculum and the lives of their teachers, it bolsters their critical thinking and self-esteem.

To maintain the best learning environment, students' behaviour and discussion must drive curriculum content and activities, where they feel safe and free to take risks. This multi-faceted approach has the potential to enhance one’s ability as a very effective teacher in the classroom.