The old Central Saint Martins building in central London. Photograph: Getty Images.
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Is this the end of the British art school?

Art schools used to be a place where the socially and intellectually marginal could distinguish themselves. Now, with unattainable entry requirements and a hefty price tag, they’re becoming a dwelling place for commercial interests and the children of the international elite.

When the Great Exhibition opened its doors in 1851, Britain’s reputation as the workshop of the world was on the wane. Few visitors would have known it at the time, but the exhibition signified the high watermark of British manufacturing. French design and Prussian engineering were already edging ahead. In 2012, London hosted another event designed to present Britain to the world – one which referenced the upheaval of the Industrial Revolution by featuring towering smoke stacks and beating drums.

Danny Boyle’s Olympic opening ceremony represented British history as a creative blossoming that started in the nineteenth century but seemed to reach its zenith in the twentieth century when fashion, film and pop music boomed. And yet it seems to me that Boyle’s Olympic opener – just like the Great Exhibition – was telling a story about Britain that had already ceased to be true. The circumstances which made it possible for artists to thrive in Britain during the twentieth century are rapidly disappearing. And perhaps one of the most essential changes is in our art schools.

Name any one of the UK’s most famous designers or musicians, never mind artists, and they are likely to have set foot in an art school at one time or other: David Bowie, Pete Townsend, Brian Eno, Vivienne Westwood, John Galliano. I could go on and on. Economist Hasan Bakhshi of innovation charity Nesta says that he is frequently asked about how we run our art schools by educationalists abroad. Art schools are perceived by many as the key to our creative success.

Yet art schools have changed dramatically over the last 20–30 years, causing many to question whether they will, in the future, cultivate the innovators we so badly need. Art schools used to be havens for students who, for whatever reason, had not found their niche in the traditional academic system. Now prospective art students very often have to prove their academic credentials to compete for a place at the most prestigious colleges. Once on the course, art students have to submit an increasing volume of written work, arguably a distraction from practical skills and craft.

Tuition fees have made higher education in Britain more expensive than anywhere else in Europe, and art schools are no exception. This means that the social and economic mix is disappearing (students from poorer backgrounds being less inclined to take out a loan for a non-vocational subject such as fine art). What’s more, art schools are going out of their way to attract foreign students for the extra income they bring. Unsurprisingly, there is deep concern among many artists and teachers that the age of the art school is over: workshops for ceramics, printing, and metalwork have been replaced by computer rooms, digital expertise is prioritised before craft; student numbers are rocketing and teaching hours are sinking.

Designer Jay Osgerby graduated with a Masters in architecture from the Royal College of Art. He’s one of a generation of British designers who are now leading design practice around the world, in every field from fashion to technology. The head of Burberry, Christopher Bailey, was in the same year as Jay and his partner Edward Barber; Thomas Heatherwick was another who attended the RCA around the same time; and Apple’s Jonathan Ive was an industrial design student at Newcastle Polytechnic.

Osgerby remembers the RCA as a place where people were constantly making things. The lift was continuously crammed with half-made dresses and furniture being ferried up and down. The RCA, he believes, still manages to hold on to this highly practical ethos, but everywhere he sees the rise of computers taking the place of the hand-made: computers, he says “make you look like an innovator rather than a throw-back to the industrial revolution, but I think that’s a really big mistake.”

The truth is that workshops are expensive and that’s a good enough reason to get rid of them. As education is effectively privatised, art school managers are more interested in business models than the experience of students. An art school such as Central Saint Martins (part of the University of the Arts London) recruits around 40 per cent of its BA students from overseas. It also runs short courses for members of the public. This extra income allows the art school to do a few “special things”, says its head Jeremy Till, such as putting on two degree shows so splendid they attracted almost 50,000 people earlier this year. He says the new building at Kings Cross (where the art school moved from its West End site in 2011) makes the art school a “cultural destination”. Never mind the fact that some staff and students feel uncomfortable with the monolithic, anonymous architecture (one tutor told me that there’s never enough studio space for everyone, you can’t open windows, and you no longer meet people from other courses despite the fact that everyone is now on the same premises.)

So is it necessary to impress the public with a dazzling building and exciting brand? Jeremy Till would tell you that it’s exactly this kind of self-presentation that’s encouraged Google to locate its European offices right next door to Central Saint Martins’ new building at Kings Cross in North London. And maybe he’s got a point. Google might offer jobs to some of the young “creatives” who step out of Saint Martins’ sliding doors. But there’s a balance to be struck. If Central Saint Martins isn’t concentrating attention – above all – on the experience of students within its walls, then the shiny exterior will become just that – a façade, a front, a shop window. Nothing more.

Art School, Smart School, produced by Isabel Sutton, will be broadcast on BBC Radio 4 on 22 November at 8pm

Update: this piece was edited on 25 November to fix an attribution error

Isabel Sutton is a radio producer and journalist.

JAMIE KINGHAM/MILLENNIUM
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Snakebites and body parts

The city at the edge of an apocalypse: a love letter to Los Angeles.

I was emailing with Kenneth Anger, the film-maker, when the coyotes across the street in Griffith Park started howling.

That’s partially true.

I was emailing him to ask if he’d direct a music video for me. Maybe Lucifer Rising 2.0. Or anything.

Just him in the kitchen making tea, as recorded on his iPhone.

Kenneth Anger is alive and well in Santa Monica, so why not ask him to direct a video for me? Hopefully, he’ll respond. We’ve never met, so I sent an email to him, not with him. That’s the partial truth.

But the coyotes did start howling.

It’s the single best sound in Los Angeles, or any city. Is there another city where you can email an 89-year-old devotee of Aleister Crowley while listening to a few dozen coyotes screaming and howling and ripping the night into little pieces?

No. Just here. This oddness by the sea and an inch from a billion acres of Arrakis.

I never thought I’d end up living in Los Angeles, but I’ve ended up living in Los Angeles. This dirtiest, strangest paradise.

Yesterday I went hiking in a two-million-acre state park that’s 30 minutes from my house. A state park bigger than all of New York City. And it’s 30 minutes away. With no people. Just bears and pumas and coyotes and snakes.

And other things. Abandoned bridges. An observatory where Albert Einstein used to go to watch space.

What a strange city.

A perfect city. Perfect for humans at the edge of this strangely unfolding apocalypse. A gentle apocalypse with trade winds and Santa Ana winds and the biannual vicious storm that rips eucalyptus trees up by their roots.

What a strange city. And it’s my home.

Today I hiked to the back of the Hollywood sign. This was before Kenneth Anger and the coyotes.

The tourists were dropping like flies on the long, hot mountain trail, not aware that this isn’t a city with the safe European ­infrastructure that keeps them happy
and/or alive.

Every now and then, a tourist dies in the hills, bitten by a snake or lost at night. The emergency rooms are full of tourists with snakebites and heatstroke.

Where are the European safeguards?

Fuck us if we need safeguards. Go live in a place like this gentle wasteland where you’re not at the top of the food chain. If you’re not in danger of being eaten at some point in the day, you’re probably not breathing right.

I hope Kenneth Anger writes back.

 

22 May

I drove some friends around my neighbourhood. They want to live here. Why wouldn’t they? Pee-wee Herman and Thom Yorke live up the street.

David Fincher lives a block away. It’s blocks and blocks of jasmine-scented name-
dropping.

It’s warm in the winter and it’s weird all year round.

And there’s a Frank Lloyd Wright that looks like a lunatic Mayan spaceship.

And there go the coyotes again, howling like adorable delegates of death.

They’re so smart, I wish they would make me their king.

You hate Los Angeles? Who cares? You made a mistake, you judged it like you’d judge a city. Where’s the centre?

There’s no centre. You want a centre? The centre cannot hold. Slouching towards Bethlehem. Things fall apart.

Amazing how many titles can come from one poem. What’s a gyre?

Yeats and Kenneth Anger and Aleister Crowley. All these patterns.

Then we had brunch in my art deco pine-tree-themed restaurant, which used to sell cars and now sells organic white tea and things.

The centre cannot hold. I still have no idea what a gyre is.

Maybe something Irish or Celtic.

It’s nice that they asked me to write this journal.

Things fall apart.

So you hate Los Angeles? Ha. It still loves you, like the sandy golden retriever it is. Tell me again how you hate the city loved by David Lynch and where David Bowie made his best album? Listen to LA Woman by the Doors and watch Lynch’s Lost Highway and read some Joan Didion – and maybe for fun watch Nightcrawler – and tell me again how you hate LA.

I fucking love this sprawling inchoate pile of everything.

Even at its worst, it’s hiding something baffling or remarkable.

Ironic that the city of the notoriously ­vapid is the city of deceiving appearance.

After brunch, we went hiking.

Am I a cliché? Yes. I hike. I do yoga. I’m a vegan. I even meditate. As far as clichés go, I prefer this to the hungover, cynical, ruined, sad, grey cliché I was a decade ago.

“You’re not going to live for ever.”

Of course not.

But why not have a few bouncy decades that otherwise would’ve been spent in a hospital or trailing an oxygen tank through a damp supermarket?

 

24 May

A friend said: “The last time I had sex, it was warm and sunny.”

Well, that’s helpful.

October? June? February?

No kidding, the coyotes are howling again. I still love them. Have you ever heard a pack of howling coyotes?

Imagine a gaggle of drunk college girls who also happened to be canine demons. Screaming with blood on their teeth.

It’s such a beautiful sound but it also kind of makes you want to hide in a closet.

No Kenneth Anger.

Maybe I’m spam.

Vegan spam.

Come on, Kenneth, just make a video for me, OK?

I’ll take anything.

Even three minutes of a plant on a radiator.

I just received the hardcover copy of my autobiography, Porcelain. And, like anyone, I skimmed the pictures. I’m so classy, eating an old sandwich in my underpants.

A friend’s dad had got an advance copy and was reading it. I had to issue the cautious caveat: “Well, I hope he’s not too freaked out by me dancing in my own semen while surrounded by a roomful of cross-dressing Stevie Nicks-es.”

If I ever have kids, I might have one simple rule. Or a few simple rules.

Dear future children of mine:

1) Don’t vote Republican.

2) Don’t get facial tattoos.

3) Don’t read my memoir.

I don’t need my currently unmade children to be reading about their dear dad during his brief foray into the world of professional dominatrixing, even if it was brief.

The first poem I loved was by Yeats: “When You Are Old”. I sent it to my high-school non-girlfriend. The girl I longed for, unrequitedly. I’m guessing I’m not the first person to have sent “When You Are Old” to an unrequited love.

Today the sky was so strangely clear. I mean, the sky is almost always clear. We live in a desert. But today it felt strangely clear, like something was missing. The sun felt magnified.

And then, at dusk, I noticed the gold light slanting through some oak trees and hitting the green sides of the mountains (they were green as we actually had rain over the winter). The wild flowers catch the slanting gold light and you wonder, this is a city? What the fuck is this baffling place?

I add the “fuck” for street cred. Or trail cred, as I’m probably hiking. As I’m a cliché.

You hike, or I hike, in the middle of a city of almost 20 million people and you’re alone. Just the crows and the spiralling hawks and the slanting gold light touching the oak trees and the soon-to-go-away
wild flowers.

The end of the world just feels closer here, but it’s nice, somehow. Maybe the actual end of the world won’t be so nice but the temporal proximity can be OK. In the slanting gold light. You have to see it, the canyons in shadow and the tops of the hills in one last soft glow.

What a strange non-city.

 

25 May

They asked for only four journal entries, so here’s the last one.

And why is # a “hashtag”?

Hash? Like weird meat or weird marijuana? Tag, like the game?

At least “blog” has an etymology, even if, as a word, it sounds like a fat clog in a drain.

A friend who works in an emergency room had a patient delivered to her who had a croquet ball in his lower intestine. I guess there’s a lesson there: always have friends who work in emergency rooms, as they have the best stories.

No coyotes tonight. But there’s a long, lonesome, faraway train whistle or horn. Where?

Where in LA would there be a long, lonesome, faraway train whistle or horn?

It’s such a faraway sound. Lonesome hoboes watching the desert from an empty train car. Going where?

I met a woman recently who found human body parts in some bags while she
was hiking.

Technically, her dogs found them.

Then she found the dogs.

And then the sky was full of helicopters, as even in LA it’s unusual to have human hands and things left in bags near a hiking trail a few hundred yards from Brad Pitt’s house.

What is this place?

When I used to visit LA, I marvelled at the simple things, like gas stations and guest bedrooms.

I was a New Yorker.

And the gas stations took credit cards. At. The. Pumps.

What was this magic?

And people had Donald Judd beds in their living rooms, just slightly too small for actual sleeping – but, still, there’s your Donald Judd bed. In your living room at the top of the hill somewhere, with an ocean a dozen miles away but so clear you can see Catalina.

They drained the reservoir and now don’t know what to do with it.

Good old LA, confused by things like empty reservoirs in the middle of the city.

Maybe that’s where the lonesome train lives. And it only comes out at night, to make the sound of a lonesome train whistle, echoing from the empty concrete reservoir that’s left the city nonplussed.

“We’ve never had an empty reservoir in the city before.”

So . . . Do something great with it. I know, it’s a burden being given a huge gift of ­empty real estate in the middle of the city.

Tomorrow I’m meeting some more friends who’ve moved here from New York.

“We have a guest bedroom!” they crow.

A century ago, the Griffith Park planners planted redwoods across the street. And now the moon is waning but shining, far away but soft, through the redwoods.

No coyotes, but a waning moon through some towering redwoods is still really OK. As it’s a city that isn’t a city, and it’s my home.

Goodnight.

Moby’s memoir, “Porcelain”, is published by Faber & Faber

This article first appeared in the 26 May 2016 issue of the New Statesman, The Brexit odd squad