Jaehyun Nam

Radical Attitudes of Students in Art Schools

“The more radical the person is, the more fully he or she enters into reality so that, knowing it better, he or she can transform it. This individual is not afraid to confront, to listen, to see the world unveiled. This person is not afraid to meet the people or to enter into a dialogue with them. This person does not consider himself or herself the proprietor of history or of all people, or the liberator of the oppressed; but he or she does commit himself or herself, within history, to fight at their side.” (Freire, 1968, p. 39)

Reflecting Freire's perspective on radical engagement with social issues, art schools have long been pivotal in fostering social change, nurturing creativity, critical thinking, and innovative approaches to societal challenges. Here, 'radical' refers to approaches that deeply question and seek to transform the foundational aspects of society, challenging conventional norms and values in profound ways. They equip students with the ability to question and potentially transform societal norms and values (Marshall, 2016). Through artistic expression, these institutions foster a dialogue between individuals and society, enhancing awareness and engagement with social, political, and environmental issues. Their curriculum promotes a radical mindset, enabling students not only to understand our society but also to gain insights into their roles as societal members, which leads to profound self-reflection and higher-order thinking. This mindset is crucial in highlighting and addressing fundamental societal issues, often initiating significant social movements (Madoff, 2009, p. 282). However, in the papers by Madoff (2009) and Rasskazova, Emelin, and Tkhostov (2019), we can find the association between radical attitudes and self-reflection, suggesting that radical movements initiated without sufficient self-reflection can distort the original intentions of the movement, leading to unconvincing communication. Thus, it is imperative for art schools to carefully consider the type of radical attitudes they nurture among students, ensuring that these attitudes are grounded in thoughtful reflection. This essay explores the impact of radical attitudes in art education on social change and individual growth, and traces the relationship between radical attitudes and self-reflection in these processes.

Radical art education, epitomized by the Bauhaus, profoundly impacts societal structures and individual development by challenging conventional educational norms and promoting a holistic integration of the arts with societal functions. The Bauhaus model, initiated by Walter Gropius, revolutionized the pedagogical landscape by integrating art with industrial applications, aiming to democratize design and make art accessible across society. This integration encouraged students to see art not merely as a form of individual expression but as a tool for social utility and transformation, thus promoting a profound engagement with societal issues (Bretschneider, 2012, p. 4)​​. This interaction between art and society is also evident in public art. Paul Clements discusses how public art, influenced by radical educational practices, acts as a dynamic interface between the public and artists, challenging public perceptions of art and its societal role. He asserts that public art can be a form of resistance, offering alternative perspectives and stimulating societal discourse on cultural and political issues, thus embodying radical methodologies (Clements, 2008, p. 19)​​. Radical forms of education, like those at the Bauhaus, which differed from traditional art education at the time, not only expanded the aesthetic aspects of society but also significantly enhanced moral and ethical understanding. These methods encourage students to deeply engage with the material, promoting a form of learning that transcends traditional academic boundaries and fosters comprehensive personal and societal growth. Moreover, the persistence of public art, such as the mural "The Wall of Daydreaming and Man’s Inhumanity to Man", exemplifies how art can continue to activate public discourse and potentially influence social change. Created in a period of racial tension and urban strife, the mural serves as a potent example of how public art maintains a critical dialogue about community history and identity. Over the decades, this mural has sparked community dialogue, challenged viewers' perceptions, and become a focal point for reflecting on urban and racial issues. This interaction between art and society underscores the transformative power of radical educational practices, which equip artists to use their work to question, communicate, and potentially transform the societal landscape (Bruce, 2017). Further emphasizing the transformative power of art education, Elvio Baccarini discusses how engagement with artworks can lead to profound moral and ethical development. He argues that radical changes in art education promote a form of moral learning that traditional methods cannot achieve, fostering critical reflection and ethical consideration among students. This form of learning is crucial for addressing complex social issues (Baccarini, 2018, pp. 40-53)​​. The radical approaches to art education not only change how art is created and perceived but also redefine the artist's role in society—from an individual creator to a community participant who uses art to question, communicate, and transform the societal landscape (Bretschneider, 2012, pp. 17-29)​​. As radical art education reshapes how art interacts with societal functions, it challenges artists to evolve from individual creators into community participants. This shift emphasizes the need for not just creative expression but critical self-reflection. Thus, a radical attitude in art serves as a bridge between the individual and society, providing a positive and effective approach aimed at improving existing systems toward a better society. However, it is crucial to recognize that such reflection ensures radical attitudes are not merely about dismantling existing systems. Instead, they are about understanding and thoughtfully transforming these systems through self-reflection enabled by higher-order thinking. This deeper engagement allows artists to effectively navigate and influence complex societal issues, using their art as a powerful tool for societal critique and transformation.

Art is indeed a powerful tool for societal critique and transformation. However, society is dynamic and profoundly human, with notions of social justice that continually change. Therefore, adopting a radical attitude to critique societal flaws should be approached with careful consideration.

Radical attitudes, when not backed by sufficient reflection, can lead to dysfunctional communication between individuals and society. As discussed by Vadim Emelin, Elena Rasskazova, and Aleksander Tkhostov in "Radical Attitudes Moderate the Relationships of Aggressiveness and Tolerance with Emotion Regulation", such attitudes may foster an overly defensive stance. This excessive self-defense can obstruct constructive dialogue and, without careful reflection, might lead to immature and aggressive responses to societal phenomena or differing opinions (Rasskazova, Emelin, and Tkhostov, 2019). W. J. T. Mitchell's essay, "The Violence of Public Art: Do the Right Thing", delves into how public art often serves as a flashpoint for community reactions, particularly when it challenges or appears to impose radical ideas. Through the discussion of artworks like Richard Serra's "Tilted Arc", Mitchell illustrates that public art can provoke conflict if it is perceived as disregarding community reception or values. This artwork, a large curved steel sculpture installed in Federal Plaza in New York City, became a focal point of significant public and legal debate. Many people and critics evaluated this sculpture as radical and disruptive to the spatial functionality and aesthetics. Mitchell uses this example to highlight a broader point: public art can become a site of conflict when it confronts the public with challenging or radical ideas without considering the community's reception or the practical implications for the space it occupies. This kind of conflict, as Mitchell suggests, can escalate to the point where it not only stirs debate about the art itself but also prompts a deeper examination of societal values, public space usage, and the role of art in public life. The "Tilted Arc" was eventually removed after a court order, exemplifying the potential extreme outcomes of such conflicts in the realm of public art (Mitchell, 1990, p. 882-891). This dynamic is vividly portrayed in "Do the Right Thing", where art within the film acts as a catalyst for racial discourse and confrontations, reflecting deeper societal issues that extend beyond the screen into the audience's reality. In Spike Lee's "Do the Right Thing", the dynamics of race relations and community tensions are explored through the backdrop of a racially diverse Brooklyn neighborhood. The film prominently features the "Wall of Fame" in Sal's Pizzeria, which displays only Italian-American celebrities. This becomes a point of contention when Buggin' Out challenges the exclusion of African American figures, reflecting broader societal issues. The escalating conflict over cultural representation culminates in a riot following Radio Raheem's tragic death, illustrating how art and cultural symbols can act as catalysts for societal reflection and conflict in a community (Mitchell, 1990, p. 891-898). Public art is not merely a decoration of space, but involves active communication with the audience, and evoking responses that can escalate into conflict when the art is perceived as imposing radical ideas without consideration for community reception. Mitchell’s analysis highlights the dual impact of public art—it has the potential to inspire societal transformation but also to provoke division, especially when radical expressions are not tempered with reflective understanding of the public’s diverse perspectives. The effectiveness of public art in societal critique and transformation thus hinges on its ability to foster constructive dialogue, resonating with the community’s evolving notions of social justice without descending into aggression or misunderstanding. Ultimately, Mitchell’s analysis underscores the dual impact of public art: while it holds the potential to inspire societal transformation, it can also provoke division if not approached with a nuanced understanding of the community’s perspectives (Mitchell, 1990). Effective public art must, therefore, facilitate constructive dialogue that resonates with the evolving notions of social justice within the community, avoiding descending into aggression or misunderstanding and instead fostering a more harmonious and reflective societal discourse.

In a constantly evolving society, the concept of absolute 'justice' does not exist; rather, what is perceived as 'justice' is shaped by the prevailing social atmosphere. Therefore, when art is used as a medium to express radical attitudes, it demands meticulous consideration and reflective thought to ensure it aligns with societal needs and ethical standards. Art schools play a crucial role in this context; they must provide an environment where students can understand the fluid nature of social justice and the significant impact of art as a cultural force. As we move forward, fostering a balanced radical attitude that respects and critically engages with the existing social system becomes imperative. This approach will enable art and education to contribute meaningfully to societal discourse and transformation.

Freire, P., 2005. Pedagogy of the Oppressed. 30th anniversary ed. New York: Continuum International Publishing Group, pp. 39.

Marshall, J., 2016. A systems view: The role of art in education. Art Education, 69(3), pp.12-19.

Madoff, S.H. ed., 2009. Art school:(propositions for the 21st century). MIT press. pp. 282

Rasskazova, E., Emelin, V. & Tkhostov, A. (2019). Radical attitudes moderate the relationships of aggressiveness and tolerance with emotion regulation. European Proceedings of Social & Behavioural Sciences, [online] Available at: https://doi.org/10.15405/epsbs.2019.07.19 

Clements, P., 2008. Public art: radical, functional or democratic methodologies?. Journal of Visual Art Practice, 7(1), pp.19-35.

Bretschneider, M., 2012. The Bauhaus: Understanding its History and Relevance to Art Education Today.

Bruce, C.F., 2017. Public art, affect, and radical negativity: The wall of daydreaming and man’s inhumanity to man. Subjectivity, 10, pp.223-241.

Baccarini, E., 2018. Art, moral understanding, radical changes. Rivista di estetica, (69), pp.40-53.

Mitchell, W.J.T., 1990. The Violence of Public Art: ‘Do the Right Thing’. Critical Inquiry, 16(4), pp.880-899. Available at: http://www.jstor.org/stable/1343773