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.

中文翻译：

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赠予艺术许可：印刷、激进主义和教育学


在“学生艺术教师不想成为激进教师”这一观察的启发下，本文探讨了讲师将半开玩笑的手印“艺术许可证”赠予新一批职前教师，如何允许想象新的未来。通过对话式的图像交换，两位教育工作者将他们对艺术教师/教学的激进宣言作为一种表演性的自传民族志，他们通过小行为想象新的教学形式：印刷、行走和交谈，以及成为父母和艺术家。与表演性的自传民族志类似，捐赠的行为将物质性投射到未来，对给予者和天赋者来说都是变革性的。客体（艺术许可、艺术品、诗歌）是一个自主的容器，当它从一个人移动到另一个人、转移和积累意义时，它有自己的能动性和影响。当困难时期，艺术教学可能会变得过于以结果为导向，从艺术应该是什么，而不是艺术可能是什么的先入为主的观念倒退。本文利用想象力来抵消作为新自由主义体系一部分的艺术内在的负面吸引力。它通过给予的行为为新的艺术教师提供了潜力，让他们允许自己想象他们的艺术实践和他们的艺术家身份，作为将自己置于人类和后人类世界的价值和意义交换中不可或缺的一部分。