Validating fine art photography

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But it may be argued that this perspective on art practice is threatened by what might be seen as a dissolution of the nation state.

It is certainly true that the character of art education has been changed by the increasing volume of student exchanges and by the fact that institutions have been recruiting overseas for many years.

[1] The importance of Britain's commitment to the enhancement of its manufactures was confirmed by the Great Exhibition and, despite competition from the new medium of photography, the number of schools of drawing grew rapidly.

A century later more than a hundred schools of art had an output of more than a thousand diploma holders across the art and design fields.[2] By 1981 there were 45 institutions offering fine art courses at degree level, with a total enrolment of 4,900.[3] The number of higher education institutions teaching fine art practices rose sharply through the 1990s to more than 75 and the number of undergraduate students of fine art to more than 14,000 in 2000-2001.[4] In 1998 the Culture Secretary Chris Smith questioned assumptions about the need to devote attention to halting the long decline in agriculture and manufacturing and instead drew attention to a group of "creative industries" - the fine arts prominent among them - that had been booming.

An examination system covering the art and design syllabus in England and Scotland developed through the 19th century and, by the middle of the 20th, specialist national diplomas were being awarded in painting and sculpture.

In 1960 a National Council for Diplomas in Art and Design (NCDAD) was established as a body responsible for validating the bulk of the art and design courses at degree-equivalent level in the UK.

They have been devoted to wealthy collectors, to booty accumulated during imperial conquests, to artists, to periods and to themes (such as "Modern Art").

Those who believe in the spontaneous eruption of "talent" might view this as no more than coincidental, but it seems reasonable to suggest that Britain's achievements on the international art stage point to the outstanding quality of our higher education in fine art practice.British artists have wielded extraordinary influence within the rarefied atmosphere of the art world, have been greeted with popular acclaim and exhibitions such as Sensation and the rise of the Young British Artists have brought the British art world notoriety.Such claims are of course predicated on the idea of a national dimension to art education.Indeed it purchased these works specifically for the purpose.The CNAA collection is important for three reasons.

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