Art education is often praised for its engaging programmes and inclusive pedagogies, with many initiatives created with the intention of widening access for those who are deemed to be lacking. This article investigates one such programme – the young people’s Arts Award, which is a nationally recognised qualification for young people aged 11–25. I call upon a range of pedagogies in order to critique the Arts Award within the context of informal and alternative education settings in the United Kingdom. Drawing on a 12‐month ethnographic study, the research was conducted across five diverse programmes which included youth work projects and alternative provision. I present two cases – ‘learning to be an artist’ and ‘learning to behave’ – which demonstrate a hierarchy of pedagogy in the application of this programme across these particular contexts. Artists’ Signature Pedagogies are used as an analytical framework to explore the affordances of working with artists through the programme. Further, I engage with the Pedagogy of Poverty to demonstrate that young people who were classified as ‘dis‐engaged’ were more likely to receive lower quality programmes, low‐level work and over‐regulated teaching. I argue that despite changes to the ways that young people access art education, there continues to be unequal opportunities. This finding is significant for not only creative practitioners and youth arts workers, but also arts education policy makers and programmers.

中文翻译：

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“脱离接触”的教学法：青年艺术奖计划的不同经验

美术教育因其引人入胜的课程和包容性教学法而广受赞誉，并制定了许多举措，旨在扩大那些被认为缺乏的人的使用范围。本文研究了一个这样的程序-青年艺术奖，该奖是国家认可的11至25岁年轻人的资格。我呼吁采取一系列教学法，以便在英国的非正式和替代教育背景下对艺术奖进行评论。利用一项为期12个月的民族志研究，该研究涉及五个不同的计划，其中包括青年工作项目和替代性安排。我介绍了两种情况-“学习成为艺术家”和“学习行为表现”，它们展示了在这些特定情况下应用该程序的教学法层次结构。艺术家签名教育法被用作分析框架，以探索通过该计划与艺术家合作的能力。此外，我参与了贫困教育学，以证明被归类为“脱离接触”的年轻人更有可能接受质量较低的课程，低水平的工作和过度规范的教学。我认为，尽管年轻人接受艺术教育的方式发生了变化，但机会仍然不平等。这一发现不仅对创意从业者和青年艺术工作者，而且对艺术教育政策制定者和程序员都具有重要意义。我参与了《贫困教育学》，以证明被分类为“脱离接触”的年轻人更有可能接受质量较低的课程，低水平的工作和过度监管的教学。我认为，尽管年轻人接受艺术教育的方式发生了变化，但机会仍然不平等。这一发现不仅对创意从业者和青年艺术工作者，而且对艺术教育政策制定者和程序员都具有重要意义。我参与了《贫困教育学》，以证明被分类为“脱离接触”的年轻人更有可能接受质量较低的课程，低水平的工作和过度监管的教学。我认为，尽管年轻人接受艺术教育的方式发生了变化，但机会仍然不平等。这一发现不仅对创意从业者和青年艺术工作者，而且对艺术教育政策制定者和程序员都具有重要意义。