The Prosthetic Pedagogy of Art

Charles R. Garoian

Description

By beginning each chapter of The Prosthetic Pedagogy of Art with an autobiographical assemblage of personal memory and cultural history, Charles R. Garoian creates a differential, prosthetic space. Within these spaces are the particularities of his own lived experiences as an artist and educator, as well as those of the artists, educators, critics, historians, and theorists whose research and creative scholarship he invokes—coexisting and coextending in manifold ways. Garoian suggests that a contiguous positioning of differential narratives within the space of art research and practice constitutes prosthetic pedagogy, enabling learners to explore, experiment, and improvise multiple correspondences between and among their own lived experiences and understandings, and those of others. Such robust relationality of cultural differences and peculiarities brings about interminable newness to learners' understanding of the other, which challenges the intellectual closure, reductionism, and immutability of academic, institutional, and corporate power.
List of Illustrations
Acknowledgments

1. Introduction: The Prosthetic Space of Art

2. Verge of Collapse: The Pros/thesis of Art Research

3. The Prosthetic Pedagogy of the Ignorant Schoolmaster

4. Precarious Leanings: The Prosthetic Research of Play in Art

5. The Anxiety of Disequilibrium in the Museum

6. Drawing Blinds: Art Practice as Prosthetic Visuality

7. Art-in-the-Flesh: The Materiality of Sensation and Embodiment

8. Art Research and Practice as Deleuzoguattarian Embodiment (In collaboration with Joseph Julian Jr., MD)

Notes
References
Index

Sujets

• Arts visuels
• Histoire des Arts
• Histoire des Arts
• Histoire des arts visuels
• Film
• Général
• Visual culture
• Película fotográfica

Informations

• Publié par: State University of New York Press
• Date de parution: 22 janvier 2013
• Nombre de lectures: 0
• EAN13: 9781438445489
• Langue: English

Extrait

THE PROSTHETIC PEDAGOGY OF ART
Embodied Research and Practice
CHARLES R. GAROIAN
S TATE U NIVERSITY OF N EW Y ORK P RESS

© 2013 State University of New York
All rights reserved
Printed in the United States of America
No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher.
For information, contact State University of New York Press, Albany, NY www.sunypress.edu
Production, Laurie D. Searl Marketing, Fran Keneston
Library of Congress Cataloging-in-Publication Data
Garoian, Charles R., 1943–
The prosthetic pedagogy of art : embodied research and practice / Charles R. Garoian.
pages cm
Includes bibliographical references and index.
ISBN 978-1-4384-4547-2 (hardcover : alk. paper)
1. Art—Study and teaching—Philosophy. 2. Art and society. I. Title.
N84.G37 2013
707—dc23
2012010768
10 9 8 7 6 5 4 3 2 1
ILLUSTRATIONS

Cover photo: Tim Roda, Untitled #27 , 2004, Silver Gelatin photograph on fiber matt paper, 22″ × 28″ (Courtesy Daniel Cooney Fine Art, New York, NY) 1.1 Stretched canvas, 2011 (Courtesy Charles Garoian) 1.2 … bi/cy>cles, t/oy+s, 2011 (Courtesy Charles Garoian) 1.3 Brian Franklin, Fermata: Jesse Owens , 2009 1.4 Tim Roda, Untitled #27 , 2004, Silver Gelatin photograph on fiber matt paper, 22″ × 28″ (Courtesy Daniel Cooney Fine Art, New York, NY) 2.1 Otto Dix, The Skat Players—Card Playing War Invalids , 1920. Oil and collage on canvas. 110 × 87 cm. Nationalgalerie, Staatliche Museen, Berlin, Germany. © 2012 Artists Rights Society (ARS), New York/VG Bild-Kunst, Berlin. Photo credit: Erich Lessing/Art Resource, NY 2.2 Robert Rauschenberg, Canyon , 1959 (Courtesy Sonnabend Collection, New York). Art © Estate of Robert Rauschenberg/Licensed by VAGA, New York, NY 2.3 Stephanie Springgay, The Body Knowing , 2004 (Courtesy the artist) 3.1 Hammer and nail, 2011 (Courtesy Charles Garoian) 3.2 Xavier Giménez discussing Robert Frank with children at MACBA, 2004–07 (Courtesy Montse Rifà, Laura Trafí, & Xavier Giménez) 3.3 Narratives de la infància. Biografies, llocs (comunitats), visualitats, Escola Collaso i Gil, Barcelona, 2004–07 (Courtesy Montse Rifà, Laura Trafí, and Xavier Giménez) 3.4 Narratives de la infància. Biografies, llocs (comunitats), visualitats, Escola Collaso i Gil, Barcelona, 2004–07 (Courtesy Montse Rifà, Laura Trafí, and Xavier Giménez) 3.5 Narratives de la infància. Biografies, llocs (comunitats), visualitats, Escola Collaso i Gil, Barcelona, 2004–07 (Courtesy Montse Rifà, Laura Trafí, and Xavier Giménez) 4.1 Lines of flight #1, 2011 (Courtesy Charles Garoian) 4.2 Folding/unfolding paper, 2011 (Courtesy Charles Garoian) 4.3 Lines of flight #2, 2011 (Courtesy Charles Garoian) 4.4 Nico Muhly Live at The Southern Theater, Minneapolis, MN, 2009 (Courtesy Nico Muhly and Eric Melzer, photographer) 4.5 Francis Alÿs, Rehearsal I (Ensayo), Tijuana , 1999–2001 (Courtesy David Zwirner, New York) 4.6 Francis Alÿs, Rehearsal I (Ensayo), Tijuana , 1999–2001 (Courtesy David Zwirner, New York) 4.7 Francis Alÿs, Rehearsal I (Ensayo), Tijuana , 1999–2001 (Courtesy David Zwirner, New York) 4.8 Francis Alÿs, Rehearsal II, Mexico City and New York , 2001–06 (Courtesy David Zwirner, New York) 5.1 Raisins drying in a vineyard row, 2011 (Courtesy California Raisin Marketing Board) 5.2 Joseph Kosuth, One and Three Chairs , 1965, The Museum of Modern Art, New York, NY, © 2012 Artists Rights Society (ARS), New York 5.3 The “T” of interdisciplinarity, 2011 (Courtesy Charles Garoian) 5.4 Dorothy Schultz and Louise Barry, Museum of Mistakes , 2008 (Courtesy the artists) 5.5 Dorothy Schultz and Louise Barry, Museum of Mistakes (detail), 2008 (Courtesy the artists) 5.6 Bryan Rogers, Pendulumbrella , 1974 (Courtesy the artist) 6.1 Venetian blinds, 2010 (Courtesy Charles Garoian) 6.2 Charles Garoian performing Drawing Blinds , 2009 (Courtesy Rob Martin) 6.3 FLA-SH-SH, 2010 (Courtesy Charles Garoian) 6.4 Gene Cooper, Ghost Lightning , 2003 (Courtesy the artist) 6.5 Diego Velázquez, Las Meninas , 1656, Oil on canvas, 318 × 276 cm. Museo del Prado, Madrid, Spain (Courtesy Scala/Art Resource, NY) 6.6 Joseph Mallard William Turner, Shade and Darkness—Evening of the Deluge , 1843. Oil on canvas. Tate Gallery, London, Great Britain (Courtesy Tate, London/Art Resource, NY) 6.7 Janine Antoni, TEAR (detail #1), 2008 (Photo courtesy the artist) 6.8 Janine Antoni, TEAR (detail #2), 2008 (Photo courtesy the artist) 7.1 Plate of cookies, 2011 (Courtesy Charles Garoian) 7.2 2″ × 4″ × 12″ pine lumber, 2011 (Courtesy Charles Garoian) 7.3 Eadweard Muybridge, Walking man at ordinary speed , ca. 1883–86 (Courtesy University of Pennsylvania Archives) 7.4 Sherrie Levine, President: #4 , 1979, © Sherrie Levine (Courtesy Paula Cooper Gallery, New York) 7.5 Erwin Wurm, Untitled (from the series “One-minute sculptures”) , 1997. Musée National d'Art Moderne, Centre Georges Pompidou, Paris, © 2012 Artists Rights Society (ARS), New York/VBK, Vienna 8.1 Bamboo patch, 2011 (Courtesy Charles Garoian) 8.2 Taproot system, 2011 (Courtesy Charles Garoian) 8.3 Rhizome root system (Courtesy The Missouri Botanical Garden, Annals 1983) 8.4 Artist Chuck Close, the subject of Marion Cajori's documentary Chuck Close , working in his studio on Self-Portrait , 2004–05 (Photo by Michael Marfione/Courtesy the artist and Pace-Wildenstein, New York) 8.5 Chuck Close, Self-Portrait (Image #2) , 2004–05 (Courtesy The Pace Gallery, New York) 8.6 Refugee camp at Khao I Dang, 1981–82 (Courtesy Joseph Julian Jr., MD) 8.7 Arm brace made of aluminum and leather, 1981–82, (Courtesy Joseph Julian Jr., MD) 8.8 Refugee workers in rehabilitation workshop, 1981–82 (Courtesy Joseph Julian Jr., MD) 8.9 Patient with prosthesis, 1981–82 (Courtesy Joseph Julian Jr., MD) 8.10 Drawing and notes for a prosthetic device, 1981–82 (Courtesy Joseph Julian Jr., MD)
ACKNOWLEDGMENTS

It is with pleasure that I dedicate this book to Lilit Ayanian, who was born on May 31, 2011, during the final stages of my writing. Our first grandchild, she came into our lives in a year when so many of our close family and friends passed away, and in doing so, reminded us of the regeneration of life. What fascinates us about Lilit is her innocence, her inquisitiveness, and her limitless absorption of all things and happenings in her environment. Turning her head, twisting her body up and down, right and left, backward and forward, she hears and sees everything. She touches, holds, pulls, pushes, and taps all things within close proximity. Her learning is insatiable. Putting things into her mouth, she touches then tastes her world. Her wonderment at every movement and sound is infectious; it has effected an intensity and renewal in our lives, and confirmed the importance of what we do as parents and educators in the lives of our children.
I would like to thank the members of my family who embraced me with love and patience as I buried myself in the research process and the writing of this volume. Most specifically, Sherrie, who as my inspiration for the past forty-four years continually reawakens and reaffirms the importance of stepping outside of my academic frame of mind to see and experience the multiplicities and fullness that life has to offer. And, to Jason Garoian, and Stephanie and Garo Ayanian (Lilit's parents) who continue to inspire hope through their generosity, creativity, and loving hearts.
My research and writing of this book would not have been possible without the inspiration of my students and colleagues in the School of Visual Arts at Penn State University, and at universities across the United States and internationally. Their differing and peculiar ways of seeing and understanding has extended and expanded my scope of experiencing and valuing the world, and their boundless desire for making meaning through art research and practice continues to inspire my cultural work as a teacher, artist, and writer. Chris Staley, Yvonne Gaudelius, Dónal O'Donoghue, John Howell White, Christine Marmé Thompson, Kimberly Powell, Graeme Sullivan, Gail Boldt, Jorge Lucero, Chris Schulte, Joe Julian, Kevin Slivka, Olivia Gude, Jerome Hausman, Liora Bresler, Rita Irwin, Laura Trafî-Prats, B. Stephen Carpenter II, Elizabeth Garber, jan jagodzinski, James Hayward Rolling Jr., Stephanie Springgay are but a few who continue to foment my thinking about the educational significance of art research and practice.
Thank you to the following individuals and agencies who provided permission to publish the images that are contained within the pages of this book: artists Tim Roda, Brian Franklin, Stephanie Springgay, Nico Muhly, Francis Alÿs, Dorothy Schultz, Louise Barry, Bryan Rogers, Rob Martin, Gene Cooper, Janine Antoni, and Chuck Close; art educators Montse Rifà, Laura Trafí-Prats, and Xavier Giménez; archivist Heather Monahan at The Pace Gallery in New York City; Daniel Cooney Fine Art in New York City, Heather Monahan, Artists Rights Society, Art Resource, Visual Arts and Galleries Association, California Raisin Marketing Board, University of Pennsylvania Archives, Missouri Botanical Gardens, and Dr. Joseph (Joe) Julian Jr.
Finally, I am grateful for the encouragement and funding support that I received from Dr. Graeme Sullivan, Director of the School of Visual Arts, and Dr. Bill Doan, Associate Dean of Administration, Research, and Graduate Studies in the College of Arts and Architecture for the research and completion of this book project. And, I would like to acknowledge the support of Beth M. Bouloukos, Acquisitions Editor, and Laurie Searl, Senior Production Editor, at The State University of New York Press without whose advice and encouragement the publication of this book would not have been pos