Spectacle Pedagogy

Yvonne M. Gaudelius, Charles R. Garoian

Description

This book examines the complex interrelationships between art, politics, and visual culture through the concept of spectacle pedagogy. In a series of essays Charles R. Garoian and Yvonne M. Gaudelius utilize the narratives of collage, montage, assemblage, installation, and performance art to expose, examine, and critique the pervasive influence of visual culture. Looking at current events such as the war in Iraq and on terrorism, as well as modes of communication that include advertising and photography, they note that while visual culture has the power to teach us what and how to see and think, as well as to influence how humans interact with one another, it is imperative to understand—particularly for students—the complex and contradictory relationships that exist between art-making activities and the spectacle pedagogy of visual culture.
List of Illustrations
Acknowledgments
Introduction

1. The Embodied Pedagogy of War

2. The Spectacle of Visual Culture

3. The Impossible Task as Ecological Imperative

4. Art Education in the Silent Gaps of Visual Culture

5. Misfit Pedagogy of Visual Culture: A Depraved Obsession with Pictures

6. Curriculum and Pedagogy as Collage Narrative

7. The Spectre of Visual Culture and the Hauntology of Collage

8. The Dis-eased Pedagogy of Disaster Tourism

Notes
References
Index

Sujets

• Película fotográfica
• Visual culture
• Film

Informations

• Publié par: State University of New York Press
• Date de parution: 13 mars 2008
• Nombre de lectures: 0
• EAN13: 9780791478653
• Langue: English
• Poids de l'ouvrage: 2 Mo

Extrait

SPECTACLE PEDAGOGY Art, Politics, and Visual Culture

Charles R. Garoian and Yvonne M. Gaudelius

Spectacle Pedagogy

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Spectacle Pedagogy

Art, Politics, and Visual Culture

Charles R. Garoian and Yvonne M. Gaudelius

S T A T E U N I V E R S I T Y O F N E W Y O R K P R E S S

Published by State University of New York Press, Albany

© 2008 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 by Marilyn P. Semerad Marketing by Susan M. Petrie

Library of Congress Cataloging-in-Publication Data

Garoian, Charles R., 1943– Spectacle pedagogy: art, politics, and visual culture / Charles R. Garoian, Yvonne M. Gaudelius. p. cm. Includes bibliographical references and index. ISBN 978–0–7914–7385–6 (hardcover : alk. paper) ISBN 978–0–7914–7386–3 (pbk. : alk. paper) 1. Art and popular culture. 2. Art and society. 3. Mass media— Social aspects. I. Gaudelius, Yvonne II. Title.

N72.S6G375 2008 700.1’03—dc22

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List of Illustrations

Acknowledgments

Introduction

One.

Two.

Three.

Four.

Five.

Six.

Seven.

Eight.

Notes

References

Index

Contents

Essays: Collage Fragments

The Embodied Pedagogy of War

The Spectacle of Visual Culture

The Impossible Task as Ecological Imperative

Art Education in the Silent Gaps of Visual Culture

Misfit Pedagogy of Visual Culture: A Depraved Obsession with Pictures

Curriculum and Pedagogy as Collage Narrative

The Spectre of Visual Culture and the Hauntology of Collage

The Dis-eased Pedagogy of Disaster Tourism

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Illustrations

Cover Photo Naum June Paik,TV Buddha, 1974 2.1 Krzysztof Wodiczko,The Mouthpiece35, 2003 3.1 Goat Island,The Sea&Poison, 2000 45 4.1 Alexandra Sullivan,and i swore i wouldn’t scream . . . ,2004 65 4.2 Alexandra Sullivan,and i swore i wouldn’t scream . . .(detail), 2004 66 4.3 Cristin Millett,Teatro Anatomico69, 2004 4.4 Cristin Millett,Teatro Anatomico, (detail) 2004 70 5.1 Salah Edine Sallat, Mural, 2004 83 5.2 James Kesterke,Milking Metaphors83, 1999 6.1 Naum June Paik,TV Buddha95, 1974 7.1 Charles Garoian,hyper/ventilation, 2005 101 7.2 Stacy Levy, Julie Bargmann, Robert Deason, and T. Allan Comp, project plan (detail), Acid Mine Drainage&Art, Project for Vintondale, 1995–2003105 7.3 Stacy Levy, Julie Bargmann, Robert Deason, and T. Allan Comp. Aerial view,Acid Mine Drainage&Art, Project forVintondale, 1995–2003106 7.4 David Young,Frequency and Flow,2004 112 7.5 David Young,Frequency and Flow(detail),2004 113 7.6 Christian Boltanski,The Missing House(detail), 1990 116 8.1 Bill Viola,Going Forth By Day: “The Deluge,” 2002a 135 8.2 Bill Viola,Going Forth By Day: “The Deluge,” 2002b 136 8.3 Bill Viola,Going Forth By Day: “The Deluge,” 2002c 137 8.4 Stanley Kubrick,A Clockwork Orange140, 1971

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Acknowledgments

ith these heartfelt words we would like to thank those who W inspired, generously supported, and assisted us during the writing of this book. In particular, we thank Richard (Dick) Durst, President of Baldwin Wallace College and former Dean of the College of Arts and Architecture at The Pennsylvania State University who urged us to complete it in spite of our full time jobs as university administrators. Our writing and teaching would not have been possible with- out the inspiration provided by the artists, theorists, and educa- tors whose images, ideas, and teachings appear throughout the pages of this book. Their cultural work has enabled us to under- stand the role of art and pedagogy as important aspects of critical citizenship within contemporary culture. The College of Arts and Architecture and the School of Visual Arts at Penn State provided funding support for us to present versions of some of these essays at national and interna- tional conferences. Additionally, the college financially sup- ported the final stages of the manuscript through the office of Associate Dean Gunalan Nadarajan. We acknowledge the audiences who attended our conference sessions and engaged us in dialogue by raising important ques- tions and providing insightful comments that helped us refine our arguments. The following individuals and agencies gave permission to publish the images included in this book: artists James Kesterke, Stacy Levy, Cristin Millett, Alexandra Sullivan, and David Young; artists Matthew Goulish and Lin Hixson of the Goat Island col- lective; artist and photographer Rob Martin; photographer Claude Giger; artist Krzysztof Wodiczko and archivist Stephanie Joson of Galerie Lelong in New York City; Hetty Wessels, archivist in the Reproduction Department of The Stedelijk Museum in Amsterdam, The Netherlands; artist Bill Viola and

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