Uses autobiographical and cultural narratives related to art research and practice to explore, experiment, and improvise multiple correspondences between and among learners’ own lived experiences and understandings, and those of others.
Uses autobiographical and cultural narratives related to art research and practice to explore, experiment, and improvise multiple correspondences between and among learners’ own lived experiences and understandings, and those of others.
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.
Performing Pedagogy examines the theory and practice of performance art as an art of politics. It discusses the different ways in which performance artists use memory and cultural history to critique dominant cultural assumptions, to construct identity, and to attain political agency. In doing so, Garoian argues, performance artists like Rachel Rosenthal, Guillermo Gómez-Peña, Robbie McCauley, Suzanne Lacy, and the performance art collective Goat Island engage in the practice of critical citizenship and radical forms of democracy that have significant implications for teaching in the schools. Finally, Garoian contextualizes performance art pedagogy within his own cultural work to illustrate how his own memory and cultural history have informed his production of performance art works and his classroom teaching practices.
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