Hauntological Shifts: Fear and Loathing of Popular (Visual) Culture

Tavin, Kevin

doi:10.1080/00393541.2005.11651784

Cited by 37 publications

(5 citation statements)

References 26 publications

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“…Four decades ago, Mary Erickson (1977) urged fellow art educators to learn historical research methods in order to exploit the discipline of history "in the service of art education" (p. 22). Two years later, she described four justifiable uses for history: (1) to induct new art educators into the field; (2) to examine ambiguous terminology to eliminate confusion; (3) to "serve as a basis for formulating worthwhile questions to ask about our present and our future" (Erickson, 1979, p. 5); and (4) to rid ourselves of ghosts from the past, a purpose that might have motivated Tavin's (2005) analysis of specters haunting approaches to popular (visual) culture.…”

Section: Revealing and Creating Shapes Of The Field M A R Y A N N S Tmentioning

confidence: 99%

Revealing and Creating Shapes of the Field

Stankiewicz¹

2017

Studies in Art Education

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Section: Revealing and Creating Shapes Of The Field M A R Y A N N S Tmentioning

confidence: 99%

Revealing and Creating Shapes of the Field

Stankiewicz¹

2017

Studies in Art Education

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“…Much like the way that VCAE reconsidered notions of what and whose culture counted through an invigorated discussion and resulting curriculum that reconsidered art education curricula in terms of high and low culture and art (Tavin, 2005;Wilson, 2003), once again it is art education's charge to reconsider and rethink the impact of cultural and artistic inclusion and exclusion within our own practices. In our multicultural studies, it is not only important to consider the ways that fluid, hybrid notions of identity impact what we know and how we interact with the world, art and otherwise, but we must also critically examine, challenge, and problematize our rhetoric and the discursive practices we enact and in which we are embedded.…”

Section: Concluding Thoughts: the Art Education Classroommentioning

confidence: 99%

Beyond Identity Politics: The New Culture Wars and Art Education

Sunday

Kaplan

2017

Journal of Cultural Research in Art Education

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With the surprise election of Donald J. Trump as the 45th president of the United States and the subsequent resurgence of conservative social policies, this article situates the culture wars - the mini theme of this issue - within art education’s focus on multicultural and social justice initiatives. Harkening back to the battle between conservative republican moralist legislative policy and liberal values, we situate our work in the populist political landscape of Trump’s victory, which has re-inscribed difference marked by geography, race, class, gender, and religion while simultaneously engendering hostility towards the liberal values that seek to build inclusiveness and political agency for marginalized and oppressed peoples. Addressing rhetorical pastiche, we focus on how the identity politics of postmodern, multicultural art education have failed to give adequate consideration to the material systems of power and production. We then introduce the idea of new material precarity as a way to think about the entanglements of discourse and matter to suggest a more inclusive and intersectional approach to art education.

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“…Visual culture education protagonists stress the need and urgency for understanding how visual culture and media mixes are presenting information in visual forms (Freedman, 2003;Tavin, 2001Tavin, , 2003Tavin, , 2005Duncum, 2003Duncum, , 2004Handa, 2004); more significantly, how new media "privileges practice over theory, production over critique, formal over ideological, and visual over verbal" (Hocks & Kendrick, 2003, p.5). In acknowledgement of this, visual education and new media learning curriculum designers are re-assessing the role of the image in the new-literacies curriculum (Anstey & Bull, 2006;Kalantzis & Cope, 2005), beyond mainstream literacy debates.…”

Section: Visual Technologies Education and Visual Performative Knowingmentioning

confidence: 99%

Conceptualising Visual Learning as an Embodied and Performative Pedagogy for all Classrooms

Grushka¹

2010

EOE

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The challenge for arts educators is to find language and conceptual framings for visual art education that resonate with the transformative and literacy aims of mainstream education and position visual learning as essential. The unique value of visual knowing is now an imperative in our ocularcentric culture where new technologies, consumerism and unprecedented mobility impacts on all students in the twenty first century. Visual creative adaptability and its culturally located critical and generative understandings draw from our sense-rich world of human experience. Grounded in the theories of communicative knowing (Habermas,1976), becoming as the experience of performing self (Deleuze, 2001, 2004), experience and creativity as personal agency (Semetsky, 2003) and informed by socio-cultural inquiry, visuality and art practice as research (Sullivan, 2005) the research connects explicitly to socio-cultural values. This paper presents a conceptual model of Visual Embodied and Performative Pedagogy as a renewed language for visual arts education. It is grounded in material embodied practices, socio-cultural learning and identities understanding as they emerge in an ethico-aesthetic learning space that contributes to participatory democracy. The paper argues that the embodied and performative visual experience is central to personal socio-cultural inquiry and subjectivity insights. The paper will foreground the theoretical arguments for Visual Embodied and Performative Pedagogy of self with empirical Australian visual education research, between 2004-2007 (Dinham, Grushka, MacCallum, Brown, Wright, & Pasco, 2007; Grushka, 2009). It centers the significance of images in society and the need for all students to develop visual communicative competencies. The benefits of socially embedded and embodied visual inquiry are argued. In so doing it calls into question the illustrative and often secondary role afforded to visual communicative proficiency found in visual arts education and its related learning outcomes. It argues that it is an essential way of knowing for the mediation of ideas and feelings in the new image oriented society.

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Hauntological Shifts: Fear and Loathing of Popular (Visual) Culture

Cited by 37 publications

References 26 publications

Revealing and Creating Shapes of the Field

Revealing and Creating Shapes of the Field

Beyond Identity Politics: The New Culture Wars and Art Education

Conceptualising Visual Learning as an Embodied and Performative Pedagogy for all Classrooms

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