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• W89872539 abstract "In this article, I argue that the nar rative of collage, one of the most significant in novations of 20th century art, has implications for critical pedagogy in art education. It is within the silent, in-between spaces of fragments that students can examine and critique the aca demic knowledge of schooling and the consum erism of visual culture, and that they can learn to imagine and create new cultural understand ings and representations. The advocacy of silence expresses a mythic project of total liberation. What's envisaged is nothing less than the libera tion of the artist from him [or herjself, of art from the particular artwork, of art from history, of spirit from matter, of the mind from its perceptual and intellectual limita tions.... Silence keeps things open. Susan Sontag (1969, pp. 17-18, 20) is the central principle of all art in the 20th century in all media, claims postmodern author Donald Barthelme (1997, p. 58). Indeed, the nar rative of collage, its radical juxtaposition of images, ideas, and actions, is employed in the genres of cinema, photomontage, as semblage, video art, installation art, and performance art. Given its ability to entice consumption, it is coincidently the prevail ing mode of address by the mass-medi ated systems of television, advertising, the news, the movies, and the Internet. Collage enables us to experience ev eryday life in such a way that its disparate and idiosyncratic fragments resist coalesc ing into a unifying whole, which philoso phers Gilles Deleuze and F?lix Guattari refer to as disjunctive synthesis (1983, pp 12-13). Instead of a totalizing body of knowledge, the composition of consists of a heterogeneous field of co existing and contesting images and ideas. Its cognitive dissociation provides the per spectival multiplicity that is necessary for critical engagement. Dialectical tension occurs within the silent, in-between spaces of collage, as its fragments, its signifying images and ideas interact and oppose one another. Such complexity and contradic tion represents the substance of creative cognition and cultural transformation. Paradoxically, while the epistemology of narratives like art ist Robert Rauschenberg's Monogram re sists synergy, such narratives nonetheless enable the apprehension of unstable and shifting images and ideas that deconstruct assumptions that are socially and histori cally determined. Art historian and critic Donald Kuspit argues that this paradoxical character of makes uncertainty a method of creation (1983, p. 129). For science philosopher Michael Polanyi, the knowledge that occurs in such uncertain conditions is tacit, in that it anticipates the indeterminate implications ... of an approaching discovery (1983, pp. 24-25). Just as the uncertainty of narra tive raises compelling questions in creat ing and interpreting art, it can also enable students' critical intervention in the diverse political and economic collage of visual culture. In her 2004 installation and /' swore i wouldn't scream ... (see Figure 1), Penn State art student Alexandra Sullivan pres ents a narrative in which the muta bility in the in-between spaces of its rari fied, frigid fragments engages viewers' unassuming conversations and interpreta tions. The installation consists of a minia ture video monitor imbedded in a stack of 48 VISUAL ARTS RESEARCH ? 2006 by the Board of Trustees of the University of Illinois This content downloaded from 157.55.39.192 on Sun, 28 Aug 2016 06:16:43 UTC All use subject to http://about.jstor.org/terms Figure 1. Alexandra Sullivan, and i swore i wouldn't scream, 2004, exterior view (photo courtesy of the artist). raw, frozen meat strips at the bottom of a freezer (see Figures 2 and 3). As viewers peer into the freezer, they see video footage of an egg with its hard shell being pierced and its soft yolk oozing out, contrasted with the stiff, frozen meat (see Figure 4). The tiny video monitor seems like an returning the gaze of viewers from the flesh of its body, which in frozen confine ment implies incarceration. Violence to the egg suggests the blinding and emptying of vitreous humor from the omniscient eye of television. Sullivan's nar rative evokes questions and suggests multiple interpretations that relate to the abusive practices by the science and meat industries on animals, issues about world hunger, the sexual objectification of wom en's bodies, and women's abortion rights. Considering the surfeit of ephemera that is available in newspapers, magazines, and other forms of visual culture, virtually every classroom teacher has employed as a quick, easy, and inexpensive image-making process for students' enter Figure 2. Alexandra Sullivan, and i swore i wouldn't scream, 2004, interior view (photo courtesy of the artist). Art Education in the Silent Gaps of Visual Culture 49 This content downloaded from 157.55.39.192 on Sun, 28 Aug 2016 06:16:43 UTC All use subject to http://about.jstor.org/terms" @default.
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• W89872539 title "Art Education in the Silent Gaps of Visual Culture" @default.
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