"Integrative Feminist Pedagogy, C. G. Jung and the Politics of Visualization" (original) (raw)

Teaching Visual Culture in an Interdisciplinary Classroom. Feminist (Re)Interpretations of the Field, ed. Elżbieta H. Oleksy and Dorota Golańska. Zuidam Uithof Drukkerijen: Utrecht 2009.

Zuidam Uithof Drukkerijen, Utrecht, 2009

Visual literacy is crucial for understanding the role of visual culture as a key factor in processes of globalization, technologization and multiculturalization, which are all part of our historicity. Certainly, the study of the visual is not limited to the study of images, but also of their effects, material practices they entail and creative potential they offer. Therefore, it is of critical importance to work out new approaches to study both epistemologies and ontologies of the visual. Teaching Visual Culture in an Interdisciplinary Classroom weaves together various critical paradigms, theories and methodologies within the common field of feminist visual culture. By doing so, it demonstrates the importance of the analysis of the visual for feminist studies as well as the need to increase visual literacy in general. The volume provides theoretical and methodological support and examples of possible analyses for researchers and students interested in the field of feminist visual culture or, more generally, women’s studies, gender studies, visual studies, art studies and science studies. It presents feminist theories and methodologies, which were influential for the field of visual culture and encourages readers to think critically about the visual.

Seeing Differently: Towards Affirmative Reading of Visual Culture, by Marek M. Wojtaszek and Dorota Golańska. In Teaching Visual Culture in an Interdisciplinary Classroom. Feminist (Re)Interpretations of the Field, ed. Elżbieta H. Oleksy and Dorota Golańska. Zuidam Uithof Drukkerijen: Utrecht 2009.

Teaching Visual Culture in an Interdisciplinary Classroom. Feminist (Re)Interpretations of the Field, ed. Elżbieta H. Oleksy and Dorota Golańska. Zuidam Uithof Drukkerijen: Utrecht 2009., 2009

Seeing Differently: Towards Affirmative Reading of Visual Culture” by Marek M. Wojtaszek and Dorota Golańska—starts with the revision of the three dominant strands of critical analysis of the visual. It briefly describes the philosophical groundings of mimetic, intentional and constructionist paradigms of conceptualizing representation in order to both sketch the most significant differences between them and to expose their investment in the dominant dichotomous logic. Taking on a feminist point of view and assessing the most common feminist approaches to reading the visual, the chapter explores uses and abuses of ideological renderings of visual culture and discusses their theoretical assumptions and methodological shortcomings. It challenges prevailing ways of reading visual culture by dint of ideology, discourse or semiotics advocated by theorists working within the methodological paradigm of the so-called “linguistic turn”. By claiming that visual language is irreducible to the conveyance, discovery or construction of meaning as these remain pertinent to representation, the authors encourage a radical shift towards creational (i.e. affirmative) understanding of the visual. They formulate an appeal for non-representational models to emerge which take visuality as productive of sense through novel figurations (e.g. simulacrum, becoming, the virtual) and point to their implications for feminist thinking.

Learning Is Dangerous MAI Feminism Visual Culture

MAI Feminism and Visual Culture, 2020

, replaced a scheduled lecture with 'Learning is Dangerous' This study day was conceived as a direct response to two separate, but related, issues facing Higher Education that have come to the fore in recent pedagogical literature First, the need to de-colonise and de-canonise the lm studies curriculum-an issue that has become more pressing since the #TimesUpAcademia and #MeToo movements, as summarised by Rebecca Harrison's article 'Fuck the Canon or, how do you solve a problem like Von Trier '; and, second, the implications of the neoliberalisation of the University for radical pedagogical interventions such as these-an issue that has been discussed by Ste ano Harney and Fred Moten in their book, The Undercommons: Fugitive Planning and Black Study 2013 In a study day planning meeting, which also involved teaching assistants Lisa Du y, Tashi Petter and myself, Alice Pember, as well as undergraduate students Calin Butnaru, Ryan Collins and Alice Palm, three activities were planned, each designed to

Visual literacy and gender sensitivity: teaching art from a feminist perspective

Journal of Visual Literacy

The premise of the article is that the history of Western art as taught in most art curricula is fundamentally biased and patriarchal. It was primarily feminist scholars who demonstrated how modernist art paradigms are constructed by gender differences and thus reflect and reinforce gender power relations. My claim is that changing the power relations requires visual literacy skills and a new reading that will broaden or modify the standard visual reading of modernist artworks. The study offers a critical visual reading of two foundational artistic themes, each to be read through dialog between the work of a male artist and that of a female artist, the themes being "girl before a mirror" and "the origin of the world". The cases are taken from a course I teach undergraduate students in education and art. For each of the themes, I present the development of an alternative critical reading of the artworks. I show how the acquisition of skills in critical feminist visual reading helps to promote the deconstruction of traditional gendered representations, and allows students to read the woman as a subject rather than an object.

The Feminist Art of Radical Learning

Feminist Formations, 2020

This essay explores the method of close reading as a critical strategy for feminist classrooms, especially when focused on the foundational violence of anti-Blackness and coloniality. Through a personal reflection on my own efforts to break away from my formal education in “the Western canon” (sic.), I argue that radical learn- ing requires vulnerability and an attentiveness to unconscious habits, motivations, and defenses. I focus on the method of close reading as a pedagogical strategy that cultivates these kinds of sensibilities, while also undercutting the informatics-diversity machine of the neoliberal university. I describe my experiences with this radical learning through three meditations that build upon one another: the methodology of close reading; the effects of reading Black feminists as canonical texts; and the strategic, limited use of canonical European theories as methods for the construction of syllabi, rather than objects of analysis. The essay concludes with an examina- tion of a recent course I designed and taught with psychoanalytic heuristic devices. Throughout the essay, I argue for grounding our feminist classrooms in prolonged discussions of the ongoing impact of the transatlantic slave trade and colonialism, in all its forms.

My Personal Is Not Political? A Dialogue on Art, Feminism and Pedagogy

Liminalities: A Journal of Performance Studies

This is a dialogue between two scholars who discuss art, feminism, and pedagogy. While Irina Aristarkhova proposes "active distancing" and "strategic withdrawal of personal politics" as two performative strategies to deal with various stereotypes of women's art among students, Faith Wilding responds with an overview of art school's curricular within a wider context of Feminist Art Movement and the radical questioning of art and pedagogy that the movement represents Using a concrete situation of teaching a women's art class within an art school environment, this dialogue between Faith Wilding and Irina Aristakhova analyzes the challenges that such teaching represents within a wider cultural and historical context of women, art, and feminist performance pedagogy. Faith Wilding has been a prominent figure in the feminist art movement from the early 1970s, as a member of the California Arts Institute's Feminist Art Program, Womanhouse, and in the recent decade, a member of the SubRosa, a cyberfeminist art collective. Irina Aristarkhova, is coming from a different history to this conversation: generationally, politically and theoretically, she faces her position as being an outsider to these mostly North American and, to a lesser extent, Western European developments. The authors see their on-going dialogue of different experiences and ideas within feminism(s) as an opportunity to share strategies and knowledges towards a common goal of sustaining heterogeneity in a pedagogical setting.