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Open Hyunji Kwon-Dissertation Final.Pdf The Pennsylvania State University The Graduate School College of Arts and Architecture PERFORMING WITNESSING: ART, SEXUAL TRAUMA, AND FEMINIST PEDAGOGY A Dissertation in Art Education and Women’s, Gender, and Sexuality Studies by Hyunji Kwon © 2017 Hyunji Kwon Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2017 The dissertation of Hyunji Kwon was reviewed and approved* by the following: Karen Keifer-Boyd Professor of Art Education and Women’s, Gender, and Sexuality Studies Dissertation Adviser Chair of Committee Charles Garoian Professor of Art Education Kimberly Powell Associate Professor of Art Education, Education, and Asian Studies Rosemary J. Jolly Weiss Chair of the Humanities in Literature and Human Rights Professor of Comparative Literature and Women’s, Gender, and Sexuality Studies Graeme Sullivan Director of School of Visual Arts Professor of Art Education *Signatures are on file in the Graduate School. ii Abstract Feminist art pedagogy can enable sexual trauma subjects to bear witness through art creation. The experience of sexual trauma harms a sense of subjectivity; and, thus, the restoration of subjectivity is critical for bearing witness to trauma. Subjectivity is an individual’s sense of existence whereby the individual can consciously make and act upon decisions. By examining bearing witness through art within the context of feminist art pedagogy, my study reveals how feminist art pedagogy has enabled trauma subjects to actively discover, interpret, and, thereby, comprehend their trauma through art making experiences. Specifically, I examine how feminist art pedagogy enabled art creation as bearing witness by four sexual trauma subjects and three trauma artworks created in feminist art courses. These include former Korean comfort woman Duk-kyung Kang and her painting Stolen Innocence (1995), created in Gyung-shin Lee and Sook-jin Kim’s informal art course for surviving comfort women; co-artists Katie Grone and Joshua Edwards et al.’s group installation art Rape Garage (2001), created in Judy Chicago and Donald Woodman’s undergraduate course the At Home: A Kentucky Project at Western Kentucky University; and my own performance and installation art Honoring Comfort Women, created in Karen Keifer-Boyd’s graduate art course Judy Chicago@PSU: Art, Pedagogy, Exhibition, & Research at the Pennsylvania State University. I intertwine Kang, Grone, Edwards, and myself in a visual mapping and performative autoethnography. Creating visual mapping and performative autoethnography is a way to become a witness to one’s own trauma. The goal of the visual mapping and performative autoethnography, presented in this dissertation, is to dismantle hegemonic, oppressive, iii and medicalized perceptions of trauma. My autoethnographical and performative research not only analyzes the feminist art pedagogy that prompted trauma art but, also, performs witnessing. Additionally, this research suggests how art educators can utilize feminist art pedagogy to engage trauma subjects to bear witness through art creation by strengthening students’ subjectivity. Performing visual mapping and performative autoethnography is necessary to analyze shared witnessing, to process trauma without being re-traumatized, and to re-affirm the desire to bear witness in building subjectivity through collective and performative acts. This process is evident in how Kang, Grone, Edwards, and my own experiences in distinct feminist art courses considered trauma as a political concern, formed transferential relations between trauma and non-trauma subjects, and helped us affectively engage with trauma through art. Due to the lack of understanding of sexual trauma, a hegemonic visual culture that supports sexual violence, and the minimal recognition given to sexual trauma in an educational context, subjects of sexual trauma typically hide their trauma even from themselves because they feel ashamed. By establishing a counter-hegemonic discourse on sexual trauma through the utilization of art creation as bearing witness, both trauma and non-trauma subjects can become witnesses to the process of witnessing. iv TABLE OF CONTENTS List of Figures …...………………………………………………………………………………………………………… vii Acknowledgments ………………………………………………………………………………………………..……. viii Chapter 1 DISCOURSES ON SEXUAL TRAUMA, ART, AND ART EDUCATION …….....….….….…. 1 Background ...……………………………………………………………………………………………….…….. 1 Sexual Violence and Sexual Trauma ......……………………………………………………... 1 Art regarding Sexual Violence and Trauma ….……………………………………….…... 3 Trauma-based Art Therapy and Feminist Art Education ..……………………...…... 4 Autoethnography regarding Sexual Trauma ...…………………………...………….…… 5 Statement of Problem ...…………………………………………………………………………………........ 6 Research Question and Sub-Questions ..……………………………………………..…… 10 Overview of Study …………….…………….………………………………………………………………... 10 Significance of Study…………………………………………………………………………………………. 15 Limitations ..…………………………………………………………………………………………………….. 17 Chapter 2 LITERATURE REVIEW .....…………………………………………………………………..…………. 20 Sexual Violence and Sexual Trauma ……….…………………………………………………………. 20 Sexual Violence Is Not Only Forceful Penetration: The Diversity of Sexual Violence ..21 Sexual Violence Is Not an End, But the Beginning of Sexual Trauma …...……. 25 Art History of Sexual Violence and Art Herstory of Sexual Trauma ………………..……. 29 You Deserve It: “Malestream” Art and the “His-tory” of Sexual Violence ..…. 30 I/You Don’t Deserve It: Non-Malestream Art and “Her-story" of Sexual Trauma …... 34 Art Therapy and Feminist Art Education …………………………………………………………… 40 Sexual Trauma Needs Medical Care: Art Therapy Approach …………………….. 41 Sexual Trauma Needs Educational Intervention: A Feminist Art Education Approach …… 45 Reflection on Trauma Based Art Therapy and Feminist Art Education ……... 51 Chapter 3 THEORETICAL AND METHODOLOGICAL FRAMEWORK ….…………………………..... 53 Theoretical Framework ……………………………………………………………………………………. 53 What It Means to Bear Witness …………………………………………......……………….. 53 Subjectivity as the Structure of Witnessing …………………………………………….. 56 Acting Out and Working Through ...……………………………………………………….... 59 Potential of Feminist Art Education in Working Through for Witnessing …. 60 Methodological Framework ……………………………………………………………………………… 68 Why Use Autoethnography for Analyzing Trauma Art as Witnessing? .…….. 69 Why Use Visual Mapping and Performative Autoethnography for Analyzing Trauma Art? ………………………………………………………………………………………….. 74 How to Perform Performative Autoethnography to Analyze Trauma Art? ... 80 Chapter 4 RESEARCH DESIGN ..………………………………………………….………………………………… 86 Researcher’s Roles …………………………………………………………………………………………… 86 Visual Mapping and Performative Autoethnography as Methodologies ..………..…… 91 Overview of the Subjects Involved in my Research .……………………………………………. 93 Comfort Woman Duk-kyung Kang in Bloomless Flower ....………………………… 93 Katie Grone and Joshua Edwards in At Home: A Kentucky Project …………..… 99 Hyunji Kwon in Judy Chicago@PSU: Art, Pedagogy, Exhibition, & Research .... 106 v Data Collection: Artwork, Testimony, Interviews, and Documents ……………………. 113 Data Analysis …………………………………………………………………………………………………. 117 Trustworthiness and Validity …………………………………………………………………………. 121 Chapter 5 VISUAL MAPPING AND PERFORMATIVE AUTOETHNOGRAPH……………...……... 127 Visual Mapping ………………………………………………………………………………………………. 127 Performative Autoethnography ………………………………………………………………………. 132 (A) Feminist Art Educators’ Creation of Transferential Relations between Participants ……………………………………………………………………………...…………. 135 Art Teacher Gyung-shin Lee’s Narrative about Transferential Relations .................................................................................................................... 135 Katie Grone’s Narrative about Transferential Relations ……………… 137 Joshua Edwards’ Narrative about Transferential Relations ..……….. 139 My Personal Narrative about Transferential Relations ……………….. 140 (B) Enhanced Subjectivities of Non/Trauma Subjects …………………….…..…. 142 Multiple Selves of Gyung-shin Lee and Sook-jin Kim …………......……. 143 Multiples Selves of Duk-kyung Kang …………………………………..……… 143 My Multiple Selves ……………………………………………………………...…….. 145 Multiples Selves of Katie Grone and Joshua Edwards ………………….. 146 (C) How Non/Trauma Subjects Understand Trauma as a Political Concern ….. 148 Duk-kyung Kang’s Narration about Wartime Sexual Violence ……... 148 Katie Grone, Joshua Edwards, and My Narration about Sexual Violence …. 150 (D) How Art Transforms Acting Out Trauma into Working Through It ...… 152 Duk-kyung Kang’s Narrative about Working Through ...…………...…. 153 Katie Grone and Joshua Edwards’ Narratives about Working Through …... 155 My Personal Narrative about Working Through …………...……………. 156 (E) How Subjects Affectively Engage with Trauma through Art ………….….. 158 (F) Art Creation Functions as Bearing Witness ……………………………………... 168 Findings of Visual Mapping and Performative Autoethnography .……………………... 171 Chapter 6 REFLECTIONS AND RECOMMENDATIONS ……….……………………………………..….. 177 Reflections ………………………………………………………………………………………..…………… 177 (1) How Can Art Be Used to Bear Witness to Sexual Trauma? ……...………… 179 (2) How Can Feminist Art Pedagogy Intersect with Bearing Witness? ...…. 184 (3) How to Analyze Trauma Art as Bearing Witness? ………………..………..…. 192 Recommendations ………………………………………………………………………………...……….. 197 References ……………………………………………………………………………………………………..………… 204 Appendix A: Self-Reflexive Narratives ..……………………………………………….…………..…………. 227 Appendix
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