112 jagodzifI.Jki FmUrUsmandCeruorship 113 no[ Informed by POStstructuralist theories tha[ opened up Issues of Ideology and complldmes.s in a much more profound way.
Feminism and Censorship in Art Education: Four Perspectives
F REEDOM OF SPEECH AND CENSORSHIP
Kirs tie Lang
FEMINISM AND FEMlNISMS: T HE PROSPECT OF CENSORSHIP
Gudrun Helgadottir
VISIBILITY AND INVISIBIlITY IN ART AND CRAFT
Fiona Blaikie
Censored by Omissi on: IMAGERY THAT IS EXCLUDED FROM THE ART EDUCATION CLASS ROOM
Pamela Tarlow-Calder I I ..
114 Lang, He/gadow, BlaWe, Tarlow-CaJder Ftmi.ni.sm and Ct.nsorship 115 obstruction In doing what one wishes; positive liberty is the power to control or participate in publicdedsions. In the redm of speech acts the fonner is the right to free speech, the Iilltter the right to censor. This distinction is useful in examining Introduction a) the contradiclory values propelling the debate between free speech and censorship, and conOicts within censorship; b) this The following four papers were written as a panel debate in the context of feminism .. nd d the w .. y in which presentation for an art education conference. Each paper is feminism, art and education c.. n appe.. 1 to d jfferent values and independently authored with noairn to present a consensus on one particular liberty over another. the issue of eensorship. The authors reached consensus on the form.at of the panel presentation which was to move from Gudru n Helg.. dottir takes one e\'ent .. sa concr('le ex.. mple philosophical questions on the issue of censorship in the first to illustrate the clash between claims 10 negative and positive paper, toward art education classroom pra.ctice in the Jast Iiberlies and ensuing censorship in the context of feminism. paper. Feminists have collectively f.. red censorship in the mainstream of philosophy .. nd politics. This exlernal pressure, or lack of The topic is timely as eensoTShi p and the fear of cenSOTShi p negative liberty, h .. s led many feminists to assume a need for harrows the arts community as well as institutions of education. .. Si rong.. collective voice. As feminism includes diverse and It has always been a sensitive issue in education as the l'ducator competing philosophical stances this quest for unity results in mediates between the VAlues of conformity to community an intern.. l ('('nsonhip. Dissenting and marginal voices within standuds and the assertion of individuilility for his/ her feminism are appropriated and silenced by the aSS(!rlion of students. positive liberty by lhose who are empowered. The existence of CC!nsorship challenges individual and collective liberty and The authors hope to draw attention 10 insidious as well as forces a re-examination of the values of sisterhood. explicit forms of censorship. The word censorship evokes images and sounds of book-burning.. red tape, blocked parts of The exploration of censorship continues in Fiona. Blaikie's images and text and the beep that repla ~ offending speech in paper where she examines Ihe visibility of .. rl a nd cr.. fl focusing electronic media. While these are explicit forms of censorship, on gender, culture, .. nd class, The objeclilying and distancing there ue other Jess visible but just as effective methods of of views not held in common in effect renders the holder of ('('nsoring. Through omission and devaluation there Is refusal these views alien. Individual and group ontologies, images, to name or acknowledge the worth of an act or artifact. and voices are at times made visible, at other times silenced ..nd/oT margilUlized, creating pol.. riz.ation between universal The purpose of Kirstie Lang's paper is to explore the and diverse, mainstre.. m and hidden, high and low fonns and concept of liberty, as understanding o f liberty informs experiences of .. ,I, craft and design. Problems with and Understanding of censorship. lsaiillh krlin has d istinguished connections between these otherwise polarized positions "n' betWffn two types of liberty; negative liberty is freedom from explored. •
116 Lang, Hdgodottir, Blailie, Tarlow-Caldu Feminism and C~nsorship 117 The 10151 paper, by Pamela Tarlow..c..lder brings us even Dworkin, 1991). In this paper I describe these two forms of closer 10 art education classrooms. The paper includes a liberty as interconnected by democratic theory, but as di5c:U ssion and investigation of the inclusion/exclusion from simultaneously contradictory given the values Ihal support educalional consideration of a wide range of disturbing, them. Doing so can provide a context for Ihe value clashes that controversial and invisible invgery relating to gender issu('$. give rise to censorship. I then explain three kindsof censorship The author advocales a critical-reflective slance fo r and conclude wilh VI.rious waysa liberal concept of freedom is pl3ctitioners. A critical·reflective approach to inquiry will not being challenged, as well as reasons why it can infonn the only allow teachen and students to analyse an expanded range inevila ble tensions that arise when dealing with art, cduco1tion, of visual imagery, but allows for a social reconstructive and feminism. curriculum. Negative and Positive Liberty As a collective these papers d raw attention to art, education and art educalionas well as feminism as political phenomena. Berlin's COMo?pls of negalive and positive liberty seek to An expression always implies underlying values in some way, explain the political freedom of Ihe individual in relation to thus referring 10 our exislence as individuals and members of government and society. Derived from the work olJohn Locke communities; to Ihal which is Iruly political. and J.S. Mill, liberal freedom or "liberty'" is a lack of constraint onone's actions, maximised when collective decisions provide circumSlances in which that freedom can be realized, and adjusted to the competing demands of Olher collective values (Brenkert, 1991, p . 65). Negative liberty is the personal lack of FREEDOM OF SPEECH AND CENSORSHIP constraint, positive liberty is access to politic,,1 involvement which protects negative liberty.
These two forms of liberty, and their democratic re.lationship of interdependence, are evident in the following Censorship is commonly posited in opposition to free stateme.nts from the membership materials of the British speech. However, censorship can also be understood as a kind Columbia Civil liberties Association (1991): of freedom, one which enables us to participate in collective decisions to control speech. Social and political theorist Isaiah IThe BCCLA is) an organization Ihat works to protect Berlin has written of these IwO kinds of liberties as integral 10 your democratic rights and freedoms... (p. 1) Iibel3I, democratic traditions which, problematic though they sometimes are, continue to inform the foundations of policy Rights and freedoms we are not willing to fight for making in Western, post-industrial democracies (Berlin, 1969; are rights and freedoms we d on't deserve. (p. 2) •
118 liJng, Helgadottir, Blailie. T(U/Dw-CtJlder Foninism and Censorship 119 It is virtually impossible for an individual citizen to If the right to negative liberty is inherent, why must it be force the government or private inte r ~ts to conform fought for, as the BCCLA suggests? While the prindple of to the law. It takes clout to do thai. Clout in the form autonomy offers some benefits, the deficiencies of negative of intellectual resources, legal resources, and money. liberty point out the limits of individualist philosophies, as (p . 2) well as the need for a collective control of this freedom. In theory this freedom is absolute, while in practice it has Liberty in Berlin's -negative'" sense is suggested in the contingencies, such a $: the number, relevance, .. nd social v.. lue first part of the quotation. referring to our b.asic -rights and of choices upon which to act; the actual sources and uses of freedoms.- II is -negative" liberty because it is freedom frfJm autonomy; and the weight of authority one may have with this from external interference, coercion, or enslavement (Berlin, freedom (Berlin, 1969, p. 130). Human purposes and activities 1969, p. 127). It 5eeS hUDliin nature as oriented towards a qu~t don' t automatically harmonize with each other, and for originality and independence, thought 10 be possible only furthermore, they a re often shaped by goals o ther than under conditions of freedom. Consequently, the need for autonomy, such as justice. securily, cu Itu re, sUtus, community. personal freedom is!leen as inherenllo our beings. Its origins and equality. ue modernist, the ultlm... te social achievements of negative li berty being progress and advanc.'ement, a nd an even This takes us into the realm of - positive" liberty _ the distribution of liberty - the equal opportunity to achieve '"clout'" referred to in the second part of the quotation. II is the one's ends withou tthe assessment (or restriction) of those ends freedom of S4'"1f-government. of participation in collective life. (p. IS3). Speech rights thai this form of liberty seeks 10 prolect It is '"positive" because instead of freedom/ro", it is freedom to, include privac.-y righlS, such as the right to "remain silent'" to have nlher than to avoid authOrity, to lead a prescribed when placed under arrest, or the confiden liality of one's medical fO rm of life, and to shape the lives of others, in the in terests of or aiminal records. The rights to freroom of expression are recognized goals such as juSli~ and equality (p. 13]). This also preserved; figures such as Robert Mapplet harpe, Madonna, freedom was founded upon the rationalist, KanJian notion of and 2 Live Crew have for many lesled the limits of this liberty the self or Slate divided, between rational and irrational wi lh combinations of artistic, reJigious and sexual expressions. elements.Jt 5eeS an empirical element, one which is vulnenble, A liberal position embraces all expressions of choice and highly adaplable, and rec:alcitrant, under the watch of a individuality on principle, but with some unease in cases transcendanl contrOlling element such tNt the whole may where unjust social c.'onsequences are anticipoJted due to the achieve its full potent ial (p. 132). This notion of self or social content of those expressions. Hence, in the case of explidt grouping can be seen as profoundly condeKending, or sexual material, there is an instrumental diSiinction between charitable 10 the d isempowered, depending on one's point of pornography as exprening dominance, and erotica as view. In the case of Ihe individual, positive liberty is self expressingconsenl lfox-Cenovese, 1991 , p. 90) . The prevailing mastery, purpose and understanding; Similarly, for a social assumption, however, is that individual acts reflect attitud~ whole, it means order, self-direclion, and "reasoned" 'awsand and desi res, nthe!r than create Ihem. justice. Corresponding examples include libt-ntion through prayer or education, and on a larger scale, the! righl to enforce 4
120 Lang, Helgadorrir, BJailde, Tarfow-Caider Foninism and Censorship 121 pea~ laws, mass edUUtion, or ~nsorship to protect both to existing inequalities, by inhibiting the free speech of lhe individu"ls "nd collective v.dues from the effects of free speech. disempowered (Booth, 1992, p. 54). It threolllens and ilddresses the individual by hisor her association with an identity group, Three forms of censorship one formed through lies of rilce, gender, sexual preference, ability, economic stalus, elc. Here the distinction betw~n An cuminalion of the villues behind ttnsoring ilCts, public and private is replaced by one between community and according to Berlin's forms of freedom, reveill three prominent society. Inequality is the central issue, and while '"difference" types of censorship. Positive liberty williegitimalecensorship can exist on either inherent or social levels, the power in the name of morality on the one h_nd, and in the namt! of distribution based on those di fferences isallributed to historical eqUillily on the other. Negative liberty is the reillm in whith conlingencies. However, it is still the rC!Sponsibilily of the sel.f-censorship may tab place. powerful to protect the disempowered, power in this case being politicill rather than moral. Examples of censorship for An ilC t of censorship to restore morillity will oflen the sake of equalily hilve included: a recent ruling by the designate speech offensive on the grounds of obsanity, iI Supreme Court ofCilnada that a Winnipeg vidco store owner's manifestation of moral decay. Such speech acts are seen as porn collection, seized by police on grounds of obscenity, be threatening not only to a general stilndard of morality, but to banned from public consumption on grounds of degradation to women (Ruby, 1992); and the firing of a New Brunswick the security of social and legal institutions t~t have tried to maintillin this standard (Fox..(;enovt$l', 1991, p. 9O).Censorship teacher by his school board for his authorship of anti-Semitic occurs at the threshold between public and priV41te reaJTTl$, a publiCiltions (Borovoy, 1991). boundary which identifies the powerful, defines Ihe offensive, ilnd protects the vulnefilble. Inequalities are ilcknowledged, Acts of CC'nsorship in the interests of morality and equilli ty bUI vulnenlbility is _n as inherent and of little social invoke the use of positive liberty; they depend on the freedom signjficil~; therefore it is the responSibility of the strong to to participate in public decisions to reslrict speech. A third protect the weak (p. 96). Eumples of censorship in the name of form of CC'nsorship, self-<'en50rshi P, calls upon nega tive liberty, morality have included an adult protectingil child from viewi ng the freedom to act without interference from others. It is pornography, and guards at Canada Customs '"prolecting'" CC'nso ring one's own speech (which pos.es a threat to standards members of the public from access to Silly and lesbian literature of public values) to prevent others from exercising their positive (BCCLA, 1m, p. 20). An example of censorship for security liberty to CC'nsor it. The arena of action is the divide between would be an army preventing Journalists from publishing public and private; Ihe villue appealed to in this case is choice. information which reveills its SlTiltt'gies or damages its na tiona I I " ntidpate the obstacles preventing my autonomy, but I image, as was the case durins the Gulf War ilnd at a 1990 exercise my choiCC' to .llVoid these obstacles (Berlin, 1969, p. standoff at a Native reserve at Oka, Quebec. 136). This is the irony of '" freedom through self- 122 Lang. He/gadoni" BltJilU. Tarlow-Calder F01liJtism and CtllSOrship 123 lor N .ti o ~1 Art Education As.5ociation language policies; and actions of the pOi!lrli d ~nts ire viewed u different fo rms o f an acknowledgement o f libellOillws. censorship. Conclusions - Working with or resolving We are at the point where the foundations of liberalism conflict? are under ~riO U5 scrutiny K ross many realms of theory and experience. The Sia lus of co ncepts s uch as '"' freedo m," The point of defining censorships is that doing so helps us '"'ind ividual," "'originality" and "' indcpc!ndence'" is faltering in identify the fTffdoms and values upon which they rest. More increuingly contexlua list public .md iludemic diSCO Urses. The importiilntly, it undersrores the inevitability of conflict, given po5$ibility o f self-knowledge and the emphasis on motives the relationship between negative ;lind positive liberti es; they versus consequences hn been deconSlructed in lilerarycrilicism represent mutually exclusive, and yet interdependent ;linns of and the fields it has permeated. The division between public democriiltic theory. Censorship is one response to rtsohril'lg and private realms of experience is ill foc.al point of feminist conflict, an act created and legitimated by this larger structure. criticism (Paternan, 1989). And we are realizing the less than demOttilitic effects of "consumer choice" and technological Art, educ;lition, and feminism ue complex a renu of action innovation (Beiner, 1992). Such challenges to liberilll theory that, Individuililly and combined in varying d n:umstanen, can often come from experienen beyond the democratic realm, iIIppeal to different values and liberties; uniting them in a where free agents oppress, privacy meillns alierution, cheien feminist art r(\ucation results in tensions of ali lcinds. To take are valueless or unaffordable. As educators we must recognize each element: fr eedom 01 speech is integral to artist.ic the limitations of liberalism, but also understand how it has expressions; freedom to shape collective life breeds educ.ition; infonned our pnctien and shaped the content areills of our and values such IS autonomy and equality, emerging from research and teaching. The paradoxes that become apparent each of Berlin' s liberties, are at the heart of feminism. Each can be of great educational value: let us pull them apart and try domain has witnessed itsshareofrensorship, and the following to 5ee them for what they are rather than attempt "easy papers in thiscollecti ve article e:umine drcumsta nen in which tC$Olution" (Hamblen, 1985, p. 20. this is played out.\ will leave it up to those writers toelaborate, but point out that the contribution immediately follOwing this R UEJlENa.5 one, by Gudrun Helgilldottir, vividly portrays an enactment of Seiner, R. (1992). Wha(slhe maner with I'tJrnlism? Berkeley, CA: feminist theorit"S and the forms of liberty and censorship University of California Press. discussed here. Generalizing from this account, negative liberty can be seen as the equal opportunity for women to behave and Berlin. J. ( 11)69). four essays on I'bcrty. Oxford and New Ycrlc be treated like men: positive liberty in this a5e rests on the Oxford University Press. view that women are not the "me IS men, and must iIIct Booth. O. (1992). Cmwrship p>n 10 school Markham. ()!\.j: accordingly to fully realize their potential. The event Gudrun Pembroke Publishefs. Helgadottir dHC ri bes typifies a challenge to the liberal split Borovoy, A.A. (1991, S!!ptember 17). Teacher'sconduct outside between public and private spheres, iIInd consequently the class can affect job. Gklbeand Mail p. Al? - 124 Lang, Helgadonir, Blailie. Tarlow.caJdLr FomnismandCensorship 125 G.G. (1991). Political fm:dom.london and New York: Brenkert. feminism (Scott, 1983). They fuel a ('(Instructive dialogue but Routledge. they .Iso contain the threat ofCt'nsorship. Therei! the tendency British CoIurrbia avil Uberties As.socbtion (l991). IMernbership to disregard the right 10 dissenting voices within feminism, to JMCbgeI. (AvailJ,bIe from tht BCCU.. 518-119 West Pender s uppn"S5 jflternal questioning and contestation in favour of an Street. Vant'OUwr. Be, V6B 1$5,. appelrillnce of consensus on a particuln ven;ion of feminism. Bri~ CoIulTbi. Ovil Uberties As8odation (1992). Qvilliberties In bell hoob' words: "Feminism has its party line and women lSSUCSand ~k.. The PemocratkCommitme!'11. M(l) who feel a need for a different strategy, a different foundation, 15-31. ' often fi nd themselve50stracized and silenced- (hooks, 1984, p. Dworkin. R. (991). Liberty arv;t pornography. New York Review 9l. of Books. J!t(14). 12-15. Fox~~. ~ (1991). &minism wilhou! illusions: A critique of Of course, such internal censorship is not a vice unique to mdlYldUlI sm. Chapel Hill, NC: University of North Carolina feminism. It is a common feature of political life, theorizing ...... inc1udl'd. Adherents of particular frameworks, theoretical and Hamblen, K. (1985). Deveklping aesthetic literacy through political, band together in parties, caucuses and schools of contested conttpts. Art Education. ~).19-24. thought where the need for consensus, for a unitl'd front, is strongly felt. In the mainstream of politicS and scholarship, POiteman,. C. (y~89). The diSQrder of wornrn: Imnomcy. ft:minisrn. and pohhcal theoQ'_Stanf o rd:, CA: Stanford University Press. feminism is often the ta rgel of censorship when esta bU s hments such as funding and research agencies exercise their positive Ruby. C. (1992. [)recemb« 1). Fifth column. Globtand Mail. p. A24. liberty .1 the expense of the negative liberty of feminist scholars. This points to the flip side of the coin; feminism is diverse and dividl'd, yet there is a modicum of consensus, a coherence that puts feminislscollecti vely at odds with poUtial and theoretiul FEMINISM AND FEMINISMS: cstabl ishments(de Lauretis, 1986; Black, 1989; Hirsch &.: Keller, THE PROSPECT OF CENSORSHIP 1990). Much ink hu been applied to explore ntious ways of classifying feminists and examining the til between feminism and traditional or mainstream political theories (Garry " Given the diversity and division of women according to Pearsall, 1989; Diamond &: Quinby, 1988;Ja&&ar" Rothenberg. class, face, ethnicity, religion, age and other sodal factors, we 1984; Snitow, 1990). In my own attempts to trace this fit for must expect and accept conflict and contradiction within feminism, art and art education I found that the puule has feminism. 1 refer here brCNIdly to feminism as a school of various configurations. I chose the topic of pornographic thought and asa political movement aiming to improve the 101 representation of women in art to speculate on how different of women (Black, 1989). Current theorizing about the SOCia l feminisms would manifest themselves in arl education. I.'Onstrucl, gender, is inspirl'd by the contradictions inherent in • Feminism and CelLJOrship 127 126 Lang. Hdgadcttir. BlaikU, Tarlow-Caltkr _ I rights with men bl with this claim 10 equa I took the utegoriution ofren used when an allempt is hot day. The trou e , II British Columbia town. made to relate feminism and mainstream politics; libe,.I, was painfully appa",nt In a s~ 'ildial. muxistand post-modem (NyI.'. 1988). Using this ralher "nlslS had announced ... rally down crude measure to gauge the responsesaceording to categories. There. a group of feml be..... and rt"presenlatlves I wound up with glossy mainstre.. m women's RUlgazines and - S ..... Hoursinadvancemen, ~- MaIn tr""", . rking lots and windoWS a lesbian artists' collective providing two examples of liber.' of the media lined the SIdewalks. pa . -" with Some of the men were equIPr-- feminist response. The boIsis for Ihb is that they share an with a view of Ihe street. h . 'ned with the media , had formed in response to the I have to lell you a story loillustrate th.is poinl. The story Another women s group the scene carrying unfolded for me on television news.' This is a re... llife example n were also present on ' rally. These worne I They adamantly identified of how all the-fundamental issuesin feminiSithcory; individual bedsheets and lowe s' . h blank elS, f -0"\- concerned Wit he media as non· eml , and equal righlS, negative and positive liberty. objedificalion themselves to t I They vowed that if any of women for the gralifiCiltion of men, the male gaxe, sisterhood, common decency and family va UC$, _ herself oneof their .. ls~deal1\Ovetoexr"- ' censorship and self-censorship art" played oul. one of the femlnlS h That is they proposed an group would immediately cover er, , Last summer women ... ClOU Canada planned a dily of .et of censorship. plOt~ttO showsolidilrity and sisterhood with ... young woman u nder way a tactical compromise who had been arrested ilnd charged with indeaont exposure Eventuallytherallywas . .' . - ... fully clad h' The feminIsts marc .,... when walking boIre-breilstfed, down town in iI Canadian city, ",ached by self-censors IP, e flanked by the women She argued in defense that sheasan individual should have the down the middle of the rDild .•They ~erp.ysiCaIlY shield tMir same right as a male individual, to be naked to the waist on a with blan"p." who were I ere 0 128 Lang. Helgadmrir, Blaikie. Tarlow.calder Feminirm and Censorship 129 imprudent sisters from the exploitative male gaze of the Their uneasy sisterhood, the fact that in the end the two bystanders, both those physically present and those gazing groups of women marched down Main Street side by side, thrdugh the lens of the media. albeit in tension, contains the moral of the story. I view the story as one of potential growth (not knowing whether this was I watched this display of theory come to life on my borne out in the experience of the women involved). "If women television with awe.J could not help wondering which group always seek to avoid confrontation, to always be 'safe', we may was feminist; those who insisted on being treated the same as never experience any revolutionary change, any transformation, men or those who walked to prolect our female particulars. individually or collectively" (hooks, 1984, p. 64). Sisterhood is What divides feminists into meaningful calegorie! is nol SO not all harmony and understanding. It is as painful as it is much allegianre 10 traditional political frameworks but these powerful because it is fraught with tension and conflict as well questions; Are our feminist arguments based on the notion that as with care and concern. all women are a category, and if so that a ) women are fundamentally the same as men, or b) that women are ENDNOTE fundamentally different from men? When I first watched the newsclip on the local television Although women appear as the key players in this story, station (BClV) it didn' t dawn on me just how important it the third group. the literal and figural male bystanders, while would become to my understanding of feminism and seemingly passive, acted upon the situation. We must realize, rensorship. If that insight had hit me I would probilbly have despite our reservations about essentialism, that the story stopped folding my laundry and jotted down the name of the unfolded in response to their presence. The story represents a reporter, title of the story, and television station for future clash between positive and negative liberties and shows the reference. Finding the reference to something I saw on TV Shortcomings of feminists' claims to negative liberties without proved a daunting ta sk. First of all the staff of a television regard to context. station, particularly the newsroom, are too preoccupied with todays news to care much about archival stuff, old news. Bolhgroupsof women could beviewed as feminist, based Secondly, even when I had found enough information for a on their concern with the right and welfare of women (Black, future reader to be able 10 follow up on the source, the APA 1989). The story illustrates the futility of posing feminists,let style that I use didn't have an obvious way of writing the alone women, a5 a unified category, as sisters with common reference. There is no category for '"seen on TV". Chicago style interests and goals(see Hicks, 1991 ).It is, however, an example is a lillie more helpful in that they allow for reference to a of the precarious balance where connict and contradiction lead program, but there is no mention of the news. This is an to constructive confrontation. The women's connicting amazing handicap for researchers when you consider the responses and the ensuing compromise illustrate sisterhood in influence that television and radio news have on our societies. a more realistic way than we imagined in the days of second So the story that is the renterpiece of my paper is not properly wave feminism when its power was commonly proclaimed. referenced, but believe me, I saw it on TV. 130 Lmrg, Hefgadottir, Blailie. Tarluw-CaIder Feminism and Censorship 131 RuuENCES VISmIUTY AND lNvIsmILI1Y 8l.tdt,. N. (1989). Social feminism. ItMai, N.Y..: Cornell University. IN AKr AND CRAFT de Lauretis, T. (1986J. Feminist studies/ oitical studies; Issues. terms and contexts. In T_de Lawetis (EdJ feminist studies! critical studies. (pp. 1-20). Bloomington: Ind.i.Jlna University. FIONA BUIKlE CMmond, l. 6tQuinby, L (l988J. Feminjsm and Foucault Refk:rtionsO!\ mistarq. 805k>n: North U$iem University. The visibility and invisibility or censor.shipl of art and Fox-Genovese-, E. (1989). craft is determined by individuil1 and group ontologies. Their individualism. Ch.P;' production NS often been constricted and/or defined by Carolina Press. gender, class, culture, rilCC, religion, and politics. In this paper, I am concerned with the visibility of varieties of art, design, Gilny, A. k ~II, M. (l989). Introduction. In A. Gany & M. PeaI"SilIl CEdS.),Womera.know!cd,und mlity; and aaft. I will eumine censor.ship boise Nye. A. (1988). Feminist thepryiOO thepN~ofman. J Culture refers to the ontological and aesthetic under- London: Routkdge. standlngofapeop!.ewhoareme.mbersofthecultureolacounoy, for example Japan, or an ethnic culture within a country, for Scott.. J-W. (1988). Cm:Sc:r and the politics of history. New York: example the Halda in Canada. or a subculture within a region as CoIumbiil University. defined by group membcnhlp, such as the HeU's Angels. Snitow, A. (1990). A genderdiary. In M. Hirsch &. E.F. Keller ·Oass here refer.s here to the differentlation of sodety (Eds.), ConOicts in frmjoisrn , (pp. 9-44). New York: according to power groups, moving along a continuwn from those Routledge. conU'OlIIng politics, economics., and culture, to those with IIm iled or no ronlrol. My cona:ption of dass is rrOm a Western p' ssssr" " Q 132 Lang, Htlgadom'" BltJilie, Tarlow-Caldu Feminism and CelUOrsnip 133 I am interested particul'lIrlyin the Ipparent polemic which Universalist beliefs have resulted in both covert and has arisen around the issue of visibility, and the poSSibility egregious censorship and suppression of the art, craft, and that these divisions Ire actually both nuid and fixed. design works produced by certain groups or individual. Collins and Sandell (1984) identify this as fonning the hiddenstream Universality and diversity tradition. Universal' conceptions of what art is-ideas argued by The dash betweenthe diversity of our beliefs and the Bell (1958), fo r example, have been conneeted to the high art continued institutional support for Iheconcept of U ni versalism tradition. But while there might be widespread COI\S{'IISUS results in some work produced being considered ob;ectiona ble, within the fine art wortd with regard to classifying certain obscene, or offensive. Tho5e seeking overtly to suppress or artifacts on a stylistic basis-for example, classical Chinese cenSO r could be special inlerest groups, Ihe public III large, pottery, or High Renaissance lillian 5Culpture, Ihere is less govemment agencies, religious leaders, or oppressive regimes. agreement on broader questions, such IS in defining art itself. The act of ~en50ring. while it has many agendas, and reneets This is becaused iverse ~liefs and experiences detennine varied a broad range of values andbeliefs is always an assertion of conceptions and classifications of art, craft and design. This power. diversity is Ihe outcome of religious, cultural, and individual ontologies resulting In social, political, religiOUS ... nd gender A well known eumple, Ihe 1989 Cincinnati exhibiti on of biases which lire contextually rooted. nude photographS by Robert Mapplethorpe, gave rise to court battles be1:ause of Ilick of understanding or acceptance of his art within the general community (Lucie-Smith, 1912 and 1991, p.266). A«ording to Lucie-Smith, the rise to visibility of a • Unlven.a1lsm h~ rerers to those ~tra1lzlng homOgenit ing forces in Western sodety which determine widely held previously hidden subculture concemed with the nature of v:a1ues and beliers about all aspecU of existence. These forct"$ are homosexuality, as witnessed in Mapplethorpe's work. influenced greatly by .I complex set 0( variables which are paralleled the STowth of a concem with the nature of being a sodally inculcated, such as Christian religious v:a1ues (for example, the sanctity 0( m.a.ntage, the nuclear family, and woman in feminist art (p.266). The general community reacted heterosexuality); political helemony In the fonn of capitalism ina similar way to feminist art .IS it did to Mapplethorpe's and modified sodallst-capltallsm, and racist and sexist aUi tuda Universalist values and beliefs are reflected In the media work. In this regard, Merkel (990) notes that often the first in television programmes such as "Leave It to Be.aYCf.~ produced ~harge rallied .It images or sculptures unpopular with the in the 1950s. Unlvcn.a1lsm has been .I powcful force In an and gener-III public-or any olher body- is that they .. ren' , art. She aaft in determlnlnl acceptable COntent and COntexts of produc tion. Uppard (1990) holds that universalism Is linked to an goes on to assert that Id~l.o( ~c eu:el1ence, associated with fme or high art in the tradibon of Important galleries (p.8). Uni\'ersalist beliefs can be linked with the tendency in the artwork!. to marginalize certain even in arguments over art in public places and ~ges, ~, peo~Je or cultures whkh are nol acceptably federal funding for the arls, where the question of mamstream. The resull t! a dear form of ~p according to what arl is comes up, it is not usually central. The geOOet", culture. and class. pri mary issues in those connicls are "What kind of 134 Lang, Hdgtxkmir, BlaWe, Tarlow-CaJder Feminism 0IId Censor:rhip I3S art is appropriate?·, "'Whose sp.1Ice or money is it1· no-win situation for women. The outcome of this · temptress· lind "'Who decidesr' (p.4!) who represents all women, results in no less than thecorrupHo n of all society and politics, controlled by men. The mes$.ilge in In this matter, one might argue that Ihose repre5('nting this sculpture is quite IitelOlll- it makes visible what could be "",instream univCl"5a.list ideas were seeking to suppress an termed a universal conception of women as not just morally artist representing the inlerests and n lues of a subculture inferi or, but dangerous. The hearings and resulting relocation within weslern SOCiety. While many of us mlghl support of the artwork are abo aspects of censorShip. Citlic Virlr.re was Mapplethorpe' s freedom to represent himself and his values m;lld e less visible, and thus "",rginally less offensive, but through the prOdu(tion of homoerotic photographs, publk because supporters of the work represent the mainstream, the support of those values is a more difficult issue. consequences of censorship in this caSt' were relatively mild. In another example of this public clash of values, Clapp Cultural and political groups often .ppropriate 1ft, (1972) describes a situation in which sexist bias was dl!emed literatute, and philosophia.l ideas to establish a boI sis for their offensive: a sculpture titled Ci.,ic Vi,1II1! by Frederick beliefs. For example, Clapp (I9n) notes that Nazi art policy MacMonnies caused an outcry from women'sgroupsin March "" favoured" women: "'Germany forbids any work of art which 1922 because it showed '"a nude youth with a club on his does not render an object faithfully, or which derides such shoulder vanquishing a recumbent female nude, representing Nazi ideals as War and Women"" (p.266). This w.s stated in thesireno( temptation 10 politiCAl corruption" (p.lIO). Labelled official Nazi Art Policy as ~ar l y as October, 1939 (p.266), and · Fat Boy,. the sculpture was denouneed by local women's illustrates a sinister use of power in the representation of groups. ThemayorofNew York held public hearings regarding women. The Na:ds operated from a posilion of power in order the slatue, bUI in spile of greal controversy, il was installed in to promote a particular '" womanly ideal." This ideal was theCity Hall Park, on 20th April 1922. When crilicismronlinued inextricably linked to Iheories of Aryanism, of. "master rltt," il was moved to Foley Square, and then to Queens City Hall .nd the "' womanly ideal"" which suggests women functioning (poll! J. MacMonnies, the SCUlptor, claimed there was ·no tru Ih as mother and wife, rather than in any other kinds of male that man is trampling on woman""-the man's foot wa, on a dominated roles such as politialleadership. The explicitness roc1r.:, not her Nck, he claimed (p.2Il). with which it defined universalist beliefs in terms of gender p.1Irallels Ihe New York example, in which women are in a In the case of the MacMonnies sculpture I would suggest powerless position. That this powerlessness is real and not just that the artifact and sculptor represer1ted the mainstream .esthetic is evident in the inability of women's groups to power boise in terms of gender, class, and cullure at that time. galvanh:e support for the complete withdrawal of the The nude youth ""vanqUiShing- (that is, overcoming, MacMonnies sculpture. conquering. or defeating) the nude '""temptress"" is charging women with responsibility and CUlpability for men's sexual Whilelheseareovertexamplesofcensorship, more subtle desires... Their bodies (which they havesimplybe<:ause they are censorship takes place in many ways. Nochlin (1988) asserts women), ar~ seen as sinful to the sculptor-and, by extension, that the experiencetl of women are not mainstream so much as to all men alld women. Yet they are also desir.ble. This is a dominated by the idiosyncrasies of individual and group ------~~ Feminism and CelUOrship 136 lAng, H~lgadorrir. Blaikie. Tarlow-Cakkr 137 expericnc:es. The art, craft, and design work of women, of the ima.ge both visually OiInd styli$lically, and are linked in an some cultures and subcultures, hOilve up until recently been integral way to the experience of meaning and context. Fo rm significantly less visible, and ha ve been considered lower in defi~ and delineates context; conlext determines form, and i I is in Ihis sense that I see links between these vOilriables. SllltuS thOiln fine art in INljor galleries in the western world. Some argue that women's approaches OiIre more experi mental, and less concerned with perfectionism (Congdon, 1991, p.I1). Form Oilnd context meeland are interdependent in Slatkin's Women's art which becomes visible via the gallery system (1985 OiInd 1990) description of the MinOOiln civiliution on Crele, seems to be more contextually rooted, autObiographical, OiInd in the third century B.C. ln Ihis matriarchal theocracy ~ruled more focused on the ontology of being a womOiln as, for by a queen-priestess'" (p.ll), there WOilS high status for women. example, in the work of, MOiIry Beth Edel50 n's 8100d M)"tt rin , Slatkin notes thai according to Vincent Scully, palace sites or Judy Chiugo's Mmstrwcl S.throom. were selected according to the "body"" of the earth mother_ v Feminism and Ctnsorship \39 138 lAng. HeigadorriT, B/allie, Tar/Qw-Caltkr who devote themselves to dissent, remain largely tJc(!n sanctioned by the high elite mak~ this work,dt IlfCIO, part unheard due to offid,,! "nd self censorship. (p..8) of the high art tradition.) Lippard (1990) demonstrates the kind o! sd!-critiul Lippud alludes in the "Quality wand" metaphor to the idea of attitude neuss.aty !orcultural gatekeepers in a diverse society a universal ide.d of aesthetic excellence, ilssociated with fine by asserting the right o! artists to pursue their goals whether ;art, or ~igh " art in the tfilldilion of important galleries they are art, craft, or design centred, or aimed at high or low ~tronised by the wealthy and cultural elite. uppard asserts status traditions, by asking that artists themselves luIve been .pproprialed ilnd patronized in the negillive sense, because they have become "separated who am I, after all, 10 imply that any artist who from their audiences and controlled by the values of those who wants to shouldn' t have a chance at Mmaking it'" in buy their wo rk" (p.8). And the separation between high and the mainstream? Doesn' t the dominant culture low, male and female art, crilft. and design work has been already impose just such limitations? Is my wish to m.intained. according to Congdon (1991) by the "established. maintain a diverse practice just another sort of arl world \whichl maintains control, in part, by referring matronixing ethnorentrism? (p.I56-151) negatively to the ma;ority of women' s art as decorative, traditional and craft-like'" (p.15). The -quality wand" through She notes that when a patronizing interviewer asked artist its function in controlling visibility and imposing invisibility Basquiat -if the teeth and bones in his work related to [hisl in the artworld has been used 10 censor the work of women. C.,ibbcan culture, Basquiat looked exaggeratedly incredulous and said, ' What's thatl'- (p.l62). lfthe term Mcul ture- is difficult Finding connections to define, how much more difficult is it to frame the concept 'cultural diversity'1 In spite of these examples of polarization, there appear to be grey areu between hidden and maiMtream art, and in Lippard also iIIsserls the right of artists, designers, .nd some insUoncesa lesseningof the divide. Forexample, Congdon crillftspeople to choose to immerse themselves contextually writes that many women artists who are -,.cademically iIInd stylistic.Uy in visu.ll tradilionsother thin theonein which trained,'" are incorporating -tr~itional decorative art into they grew up. Some iIIrt educ.tors hive supported .Ippro.ching their own work- (1991, p.I7), with artists like Miriam Shapiro diversity through.ln integntive .pproaCh, in which there is ill and Joyce Kouoff breaking barriers between high and low art. roncem with making diverse cultur.ll experiences artistic.llly Slatkin (1985 and 1990) writes that Chicago' S Dinntr Pllrty and contextually me.lningful, 50 that they might become visible, exhibits an interesting combination of needlework, China plate appredillted, .nd understood by a much wider group of people painting. craft and fine art (p.I86). In addition, she asserts that (Bcrsson, 1987; Bl.lndy and Congdon, 198n. Others argue not the works of Magdalena Ababnowiex -.re one of the most for inteSTation, but separalion-.a kind of discrete pluf.llism persuasive reillsons to abandon any inherent devaluation of (Mcintosh, 1987). This position .sserts that where experieRCfli craft from the 'fine art' of sculpture- (p.192). Although having have been different from mainstream experiences, they should said this, one reviewer of this paper suggested Ihat having - 140 Lattg. Helgadotrir. Blailie. Tarlbw-Caldu Fmdnism andC~nsor$hip \4\ rflNIin sepilrate, in order 10 retain their uniqueness and It is hard 10 know how best to "decensor'" what was c.harac.ter without dilution,as in theca.seof feminist art histo ry previously hidden, without neutrolli:ting the work, Imposing based on exclusively feminist criteria {Slatkin, 1985 and 1990, fillse interpretations, without patronage, and with sensitivity. p.7). it is.lsoargued thatoul5idersc.annot understand beause In spite of lhese difficulties, .nd while, as Uppard (990) of their ontological separ.teness from the cultur.ill rontext of sliltes, the issue is "clouded by hegemony," she is "("onvinced production (Lippard. 1990). by theevidence of contemporilry art that the hybrid experience un be. signific.ilnl aesthetic factor'" (p.144). Students need to The ronlinuum between integration ilnd sepilr.illion is examine specific cues and articulate historic and current criteria reflected in Judy Chicago's descriptions of patterns in the lives for censorship and visibili ty, as well ilS the desire fo r censorship. of women artists she and Miriam Shapiro visited. There were Examining the visibility and invisibility 0' Irt and craft in I those in isolation, "finding their ronlenl in their experiences a.s manner thilt Ciln milke explicit our intersubjective women. with little contilct with the local ilrl community'" understandings Is worthwhile. It is in dialogue, In finding (paterson .nd Wilson, 1914, p.l36). Other women functioned ("(I nnections in the middle ground of o ur experiences as human through communication with the art world, "whose work was beings-in UppaJd's notion of a common anolhemess-that we more neutralized as Mimi's (Shapiro'S) and mine (Chicago'sl CIon truly make visible, discover understanding. ilnd legitimate had been" (p.l36). Oearly even if visibility ilnd ;nvisibilityare the divenity of ilrt, craft. and design. options for ilrlists, each choice il1so has consequences in terms of audience, rewards, and ultimately the meaning of REFERENCES the artist's work. Bell, C. (1958). An. New York: Ca.pricom Boob. Lippilrd (1990) answers problems of diverse Bersson,. R. (1987). Why art education is neithet' sodaJlyrclev.lnt understandings by acknowledging what she ails iI "common nor culturaUy democratic: A contextual ana.lysis. In D. Blandy &: K. Congdon (Eds.), Art in I DemocraI;y (pp.. 78-90). anolhem~ " r.ilther than a polilriz.ed view of self and other New York: Teachen College Press. (p.6). Thus, she aiJnS to focus on "the ilreil in belween-thilt fertile, luminal ground where new meilnings germin.te ilnd Blandy. D. &: Congdon. K. (F.dsJ.(l987). Art in a Democucy. New York: TeachersColIege Press. where rommo n experiences in different contexts can provoke new bonds· (p.9). Congdon (1991) states that Clapp, I. (1972). An mwrshiw A chro!'!CriosY oCR!'OSQ"ibed and PIftQibt'd Irt. Mduchen. NJ: Scarecrow Press. We are illI so much part of the same air, wilter and CoUins. G. &: Sandell, R.. (1984). Women. art and education. earth that it becomes superfluous in many ways to Reston. VA:. Niltiona.l Art Education Assoda.tion. determine with den cut boundaries which pilrls of Congdofl. K. (1991). Feminist approaches 10 a.rt aiticism.ln O. women'sculturesareoun and whichare impositions Blandy &: K. Congdon (Ed$.), PlUralistic aDPnli!Cbes to art placed on us. (p.16) crilidsrn (pp. 15-23) Bowling Green. Oft Popu1a.r Press. Uppa.rd, L (990). Mil!fd blessinp: New art in a multicultural America· New York: Pantheon. 142 Lang, Htlgadottir, Bloikie, Tarlow-CaJder Feminism and Censorship 143 Lucie-Smith;. E. (1972 &: 1991). Sexuality in w!.'Stem .rt. New York: Censorship 41nd Imagery Tha~ and Hudson. Mclntosh.J. (1m). Alle" the melting pol. Art F4uatjon.;n (6). Cen50nhip isa form ot control which is cxercised through expurgatio n - the removal of matter thought to be Merkel, I. (199()). Report from Cincinnati: Art on ~J.Min objtoctionable, seditious or offensive on grounds of obscenity, Arrqjca, ZB<12l, 41·51 . immorality, or as some other form of threat. Censorship of art Noclllin, L (1988). Why have there been no gmtt women artists? is a process of restriction of the making and exhibiting of In Womm. art and oowcrand other£$!lyJ. (pp. 145-178) artwork. Reasons for censorship are econo mic:, social. political, New York: JVrpcr Row. moral or aesthetic. State and church officials are commonly Slatkin. W. (198S 199(». Women artists in history. empowered to censor, but citizens o r other groups, Englewood Clitfs,. N.J.: Prentice Han. individuals, or society as a whole can also act as amson (Clapp, 1972). Malll!r can be suppressed in whole or in part from books, images, plays, films, lectures, or other lorms of display. Censorship can be practiced through act, of willful or ioad vertent exclusion: a shutting out or disbarment, an omission or neglect. Censored by Omission: The exclusion from general art curricula of a wide range IMAGERY lHAT IS EXUUOED FROM mE of visual imagery including controv~ial or dislu rbing imagery, but also including the artwork of those outside the artworld ART EDUCATION CLASSROOM such as women past and present, is an insidious and effective form of censorship. This form of censorship is exercised both explicitly and implicitly within manyeducational institutions, PAMELA TARLOW-CALDER including public schools. Imagery that can be characterized as controversia.l , provocative, confront.tional, disturbing. or unimportant, such asthe exploration of violence, sexism, There exists a wealth of imagery tha.t is censored by racism, sexuality, women's equality, death, disease and war means of exclusion from general art curricula. This imagcry is and peillce issues illre not commonplace classroom often highly relevant to students and should therefore be considerations. Personal reaction to images alluding to these addressed and examined critia \ly in a rt educa tion at all levels. topics is varied - we may avoid or igno~ them. overtly censor In what follows, thc practice of censorship by exclusion in them, be fascinated, saddened, alarmed, threatened, disgusted, relation to imagery available for d.ssroom critique will be frightened, uncaring or desensitized. Regardless ot our personal disc:u~ ,; a CTitical·renective approach to art criticism inquiry reactions, these images often contain powerful messages In light of prevalent social and interpersonal concerns will be -('xplicit or hidden- that serve to influence and help to construct advocate, and an example from classroom practice will be our personal and societal value systems. In order lor students - investigated. to explore the complex ways in which these images operate 144 Long. Helgadortir, Blaille, Tculow-Calder Feminism and CensorShip 145 socially, histo rically, politically, economically ;lnd banned artworks-sueh as Jana Sierbak's "Flesh Dress,M Robert interpe1'5On t. Pouib Ie Imagery: These al'(' visual forms t ....t may be Crt'ated by students in response to critical investigations relating 10 an A fundamental lissumption of crilical·reflection is that ex~nded range of imagery and c oncerningo~her artists' m~ans human life can and should be improved. Critical ren('(:tion is a ofr.epresenlation. Thf:5e images would funcbon as alternatives tool for critical understanding of fundamental interests, values, to what Efland (976) termed the "school art style .... Nadaner assumptions and implications for human and social action describes school art images created by students as .... ving.n (Aoki,1978). This understanding emerges through a progressive "excessive preoccupation with materials, holiday art and an darification of issues, ideas and values suggested by the subject aesthetic view restricted to Nineteenth Century European -in this case, the image under investigation. The process painting and expressionism. Products . . . ~ r e t!piCally combines reflection and action. The underlying assumptions, materialistic land) conventional'" (p. 10). POSSIble Imagery, ideologies, values, motivations, and perspectives that the free from conventions and stereotypes, has the potential to be vi ewer derives from interpretations of the image are explored Crt'ated once students have examined and understood processes and reflected upon, and implications for social action are of I'('presentation through critical methods. suggested. Critical reflective inquiry is SOCially reconstructionist - it is inquiry that challenges and offers The willful or unintentional exclusion of invisible and alternatives to traditionally understood frameworks and pervasive iTN!gery in schools attests to a need for expanded processes. Socially. reconstructionist curricul. offer the concepts regarding artmaking and artists' concerns in the art possibility lor students toopenly attend 10, lake action against, education classroom. The introduction of pervasive and and effect change regarding sexism, violence and inequity on invisible imagery would make possible the examination of the a local and glObal level (Zimmerman, 199Ob). complexities of meanings, beliefs, and values associated with the production and use of v;arious visual forms in (lUr society. Prakash and Shaman (1989) point to a "nltural tendeney In our image-saturated society, it would be valuable for students to avoid the discomfort of reflecting upon the ugliness of our to understand that all visual forms are not simply own violent culture'" (p. 21). Hence, there is a scarcity of representations of culture, ., Garber (1989) points out, but available.rt curricula that are responsive to sensitive issues rather they are "signifying practices which produce meanings such as sexism,. inequity, racism, lind social violence. Images. 148 Lang, Htlgadotrir, Blajki~, Tarlow-Colde.r FDninism and C~1LSOTShip 149 Uu.t elCplon- these issues by mirroring, confronting, or referring domination,. and are identified by their reliltionships with to sod.. 1concerns should not be censored by art educatol"$.it is men. Manifestiltion of power for men is depicted through the role of educators to help le.. mers to become awan- of the images of violence, subordiniltion. and trivi;llliution of women. "ugliness"' .. s well as the beauty within our cullures. Through The authors ild vocate a criticill iI pproach to the study ot imilgery understanding, there is hope tNt potential solutions for the that concerns issues rei;llted to pornogfilphy; such issues may betterment of society will be generated. The study of art work be analyzed historiCilllly, phenomenologicillly, .. nd cross that depicts theanxiety... nger, fear, ;IInd sorrow that many may cultur.. lly. Blilndy and Congdon declue: "Through such feel from the threat of realities such as violence towards and analysis, we will corne to undel"$tand our own viliues, il ttitudes oppression of women ilnd children, is ill step towards and beliefsucomp;ared ilnd contrasted with the understanding understillnd ing and ... ction. of others. The result may be that individuals may change their behavior in ilccordance with their new understilndings" Social violence ... nd oppression are issues that are (p.14). ..-minently n-Ievant to the evcryday ..-xperiences of most school children. Children directly witness and often partidpate in Given the power of I""'ges in contemporary society. the violent .. cts. Schoolyard fights, huassment and classroom ut clilssroom could become a significant locus of social misbehnior are prev;llent in the school environment. At home, reconstruction. In the classroom, students Ciln explore and children may experience f.. mily vi oleTl('(', in the roles of witness, discuss resistance to violence and oppression, ilnd c.. n become victim, .. nd/or perpetriltor. As well, children are constantly .. ware of the wilys in which contempor.. ry mass-media images confronted vicilriously with ilNlges referring to these kinds of operilte within their cultures, thereby gaining greater control issues in the mass mediill. Duncum (l989) describes the situation over Ihe ways in which they are either directly or indirectly of milny children in western sod..-ties: '"They lire frequently influenced by the images. Art eduCiitors C;l n nurlure this threatened with deprivation ... nd physicil' punishment. ilnd ... l1 ilwareness through critic.. l-reOective diillogue;JlJld analysis in children witness much televised violence, both fictioNI and regards to imagery. real. So common on television - our ""'jor communications system - that it might ;IIppear that society encour.. ges violence" A critical-reOective approach to inquiry hinges on the art (p.252). educator's ilbility to include, rilther tha n exclude, controversial ... nd potentially diSIurbing imagery from the "invisible" ilnd Television and other contempora ry mass-media forms ne "pervasive'" realms of the image world. In order to .. nalyze senders of im;llgery that is diverse ;lind conveys connicting mess.ages conveyed and garnered from such images, it is messages and ideas. These powerful images serve to shipe our v.. luable to study the images .. nd their creiltors from within the emotions, beliefs, and ilttitudes ilbout how we perceive contexts of their own time, experience. and culture. ourselves and others. Blandy ... nd Congdon (1990)explored the Simult;JlJlcously, theobserver I respondent must also understand social ilnd eduCiitional ramificiltions of this perspecti ve with any response as placed within the framework of one's own regillrd to gender imagery thilt could be considered culturll consciousness. It is through becoming aWil re of pornogrilphic. The messa.ges received from these images teach multiple contexts. including personal contexts. tNt an image that women are generillly passive, conlented victims who enjoy Feminism andCtnsorship 151 150 Long, Helgadntrir, BfaiJ:je, Tarlow..caldtr Emily [not her real name!. a 15 year old student, made a ",n ,..-. .. of the ways in which it remains can be analyzed " ••• ~ collage entitled "'Pornography or Art- which reneeted some influential. concerns and questions she had regarding the pervasive depiction of female sexu.ality encountered in advertisements I contrast to a crilical-reflective approach to inquiry, in the magazines she examined. Emily wrapped and taped the n " I rt ""';Iicism in the arteducation classroom miilny stratCSlcS or a .... . h' collage surf.ace with paper, alluding to the proverbial -'brown L_ 1 _ ~ primarily upon neutrill fonnalist clements Wit '.n paper wrapper- in which much pornography is circulated. On ,wve ocu"...... 5 t . of thIS " .. ,"·rrett 1990- Nadaner, 1984). Ira egle5 that surface, she glued several photographic images found in t h e una .... " .' within n Through a critical-reflective approach to inqui ry. students ~;:!:~%~::~=il<~~foriln and teachers will be encouraged to relate diverS(' visual forms Kauppinm,. H. (1987). The COn '. Art Education. iOC2), 39.:;porary IrNge In ut ooucation. to ctuollenging issues, concerns and understandings that are of profound Significance to their own life experiences. Nadaner:. D ('984, ...... 'tiquer" . and intervention-r .... ; . SOCi;I I theory for art ed tion. Co.. • m""C3tions 01 16(1), 20.26. UCI. ,.>!!!dics in Art Education REfERENCES No1Idaner, D. C198S) Responding to the · Aoki, T. (1918). Toward cuniculum research in a new key. In J. lor art currin:",. Art EdU@tion.~r9~~ : A proposal Vic10ria It E. ,. Sirca (Eds.), fres(>ntations on art education researth: ~ 1 dmriptjon.l(2), 47 - 69. Pnkash,. M: &. Sh.man. S. (1988). Museum . Montreal. Quebec:: Concordia Unh'\'T'Sity. escapiSm or education lor blic ~~ PublIC EdIX".tkm· !l(41. 16 _(J. Pu respollSlbibly? &:t Banett.. T. (1990). Fewer pinch pots and more talk Art critidsm,. KbooIs. and the future. CpNdia" Reyjew of Art Education. Smith , N ..(1~ ). Copying and artistic beh;tyjon,; Child }l(2), 91 - un. mniC strips.. Studies in An Education. 26(3) 147 , '._ten,s."'" - --.:....._-- • 156 Lang, He/godo/tir, Blajkj~, Tarlow-Calder w R. Stuhr P &tPetrovkh-M wanild, I... 0990). Toiching art ~' multis;'lihull rbg;;rptnn; Six _poo statrrnrnts, ;n(4), REVIEWS and RESPONSES 234 · = Zimmerman.. E. (199(M). Issues relall'd to ~ng art froma feminist point of v'oew. Visual Arts Rn!;ardl , ~ , 1 - 9. Zimmennan.. E. (199Cll). Questions about multiculture and art education Of " 'U never forget the ~y M'Blawi ~rrbled on the work of the Post·Im~ . Art Educanon, U(6), Bowers, CA. (1987). Elements of a 8- 24. Post-Liberal Theory of Education. New York: Teachers College Press. 187 pages. ISBN 0-8077-2849-7 Tom Anderson His writing style is serpentine and torturous, almost as though he apprenticed at the knee of one of those magnificently opaque tnnslators of Gennan philosophy. And that's too bad, because what he has to say is important, but not many readen will exert the effo rt it takes to get through this little book. C.A. Bowers, in Elnwt"'S of • Post-Ukr.' Tlttory of Etluntion, eventually posit' • vision of post-liberal bi o ~ i onal iSl genera I @ducalion. But fi rst he defines liberalism through describing and analy~ng theoretical positions held by four great thinkers he picks as representing significant aspects of the liberal tradition: John Dewey, Paulo Freire, Carl Rogers, a nd B.F. Skinner. The astute reader will recognize that Bo wers includes both a Marxist (Freire) and a traditio nal conservative (Skinner) within the framework of the liberalism, il rg uing that they share in the grounding assumptions of the liberal tradition as it evolved out of the Enlightenment. Bowers then discusses .