Maria Robinson-Cseke Dissertation
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Raymond Yeager: Green Janus, 2008, oil on canvas. Permission to copy image has been obtained, 2011. University of Alberta REAL MULTIPLICITIES: POST-IDENTITY AND THE CHANGING FACE OF ARTS EDUCATION by Maria Robinson-Cseke A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Secondary Education ©Maria Robinson-Cseke Fall 2011 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. The artists reserve all copyrights to the artworks appearing herein. No unauthorized duplication, public exhibition or performance is permitted. Distribution of the artworks by any means, including electronic, is strictly forbidden without prior written permission. REAL MULTIPLICITIES For Shelagh and John Robinson Do what you love. REAL MULTIPLICITIES Abstract Being human is a finite entity, defined by specific qualities, ideals, or characteristics. In Deleuzian terms, the posthuman is a stage of transition, never reaching representation because it is always changing and becoming. This dissertation explores the subjectivity of mostly Canadian, contemporary artists and arts teachers as informed and negotiated by the posthuman. Six secondary and post secondary arts educators submitted artworks and artist statements for this study. Theirs’, and the artworks and responses of David Hoffos, Nancy Paterson, Catherine Richards, David Rokeby, Jana Sterbak, Nell Tenhaaf, and Norman White, through published works, past interviews, and personal websites, have been critically examined. Furthering arts-based research, I have presented some material through a graphic novel format and interpreted findings through my own artistic video response. Identity and post-identity issues have been examined through Lacanian and Deleuzian/Guattarian critical social theories, exploring their effects on and affects in arts education. An accompanying website has been created to communicate the study, provide access to required forms, enable communication and collaboration between artists and educators, and provide a final web-based exhibition of the art and results of this study. This arts-based research reveals the shifting desires of participant artists, teachers, and researchers, as desiring machines. It suggests that post-identity structures are located in the psychic Real, which are largely and unethically untapped in current humanist education. While both old and new media are currently used in art making, new forms of visual media advance understandings REAL MULTIPLICITIES of identity by revealing how artist and teacher identities are changing with technology, and with the posthuman visual culture in which they negotiate. Art education and visual studies have a vested interest in this visual culture. This is applied to a transformative visual studies curriculum at the teacher education level, where suggested practices will result in a direct impact on curriculum and pedagogy within the general school system as new teachers enter the field. This can bring art education to a place that better fits the heavily visual, cyber savvy society in which our current learning community lives and creates. REAL MULTIPLICITIES Acknowledgement I would like to express my deepest appreciation to my supervisor, Dr. jan jagodzinski, for his encouragement and unfaltering support. His guidance, insightful feedback, and unlimited patience have been invaluable. He is both a mentor and friend. I would also like to thank the members of my exam committee, Dr. Olenka Bilash, Dr. Diane Conrad, Dr. Miriam Cooley, Dr. Patti Pente, and Dr. Kevin Tavin for their academic expertise, refreshing perspectives, and their time and effort in supporting my dissertation completion. A special thanks goes out to Olenka Bilash for agreeing to come on board at the last minute. The early support and instruction from Dr. Mike Emme and Dr. David Smith during my graduate study is also much appreciated. I would also like to extend a thank you to my two partners in crime, Gayle Gorman and Dr. Jason Wallin, who have always made me feel part of something bigger. Last, but certainly not least I would like to thank my family. My parents, brother, and sisters have always supported me. My partner, Andy, and my children, Bethany, Colette, Jordie, and Brendan have been so patient and understanding throughout this long graduate journey. Thanks Andy for being my rock and allowing me to become who I need to be. Thanks kids for understanding when I could not always spend enough time with you. I love you all. REAL MULTIPLICITIES Table of Contents Abstract Acknowledgement Table of Contents List of Tables List of Figures Introduction: A Face Plant………………………………………………………...1 Main Research Question 2 Significance 2 Overview 10 Audience 18 Chapter 1: Without Losing Face: Arts Teachers are Only Human………………21 Research and Recruitment Method 22 Being Human 37 Chapter 2: Feeling Faceless: Sensational Arts Educators on Posthuman Identity………………………………………………………………58 Becoming Posthuman 59 Beyond Definition 77 Chapter 3: Facing (Real)ity: Post-Identity through Contemporary Art……….....88 Identity 91 Subject of Sight 99 Subject of Language 110 Subject of the Body 120 Post-Identity 126 Chapter 4: A Political Game Face in (F)old Media Art………………………...132 Politics of Art Making 135 Focus Artists for Chapter 4 156 Chapter 5: In Your Face and Future: New Media Arts…………………………158 New Media Emergence and Surgence 160 Aisthetics as Affect 171 Ethics in Art 179 Chapter 6: Putting on a Happy Face: The State of Arts Education…………….190 General Education 191 Arts Education 200 Chapter 7: Facing and Embracing Transversality: The Posthuman Push in Arts Education………………………………………...210 Arts Education in a Posthuman Direction 210 Art as Encounter 215 Chapter 8: Arts Education to Fac(e)ilitation: A (F)uture (A)rts (C)urriculum in (E)ducation…………………………………234 From Arts Education to Arts Teacher Education 237 A Posthuman Direction in Arts Teacher Education 244 Chapter 9: Sample Visual Studies Education Course…………………………..280 Unit 1: Post-Identity 281 Unit 2: Art Encounters 285 REAL MULTIPLICITIES Unit 3: Curriculum and Pedagogy 289 Unit 4: Relationships 293 Support Material / Photos / Black Line Masters 296 Facing Back 308 Conclusion: Facing Forward……………………………………………………313 Reflections 313 Limitations 329 Future Possibilities 330 Bibliography……………………………………………………………………334 Images: Used in Chapter 4: Politics of Art Making 351 Appendices……………………………………………………………………...354 Appendix A: Theoretical Framework: Linking Key Constructs 354 Appendix B: Position of Arts Teacher Education in this Study 355 Appendix C: Initial Contact Letters 356 Appendix C1. Recruitment cover letter 356 Appendix C2. Board arts consultant initial contact letter 357 Appendix C3. Listserv administrator initial contact letter 358 Appendix D: Participant Document Package 359 Appendix D1. Recruiting PowerPoint 359 Appendix D2. Participant’s consent form 364 Appendix D3. Artist’s statement form 366 Appendix D4. Secondary party consent form 367 Appendix E: Participants’ / Artists’ Statements 368 Appendix E1. Graham Mastersmith’s artist statement 368 Appendix E2. Heidi May’s artist statement 369 Appendix E3. Dave Stevens’ artist statement 371 Appendix E4. Amy Adams’ artist statement 372 Appendix E5. Paul Warren’s artist statement 374 Appendix E6. Joanne McNeal’s artist statement 375 Appendix F: Copyright Permission Forms 376 Appendix F1. Permission to copy images in dissertation publication form 376 Appendix F2. Permission to copy artist’s statement in dissertation publication 378 Appendix G: Branches of Posthumanism 379 Appendix H: Tables on Canadian Visual Arts Education Curricula Outcomes 380 Appendix H1. Table 6.3. Canadian provincial/territorial visual arts education curricula 380 Appendix H2. Table 6.4. Canadian provincial/territorial Visual arts education curricula 381 Appendix I: Perspective of the Art Encounter 382 Appendix J: Suggested Arts Teacher Education Curriculum 383 REAL MULTIPLICITIES List of Tables Table 6-1………………………………………………………………………..204 Table 6-2………………………………………………………………………..204 Table 6-3………………………………………………………………………..380 Table 6-4………………………………………………………………………..381 REAL MULTIPLICITIES List of Figures Figure 1-1………………………………………………………………………...29 Figure 1-2………………………………………………………………………...30 Figure 1-3………………………………………………………………………...35 Figure 1-4………………………………………………………………………...43 Figure 1-5………………………………………………………………………...44 Figure 1-6………………………………………………………………………...45 Figure 1-7………………………………………………………………………...47 Figure 1-8………………………………………………………………………...48 Figure 1-9………………………………………………………………………...49 Figure 1-10……………………………………………………………………….52 Figure 1-11……………………………………………………………………….55 Figure 2-1………………………………………………………………………...65 Figure 2-2………………………………………………………………………...68 Figure 2-3………………………………………………………………………...71 Figure 2-4………………………………………………………………………...73 Figure 2-5………………………………………………………………………...83