Taking A Hard Look, Gender and Visual Culture

Kathryn Grushka (2007).
Exploring Visual Culture through Discursive Performative Visual Art practices in the
Secondary School Context. Taking a hard look: Gender and visual culture, Pretoria, South Africa
Taking a hard look: Gender and visual culture
Kathryn Grushka
The University of Newcastle
Australia
Kath.Grushka@newcastle.edu.au
Exploring Visual Culture through Discursive and Performative Visual Art

Practices in the Secondary School Context
Post-compulsory secondary visual art curriculum in NSW, Australia, informed by postmodern and
popular culture perspectives is providing performative sites for the individual to explore their
subjectivities and affirm self. These sites accommodate personal narrative perspectives that are
informed by the way the gaze in visual culture presents ideological, gendered and hegemonic positions.
It demonstrates how the phenomena of youth resistance, as an active agent in subjectivity production
can be explored through discursive and expressive artmaking. Through a longitudinal analysis of
student learning outcomes the paper will examine some of the topics that students chose to explore as
they actively disrupt the perpetuating consumption imperative of visual culture in media practices as
they inform identity. Examples will illustrate how students actively deconstruct and interrogate the very
images and signifiers that seek to represent them. It will present examples of how the students use their
visual literacy skill(s) and material practices in performative ways to disrupt normalising patterns, visually
test their own assumptions about gender relationships through creative destabalisation of hegemonic
images and in so doing explore their own identity possibilities while becoming subjects.
Key Words: Visual Education, Visual culture and visual media, Visual art, Performative material
practice, Subjectivities, visual performative practice
Kathryn Grushka (2007). Exploring Visual Culture through Discursive Performative Visual Art practices in the
Exploring Visual Culture and the Gaze through Discursive and Performative
Visual Art Practices in the Secondary School Context
Introduction
Visual popular culture represents the habitus of youth. It is central to how they
communicate and express themselves and visual imagining is at the core of twenty
first century communicative practice. The multi-media visual activities of popular
culture shape representations and inform identities through the transference of
aesthetic forms, ideas, beliefs and values. Secondary visual art curriculum in
Australia, informed by postmodern and popular visual culture perspectives is
providing performative sites for the individual to reflect on visual culture within the
broader field of fine art practices. The discursive and expressive contemporary
artmaking practices employed in the classroom are presented as offering ways for
youth to resist hegemonic practices, explore their subjectivities and affirm self.
Through a longitudinal analysis of student visual art learning outcomes the paper will
examine some of the topics that students chose to explore as they actively disrupt
the perpetuating consumption imperative of visual culture in media practices through
artmaking to inform identity while becoming subjects.
Visual Culture, Media and Visuality: Positioning visual art learning as an

essential aspect of student learning in the 21st Century.
Vision is positioned as a primary sensory way of imagining and experiencing the

world (Stafford, 1996; Kosslyn & Sussman, 1996; Haraway, 1998; Eisner, 2001). The
21st century is being identified as a time when the forces of cosmopolitanism,
globalization and new technologies have positioned the image as an important
communicative force increasingly occupying all cultural spaces (Mirzeoff, 1998,
Barker, 2000, Szerszynski & Urry, 2006). Visual culture is presented in this paper as
all those visual artifacts, natural forms and ways of thinking that make up perception
in our everyday life (Schirato & Webb, 2004. p.5). Visuality is also presented as a
necessary skill of understanding how vision is constructed in various ways (Rose,
2007). Visual culture through imaging technologies as a significant aspect of
contemporary society is increasingly active in shaping representations as they inform
self through art, media, television, film, video and animation. Visual narratives
present to the individual through new technologies capacity to both record events
and transmit events with increasing speed and intensity. The creative and fluid
activity of imaging practices now experienced by everyone, significantly impacts on
the perceptions of the experiencing audience. The individual can now record every
life events as a digitised image. They can store and retrieve their own visual
memories and those of others and transport these images with speed across the
world. Similarly media images, both virtual and real come to each of us on a daily
basis and form a strong component of one's lifeworld.
An individuals lifeworld shapes their subjectivity or identity and is presented in this

paper as forming through a process of inter-subjectively recognised selfidentification (Habermas, 1976, p.107), signified by signs of taste, beliefs, attitudes
and lifestyles (Barker, 2000, p.166) which are increasingly inhabited by images. The
complexity of a globalised, technical and changing lifeworld finds the individual being
imagined in terms of free-floating (Featherstone, 1995), many and mobile
(Mansfeild, 2000) or as forming in web-like (Deleuze & Guattari, 1987) relationships
and assemblages that aggregate the self. Mcquillan (2000) and Kellner (1999) claim
that subjectivity production is also linked to the phenomena of the narrative and
within an increasingly visual world these narratives are presented to us as a complex
and ever changing array of images and aesthetic forms.
The image is now being presented as a new scientific tool, a cultural signifier and a
form of social discourse and narrative, able to represent knowledge and operate as an
agent to shape identities and behaviours. Meaning as image circulates the globe
shaped and mutated by both cultural activity and cultural contexts. Images transfer to
us messages about our beliefs, desires and feelings. How we see, what we see, and
how the world is represented to us shapes who we are and the visual is playing a more
important role in how we learn about the world and how we are able to understand
ourselves (Freeman, 2003). The skill of visuality or the ability to critically deconstruct
and construct images to make meaning (Stafford, 1996; Meskimmon, 1997) is therefore
fore grounded as an important attribute of all. As visual culture plays a significant role
in presenting images of normalisation as well as actively disrupting and manipulating
within the market place of identities (Mansfield, 2000, p.78) for the purposes of power
and consumption, visuality, as a discursive and performative imaging practice, informs
how we have come to desire the world of produced visual hyper-reality as truth.
Issues of Subjectivity and Identity: seeing is being, the pictorial turn

Being a subject implies being an individual operating as part of a world consisting
of complex social and cultural networks. Subjectivity is a term used to represent an
abstract and general principle (Mansfield, 2000, p.2) which allows us to
understand how our inner world of feelings and sensitivities are connected to our
social existence and natural world. Our subjectivity is active in constructing how we
see our world and others in it.
Subjectivity production is presented in the context of this paper as being shaped by
performative iterative acts which are internalized and which affect our outlooks and
our behaviours (Deleuze, 1990; Bulter, 1997). Ones identity is thus constituted by its
own embodied image and is significantly formed outside of itself by other social and
cultural agencies (Abbinnett, 2003; Bauman, 2004). The transformative nature of
arts-inquiry practices with discursive, creative and performative capacities is
presented as being able to inform subjectivity production (Deleuze, 1990).
Artistic activity as cultural production is a framework for society (Guattari, 1995) and
the innovative capacities of the arts must be harnesses in the face of increasing
uniformity of the life of individuals in the urban context (p.152). Given such a
scenario youth will need to develop the critical, reflective and performative skills
embedded in artistic inquiry practices to increase self-consciousness and reflexivity.
These skills will be important if they are to explore the tension between conforming
behaviours, and the active exploration, resistance and performance against social
norms presented as visual representations.
Youth cultures are no longer remote or isolated but increasingly influenced by a

range of signifiers within global popular visual culture. These are further informed by
the time-space compression of the shrinking world (Barker, 2000). Critical and
performative imaging or visuality can facilitate an understanding of self through giving
attention to the multiplicity of perceptual possibilities and perspectives. Seeing is
being and has now taken a pictorial turn (Schirato & Webb, 2004) and increasingly
subjectivity production is seen as connected to imaging practices. The skill of
visuality can bring clearly into focus for youth how the gaze is used as a tool or
apparatus for both viewing and presenting the world.
Global Visual Culture and Gender Representation

The impact of globalisation is ensconced in all our daily communications and
behaviours. For McCarthy et al (2003) globalisation is defined as the intensified and
accelerated movement of people, images, technologies, and economic and cultural
capital across national boundaries (p.5). Visual culture, operating within
globalisation, presents us with a complete meaning making system (Venturelli, 2004)
and represents the giants of western aesthetics and ideologies. World youth are
energetic activists in this fluid culture and youth- popular culture is represented by the
explosive generation of commodities such as world music, fashion, film and video, all
habitus for youth resistance and identity constructs. As spectators youth are prone to
the manipulation and deception of consumer myths (presented in visual graphic
forms with accompanying language and lifestyle) in their desire for cultural objects
and in their desire to construct their identities.
Gender representations characterised by hegemonic heterosexual stereotype

positions occupy a dominant place in society and are emergent from within such
cultural assumptions and practices which govern the social construction of men,
women and their social relationships (Barker, 2000). Similarly gender identity is not
immune to this gaze, its commodified forms and its representations of the dichotomy
of male or female as the central foundation stone of society (Kristeva, 1982; Butler,
1997). The gaze of desire today is communicated through image more than text, or
combinations of both and each individual must come to understand how meaning
making about self is created through multiple layering of these visual signifiers (Lash
& Friedman, 1992).
As desire is strongly linked to identity engaging in subjectivity production means

youth must navigate through the cultural minefield that seeks to control and manage
a stable knowable world (Mansfield, 2000, p. 80). Representations are now
constantly challenged by the globalisation and mass marketing strategies controlled
by transnational companies. They present to youth as multiple globalised hegemonic
image constructs. Increasingly, through globalisation and popular culture, the media
are able to complicate, disrupt and subvert local cultural beliefs and values through
signs and semiotic systems. Youth need the skills to critically interpret and inquire
into the ways such imaging practices inform self and also the capacity to explore and
disrupt the very processes that seek to shape them.
The Visual Art Curriculum Learning Context in NSW, Australia

As education curriculum and artmaking are now recognised as an agent of social
reproduction, (Dewey, 1934; Bourdieu, 1977; Emery, 2002) visual education is
increasingly emerging as a focus of discussion as society increasingly communicates
visually. Knowledge in visual art is gained through the process of technical,
contextual and critical orientations within the hermeneutic cycle which is socially
grounded (Sullivan, 1998, 2005). The act of researching and transforming
consciousness through the limitations and possibilities of concepts, materials and
their active manipulation and construction as new representations and new concepts
is the activity of artistic production.
Current thinking about art practice could be seen as a discourse around self and an
experience that produces existence (Bolt, 2004). Thought this way, imaging in art
practices could be posited as a productive materiality (Bolt, 2004, p. 168) which
enables truth to be set in process (Grierson, 2006).
Visual art curriculum in Australia is increasingly driven by a postmodern oriented

curriculum that reflects contemporary art practice. Postmodern visual art education
curriculum addresses issues of aesthetics, cultural pluralism and contemporary
issues such as gender (Emery, 1996). Increasingly visual culture discourses in visual
education are focusing on how imaging and new media practices in our consumer
society are shaping the individual (Duncum, 2003, 2004; Freedman, 2003; Aguirre,
2004; Tavin, 2005). Who am I? or Where do I fit in this world? are pressing inquiry
questions for youth.
Postmodern visual art education practices reject notions of image unity, singular
origins, singular ancestry and bounded nationality, allowing students to explore the
multiplicity of self. The approach draws on the full range of postmodern practices
including appropriation, re-contextualisation of images from history or drawn from
popular cultural contexts to make new meanings. It also includes juxta-positioning
and layering of multiple images to make new meaning in complex ways and the
ability to acquire insights through practice into how to critically investigate and
manipulate current communicative practices. Learning in the visual arts supports
students as self determining learners and personal meaning makers. It nurtures the
performative capacity of visual art inquiry through critical, self reflective and
expressive practices which is referred to in this paper as the skill of visual

performative and communicative practice.
Inquiry methodology
The paper reports on an aspect of a larger research project informed by a qualitative
longitudinal research study informed by a case study. The study examines student
artmaking from a post-compulsory schooling curriculum, the New South Wales
(NSW) Visual Art Stage 6, Higher School Certificate ARTEXPRESS exhibition. The
ARTEXPRESS exhibition presents works drawn from the NSW Higher School
Certificate (HSC) in Visual Arts, an external examination carried out by the NSW
Board of Studies in Australia.
The longitudinal study draws on documented image and text data from exhibitions
spanning a fourteen-year period, 1991-2005. The study involved approximately three
thousand student artist statements and their corresponding artworks. The study aims
to reveal the impact and value, for the adolescent student, of the experience of
engaging with their lifeworld through visual art inquiry. It asked to what extent do the
understandings gained through this learning impact on the student beyond the
classroom and does it inform emancipatory discourses (Denzin, 2005) for the
adolescent students?
The study draws on a hermeneutic phenomenological approach (Denzin & Lincoln,

2005; Plager, 1994) combined with a critical hermeneutic understanding (Kinchelo &
McLaren, 2005). Consideration is given to cultural critique and discursive forms that
reveal power dynamics within social and cultural texts and how they inform the
historical and cultural boundaries of an artwork.
It acknowledges that the student artworks in this inquiry are bound by the limitations
of an educational institution, an external examination process and a curriculum that
presents the field of study and shapes the pedagogical environment. All the empirical
evidence in the form of student artworks must acknowledge the teacher as coconstructor and the role of audience in shaping the final artworks which includes
examiners and the wider community.
The Who am I Question

My painting concerns my reflections on the experience of discovering who I now am (Duy Tan
Ly, Identity, 1997, p.29)
One of the key findings of the research into student visual art inquiry is that a
postmodern and contemporary oriented Visual Art curriculum supports a discursive
and expressive exploration of identity for the adolescent. The study identified that
approximately 70% of all student works selected for the ARTEXPRESS exhibition
across the study period used the self portrait as a performative narrative tool.
Visibility informing subjectivity production supported a wide range of inquiry positions
broadly identified as Identity as Expressive Self Narrative and Identity as
Expressive Cultural and Social Construct as illustrated in the Table 1 below. The
table illustrates the substantial shift in the recent postmodern curriculum away from
the more abstract objective illustrative inquiry such as landscape and object studies
to discursive and expressive visual narrative forms. Self-reflective, interpretivist
orientations represented connected self to other through intuitive and critical
practices expressed predominantly as the self portrait. The self portrait in
contemporary art practices represented in this research includes traditional forms of
self portraiture but extends to forms such as animation, video and installation
artworks.
Table 1: Identity Categories represented in ARTEXPRESS exhibition

60
Identity as expressive
self narrative
50
40
Identity as expressive
cultural & social
construct
30
20
Abstract expressive
analytical & objectiive
studies
10
0
1991
1996
2001
2003
2005
Visualising and reflecting on self through locating self in the events of life, places,
spaces and moments found students working with re-representations of self that
captured all aspects of life. They ranged from friendships to alienation, isolation and
loss to the phenomena of inhabiting ones personal spaces to virtual spaces. Others
delved into the cultural and social agencies that shape them to find their sense of
self. They struggle with issues and events that are currently impacting on them in
significant psychological and emotional ways. Just Me; Just Life; Just Different; But
Just Like Everyone Else (Sayarath, 2003, p.99), below is a most eloquent example
of such an approach. In his self portrait he directly faces the audience to confront
them with his questions and his concerns about the cultural constructs of gender
representations.
Justin Sayarath: Just Me; Just

Life; Just Different; But Just
Like Everybody Else
(ARTEXPRESS, 2003, p.99).
Painting
Visibility as a cultural and social discursive identity construct

Within the broad category of self portrait many students selected to explore and
define their individuality and ask truth questions about self through a discursive
exploration of popular visual culture. Students explored the skills of the artist, media
photographer and designer to present their discursive understandings of how
subjectivities are presented to a popular culture audience and how we perceive and
how others perceive us, the interrogation of self through the gaze.
Students in the study, work with postmodern stylistic markers such as parody, irony,
satire, narrative and appropriation combined with the depth and breadth of visual art
and media technologies. They use the gaze to present them as active rather than
passive participants. The works characteristically demonstrate youths desire to resist
hegemonic practices in the search to validate their own culturally located behaviour.
With this imperative it is little wonder the notion of conformity or cultural identity
preoccupies a significant group of students in the study. Joshua Kerrs Plastic
Majority (2003, p.77) and his statement reflected the perspective of many other
student works, I wanted to make a statement about my own individuality (p.77).
As social and cultural critic student artists chose to explore how media defines
gender and exploits representations. Students choose topics as diverse as gender,
cosmetic surgery, fashion, genetics, history, to domesticity and social role
expectations. Who do you want to be today (Stapleton, 2003, p.46) investigates the
role of gender stereotypes in modern Western society.
The work Dangerous Looks (Samantha Ingleby, 2003) demonstrates how a

postmodern orientation with a strong focus on media and consumerism provides rich
visual territory for exploration. She appropriates Andy Warhols famous Campbells
soup can icon, recontextualising it, labelling it FAT and creating a bricolage of images
that depict the wounds of cosmetic surgery. The hand of pain and a young face in
agony torn by the multiplicity of forces that impact of ones identity compliment the
signs of surgery. For the student it represents a work commenting on modern
societys obsession with beauty and the risks people take (p.43).
Samantha Ingleby (2003,

p.43). Dangerous Looks.
Collection of Works
So too the works titled Beauty, Marilyn Munroe-A Dime a Dozen, Mesh, You are
What You Wear all approach an understanding of their private inquiry from a
particular angle on media and the gaze. The work Engendered Fantasy
(Bankier,1993, p.2) directly addresses the issues of body politics through the female
nude while the photographic work of Imran Kamal (ARTEXPRESS, 1997,p. 52) takes
a defiant stance and reaction to constant pressure to define self by parents and
relatives during adolescence. The work presents the perception of the successful
young male juxtaposed by the transvestite and the spy disrupting any possibility of a
stereotypical conclusion.
You are What you Wear (Genner, 2001, p.18) is an example of how students
interrogate the devices used by marketing and media to promote specific gender
constructs through fashion statements that facilitate consumerism and define the
female adolescent. The student has photographed themselves in their own product
10
You are what you wear T-shirts and has set about the process of merchandising her
concept using mass media techniques of the fashion industry to explore our
desire to use accessories to define ourselves within our consumer driven society.
Beauty (Giang, 2003, p.21) explicitly makes the process of commodification

personal and particular. The calendar titles My Breast are your Fortune, satirises the
traditional Nude Calendar often found in male workplaces. Through her investigation
of the sexual portrayal of women and the exploitation of desire by the media, she
reveals how such representations present a particular construct of women. The
words on her calendar read, Buy Me, Wear Me, Drive Me, Use Me, Date Me, Smell
Me, Eat Me, Love Me, Watch Me and image and text supporting commodification,
use me, Ill change your life.
Student works such as Ballyhoo (Hlavacek, 2002, p.107) and Mesh (Gorgiojski,
2005) are excellent examples of a genre style in ARTEXPRESS that critically
comments on popular media and the loss of individual identity through consumerism.
They work from the orientation of the designer and present their artwork in the format
of the magazine. By becoming the editor and artistic director, Gorgiojski (2005) in her
work Mesh demonstrates how one is able to participate in the process and assess
one of the ways identity formation is shaped. I created a world of famous people,
showing the power of the magazine industry and how easy it is to make an average
person look famous using digital technologies.
Conclusion
Attending to finding a position about self that is somewhere between the absolutes of
objectivism and subjectivism and to work discursively and interpretively within the
fields of feelings and possibilities is the challenge for youth. To find a framework
which will allow a prolonged encounter between self, other and society in ways that
support and work in dynamic relationship with ones emotional and imaginative life is
a necessity. Such a mechanism and its resultant cultural practices will need to be
perceived by adolescents as authentic. It will need to provide each individual with
inquiry practices that allow for reciprocity between self and society grounded in
relevant representational and communicative practices. Contemporary Visual Art
curriculum which nurtures a critical visual, self reflective and expressive capacity
through visual performative and communicative practices is emerging as providing a
legitimate communicative platform for the adolescent to see possibilities. The inquiry
identified that in the area of visual media gender representations, visual performative
11
and communicative practices of the young artists supported the exploration of

subjectivity through imaging and it was a valuable skill for producing subjectivity in a
visual consumer society.
12
References
Abbinnett, R. (2003). Culture and identity: critical theories. London, Sage.
Aguirre, I. (2004). Beyond the Understanding of Visual Culture: A Pragmatist Approach to Aesthetic Education. In
Journal of Art and Design Education. 23 (3), 256-269.
ARTEXPRESS (2004). ARTEXPRESS@COFA. The College of Fine Art, The University of New South Wales.
Barker, C. (2000). Cultural Studies. London: Sage Publications
Bolt, B. (2004). Art Beyond Representation, The performative Power of the Image. London,
I.B. Tauris & Co Ltd.
Bourdieu, P. (1977). Cultural Reproduction and Social Reproduction. In J. Karabel and A.
Halsey (Eds.), Power and Ideology in Education. New York: Oxford University Press.
Bauman, Z. (2004). Identity: conversations with Benedetto Vecchi/ Zygmunt Bauman.
Cambridge, UK: Polity Press.
Bulter, J. (1997). Performative Acts and Gender Constitution: An Essay on Phenomenology
And Feminist Theory. In Katie Conboy, Nadia Medina and Sarah Stanbury (eds) Writing on the Body:
Female Embodiment and Feminist Theory, New York: Columbia University press (pp.401-417)
Deleuze, G. (1990). Negotiations, trans. Martin Joughin, New York: Columbia University
Press.
Deleuze,G. & Guattari, F. (1987). A Thousand Plateaus, Capitalism and Schizophrenia.
Translated by Brian Massumi. Minneapolois, University of Minnesota.
Denzin, N. K. (2005). Emancipatory Discourses and the Ethics and Politics of Interpretation.
nd
In Denzin, N. & Lincoln, Y. (Eds) Handbook of Qualitative Research. (2 ed.). London, Sage Publication.
nd
Denzin, N. & Lincoln, Y. (2005). Handbook of Qualitative Research. (3 ed.). London, Sage
Publication.
Dewey, J. (1934). Art as Experience, New York, Capricorn Books.
Duncum, P. (2003). The Theories and practices of Visual Culture in Art Education. Arts
Education Policy Review, 105 (2) 19-29.
Duncum, P. (2004). Visual Culture Isnt Just Visual: Multiliteracy, Multimodality and Meaning.
Studies in Art Education. 45.3. 252-265.
Eisner, E. (2001). The Role of the Arts in the Transformation of Consciousness. Paper
presented at the Tenth Occasional Seminar in Art Education, Sydney, NSW: COFA
Emery, L. (1996). Heuristic Inquiry: Intensifying Subjectivity in Art Education Research,
Australian Art Education ,19 (3), 23-30.
Emery, L. (Ed.) (2002). Teaching art in a postmodern world: theories, teacher reflections and
interpretive frameworks. Altona, VIC: Common Ground Publishing.
Featherstone, M. (1995). Undoing culture: Globalization, Postmodernism & Identity. London,
Sage.
Freedman, K. (2001). How do we to understand art? Aesthetics and the problem of meaning
in curriculum. In Duncum, P. & Bracey, T. (Eds). On knowing. New Zealand,
Canterbury University Press.
Freedman, K. (2003). Teaching Visual Culture. Curriculum, Aesthetics, and the Social Life of
Art. New York, Columbia University, Teachers College Press.
Grierson, E. (2006). Creativity: Cultural Identities in a state of becoming. Questions of
legitimation in a global economy. Paper presented at Art Education Australia
conference, Melbourne, July.
Guattari, F. (1995). Chaosmosis, an ethico-aesthetic paradigm. Power Publications, Sydney,
Australia
Habermas, J. (1976). Communication and the Evolution of Society. Translated by Thomas
McCarthy. Boston: Beacon press.
Habermas, J. (1990). Moral Consciousness and Communicative Action. UK: Policy Press.
13
Haraway, D. (1998). The Persistence of Vision, In Mirzoeff, N. (Ed), Visual Cultural Reader
(191-198): London, Routledge.
Kincheloe, J. & Mclaren, P. (2005). Rethinking Critical Theory and Qualitative Research. In N.
nd
Denzin & Y. Lincoln (Eds), Handbook of Qualitative Research. (3 ed.). London,
Sage Publication. 303-342
Kellner, D. (1992). Popular Culture and the Construction of Postmodern Identities. In L. Scott
& J. Friedman (Eds.), Modernity and Identity (p. 141-178). Oxford UK& Cambridge
ESA: Blackwell.
Kosslyn, S. M. & Sussman, A. L. (1996). Roles of Imagery in perception: Or there is no such
Thing as immaculate perception. In M.S. Gazzaniga (Ed), The Cognitive
st
Neurosciences (1 ed., pp.1035-1047). Cambridge, MA: MIT Press.
Kristeva, J. (1982). Powers of Horror: An Essay on Abjection. New York: Columbia University
Press.
Lash, S. & Friedman, J. (1992). Modernity and Identity. Oxford UK: Blackwell.
McCarthy, C., Giardina, M.; Harewood, S. and Park, J-K (2003). Contesting culture: Identity and curriculum dilemmas
in the age of globalisation, postcolonialism, and multiplicity. Harvard Educational Review, Cambridge. 73
(3) 449-60
Mcquillan, M. (ed) (2000). The Narrative Reader, London, New York: Routledge.
Mansfeild, N. (2000) Subjectivity, Theories of Self from Freud to Haraway: Australia, Allen &
Unwin
Meskimmon, M. (1997). Visuality: The New, New Art History? Art History. 20 (2), 331-335
Mirzoeff, N. (ed) (1998). The Visual Culture Reader, New York: Routledge.
N.S.W. Board of Studies. (1991). Artexpress. N.S.W. Department of School Education.

N.S.W. Board of Studies. (1994). Artexpress. N.S.W. Department of School Education.
N.S.W. Board of Studies. (1995). Artexpress. N.S.W. Department of School Education
N.S.W. Board of Studies. (1999). Stage 6 Syllabus Visual Arts, Preliminary and HSC Course.
N.S.W. Department of School Education
Plager, K.(1994). Hermeneutic Phenomenology. A Method for Family health and health
promotion Study in Nursing. In Benner, P. (Ed), Interpretive Phenomenology:
Embodiment, Caring, and Ethics in Health and Illness.(65-83). Thousand Oaks, Ca.
Sage.
Rhode, C. & Platteel, A. (1999). Symbol Soup. London: Thames & Hudson.
Rogoff, I. (1998). Studying Visual Culture. In Mirzoeff, N. (ed). The Visual Culture Reader.
London and New York: Routledge.
nd
Rose, G. (2007). Visual Methodologies. An Introduction to the Interpretation of Visual Materials, 2 Ed. London,
Sage.
Schirato, T. & Webb, J. (2004). Reading the Visual, Sydney, Allen & Unwin.
14
Szerszynski, B. & Urry, J. (2006). Visuality, mobility and the cosmopolitan: inhabiting the
World afar. The British Journal of Sociology, 57 (1), 113-131.
Stafford, B. (1996). Good Looking Essays on the Virtues of Images. Cambridge: MIT Press
Sullivan, G. (1998). Critical Influence, Jane Dyer and Nikki McCarthy. College of Fine Art, The
University of New South Wales
Sullivan, G. (2005). Art Practice as Research, Inquiry in the Visual Arts. California, Sage.
Tavin, K. (2005). Hauntological Shifts: Fear & Loathing of Popular (Visual) Culture. In Journal
of Issues & Research. 46(2,) 101-117.
Want, C. (1997). Severed tales; or, Stories of art and excess in Nietzsche and Gericault. In
Other Than Identity, The subject, politics and art. Ed Juliet Steyn. Manchester,
Manchester University Press.
Venturelli, S. (2004). From The Information Economy to The Creative Economy: Moving
Culture to the Centre of International Public Policy. Retrieved from the World Wide
Web May, 04. http://www.culturalpolicy.org/pdf/venturelli.pdf
15

Taking A Hard Look, Gender and Visual Culture

Încărcat de

Informații document

Titlu original

Drepturi de autor

Formate disponibile

Partajați acest document

Partajați sau inserați document

Opțiuni de partajare

Vi se pare util acest document?

Este necorespunzător acest conținut?

Drepturi de autor:

Formate disponibile

Taking A Hard Look, Gender and Visual Culture

Încărcat de

Drepturi de autor:

Formate disponibile

Kathryn Grushka (2007).

Taking a hard look: Gender and visual culture

Exploring Visual Culture through Discursive and Performative Visual Art

Visual Culture, Media and Visuality: Positioning visual art learning as an

Vision is positioned as a primary sensory way of imagining and experiencing the

An individuals lifeworld shapes their subjectivity or identity and is presented in this

Issues of Subjectivity and Identity: seeing is being, the pictorial turn

Youth cultures are no longer remote or isolated but increasingly influenced by a

Global Visual Culture and Gender Representation

Gender representations characterised by hegemonic heterosexual stereotype

As desire is strongly linked to identity engaging in subjectivity production means

The Visual Art Curriculum Learning Context in NSW, Australia

Visual art curriculum in Australia is increasingly driven by a postmodern oriented

expressive practices which is referred to in this paper as the skill of visual

The study draws on a hermeneutic phenomenological approach (Denzin & Lincoln,

The Who am I Question

Table 1: Identity Categories represented in ARTEXPRESS exhibition

Justin Sayarath: Just Me; Just

Visibility as a cultural and social discursive identity construct

The work Dangerous Looks (Samantha Ingleby, 2003) demonstrates how a

Samantha Ingleby (2003,

Beauty (Giang, 2003, p.21) explicitly makes the process of commodification

and communicative practices of the young artists supported the exploration of

N.S.W. Board of Studies. (1991). Artexpress. N.S.W. Department of School Education.

S-ar putea să vă placă și