National Art Education Association

Complicating Visual Culture

Author(s): Vicki Daiello, Kevin Hathaway, Mindi Rhoades and Sydney Walker
Source: Studies in Art Education, Vol. 47, No. 4 (Summer, 2006), pp. 308-325
Published by: National Art Education Association
Stable URL: http://www.jstor.org/stable/25475792 .
Accessed: 12/11/2014 10:47
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .
http://www.jstor.org/page/info/about/policies/terms.jsp

.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact support@jstor.org.

National Art Education Association is collaborating with JSTOR to digitize, preserve and extend access to
Studies in Art Education.

http://www.jstor.org

This content downloaded from 148.206.159.132 on Wed, 12 Nov 2014 10:47:54 AM

All use subject to JSTOR Terms and Conditions

the
by
Copyright2006
NationalArtEducationAssociation A Journalof Issues and Research

Visual

Complicating

ArtEducation

in

Studies

2006, 47(4), 308-325

Culture

Vicki Daiello, Kevin Hathaway, Mindi Rhoades

Doctoral Students

SydneyWalker
Associate Professor
The Ohio State University
the study of visual culture, as advocated by James
Arguing for complicating
Elkins, this article explicates and explores Lacanian psychoanalytic
theory and
a
pedagogy in view of its implications for art education practice. Subjectivity,

Correspondence
concerning this article
should be addressed to
Dr. SydneyWalker,

concept of import for addressing student identity and the visual, steers the discus
sion informed by pedagogical perspectives of Lacan from theoristsMark Bracher,

The Department ofArt

Education, The Ohio
State University,

Shoshana Felman, and jan jagodzinski. A reading of contemporary artist Glenn

Ligon's work, Annotations (2003) demonstrates how unconscious desires, affec
are central to
tive responses, and multiple,
shifting, and contradictory beliefs
Lacanian psychoanalytic pedagogy and subjectivity in classroom practice.

258 Hopkins Hall,

128 North Oval Mall,

Columbus, OH
E-mail:

43210.

This

walker.188@osu.edu

article

course,

grew

out

of discussions

"Understanding

in an art education

begun
in

the Visual

Art

Contemporary

graduate

and

Culture,"

in the art

taught autumn quarter 2004 by Professor SydneyWalker

at The

State University.
The
work
previous
department
a
culture
of art education
scholars writing
about
visual
strong
provided
for a continuing
conversation
foundation
and students
among
professor
education

Ohio

beyond the course, particularly thework of Paul Duncum (2002, 2003,

2004; Duncum & Bracey, 2001), Kerry Freedman (2000, 2001, 2003a,
2003b), jan jagodzinski (2002, 2004), and Kevin Tavin (2000, 2001,
2002,

2003,

2005).

conversations

The

toward

gravitated

the

theoretical

possibilities offered by Lacanian psychoanalytic theory and subjectivity,

an

aperture

that art educators

have

only

to

begun

Most

explore.

helpful

for understanding this theorywere jagodzinski's (2004)

rigorous and

astute

The

insights

and

endeavor
entire

with

ideas

in Youth

conceptualizations

Fantasies:

Our writing effortwas

Landscape of theMedia.

examined,

stretched,

Perverse

indeed a collaborative
puzzled

questioned,

over

by

the

group.

Why Complicate Visual Culture?

In Visual Studies: A Skeptical Introduction (2003),

advances
"visual

notion:

provocative
is too easy
studies

"visual

to learn,

studies

too easy

to

James Elkins

is too

Elkins
insists,
easy."
too easy on itself
practice,

on what he observes
(p. 65). Elkins bases his assessment of visual studies
to be a lack of stringencyand vigilance in questioning the visual. To this
end,

Elkins

studies would

(2003)

speculates

that a more

and

rigorous

complex

visual

be:

308

Studies

This content downloaded from 148.206.159.132 on Wed, 12 Nov 2014 10:47:54 AM

All use subject to JSTOR Terms and Conditions

inArt Education

Visual

Complicating

with

denser

theories

warier

history,

of

and

more

strategies,
visual

existing

its own

about

reflective

theories, more

Culture

to

attentive

neigh

more vigilant about itsown sense of

boring and distant disciplines,
visuality, lesspredictable in itspolitics, and less routine in itschoice
of subjects, (p. 65)

are a call

statements

Elkins'

for art educators

to action

and visual

culture.

For while the discipline of art education struggles to define its object of
study,pedagogical goals, and academic identity,Elkins is suggesting that
is

situation

the

conceptualization,

not

already
too

complicated

reductive

in

enough?and
too

and

What

predictable.

its present

be

might

some of Elkins' ideas within the current flux of

gained by entertaining
about

discussion
In

the

visual

in

theory

psychoanalytic

we

article,

following

in art education?

culture

the

consider

as a

subjectivity

recognizing

of Lacanian

contribution

factor

primary

in art

education practicewith visual culture.We begin with a briefdiscussion of

a
subjectivity as background to consideration of critical pedagogy and

psychoanalytic

pedagogy,
between
these

distinctions

one

that

key

distinguishes

educational

approaches.

similarities

A more

and

in-depth

explanation of Lacanian psychoanalytic pedagogy and subjectivityfollows

and is amplified with a Lacanian reading of artistGlen Ligon's online
Annotations

artwork,
Ligon's

the role of desire,

scious,
one's

(See www.diacenter.org.)
a concern
to demonstrate
how

(2003).

is intended

work

can be

agency

the gaps,

and

and

silences,

to classroom

relevant

study

The

of
example
for the uncon

resistances

and visual

that affect

culture.

Terminology within discourse about visual studies and visual culture is

problematic and the latitude for settingdefinitions is unsettled.W. J.T.
Mitchell (2002) distinguishes visual studiesas a field of study implying a
and

process
Mitchell

visual

and

and

this

visual

commonly

terminology

of study. We
follow
object
might
on the
to reflect our
emphasis
study

the

studies

of the visual;

practice

pedagogical
culture ismore

as

culture

employ

throughout

among

employed
as an

term visual
given that the
art education
scholars, we use

however,
inclusive

term

of studyand the object of study.

Psychoanalytic

In our
visual
concern

search

for multiple
we

culture,
within

recognized
sociocultural

and

psychoanalytic

the
and

socio-cultural

in different

subjectivity

theoretical

ways,

Theory

for
perspectives
self as
significant

psychoanalytic
theories

we

indicating

endeavored

both

art education
and

theories.

a field

and

a common
Noting

that

the concept
of
approach
to learn how Lacanian

a
not
in art educa
found
theory,
perspective
frequently
be used to complement
and complicate
socio-cultural
theories
as it relates to visual culture.1
of
understandings
subjectivity

psychoanalytic
tion, might
and enrich

Studies

in Art Education

309

This content downloaded from 148.206.159.132 on Wed, 12 Nov 2014 10:47:54 AM

All use subject to JSTOR Terms and Conditions

*An informal investiga

tion of art education
writing about visual
culture over the past
five years from six jour
nals, Art Education, Arts
Policy Review,Journal
ofAestheticEducation,
Multi-cultural and
Cross-culturalResearch
inArt Education,
Studies inArt
Education, and Visual
Arts Research,yielded
over 30 different
authorsmany ofwhom
exhibited a preponder

ance of theoretical
referencesto cultural
studies and critical

pedagogy and theorists

such as Henri Giroux,
StuartHall, Raymond
Williams, andMichel
Foucault.

with Vicki

Sydney Walker

Daiello,

and Mindi

Kevin Hathaway,

Rhoades

Subjectivity

In his exploration of subjectivity under modernism and postmod

ernism,Nick Mansfield (2000) recognizes that the terms subjectand self
often

while

According

used
interchangeably,
toMansfield,
'does not
self

important
embody
the social and

carry

distinctions.

cultural

engage

ment implicit in the term subject.Our alignment is thuswith Mansfield's

as "the way our immediate daily life is
understanding of the subject
in
complex political, social, and philosophical?
always already caught up
that is, shared?concerns"

(p. 3).

In regard to subjectivity,Mansfield admits to a lack of consensus

because themeaning of this term is derived by following differentpaths
to different ends. Employing Michel Foucault's terminology,Mansfield
describes his own approach as a genealogical uncovering of the diverse
theories

ways

represent

subjectivity,

rather

than

search

metaphysical

a similar

stance

representation
To

in our

in

search

for understandings

about

theory.
psychoanalytic
of subjectivity
for a discussion

set the context

subjectivity

and

for

also assume

the truthof subjectivityand a final theoryof the subject.We

visual

its

and

culture,

we

(2000), for

firstoffer some general remarks about subjectivity.Mansfield

instance,

explains:
to an abstract or
refers, therefore,
general principle
'Subjectivity'
us
selves and that encourages
into distinct
that defies our separation
our
interior
us
to
or
understand
to
that,
why,
simply helps
imagine
of
either as objects
seem to involve other
lives inevitably
people,
sharers of common
need, desire, and interest or as necessary
experi
linked to something
is always
In this way
the subject
or
or
the
idea
of it?an
society of other subjects.
principle

outside

ence.

(2000,

P-3)
characterization

Mansfield's
an

psychoanalytic
subjectivity.

of

is interrelated

life that

interior

subjectivity
to others.

acknowledges
importantly
encounter
Lacanian
As we

to
is central
of self and other
constructing
theory the issue
to the other, the symbolic world,
relation
One's
represents

of subjectivity.
key factor inLacanian psychoanalytic explanations
unconscious

The

in Lacanian

psychoanalytic

theory,

derived

via

Freud,

thinkers such as
complicates subjectivity further.While Enlightenment
Rene Descartes (1596-1650) and Immanuel Kant (1724-1804) held the
individual to be a product of conscious, knowable, intellectual thought,
psychoanalytic
tionality,

obscurity,
such aspects

repressed
the aesthetic.
In

the

following,

introduced

of the unconscious

notions
and

the unknowable.

of the self historically

we

compare

and

inconsistency,

rationality
Enlightenment
emotions
with
associated

intermingle

the perspectives

and critical pedagogies

subjectivity from psychoanalytic

more

richly

layered,

heterogeneous

approach

to visual

culture.

irra
had

and

of

to produce a
In doing

so,

310 Studies inArtEducation

This content downloaded from 148.206.159.132 on Wed, 12 Nov 2014 10:47:54 AM

All use subject to JSTOR Terms and Conditions

Complicating

we

to

hope

to

attention

bring

theory's

psychoanalytic

Visual

distinctive

Culture

contri

butions to the study of relationships among subjectivity, identity, and

We

culture.

visual

not

do

to resolve

intend

and

differences

tensions

among theories,but follow Elkins' advice tomake the theoreticalground

more

studies

of visual

Acknowledging
our
in art education,

not more
but hopefully,
less predictable,
is an emergent,
culture
topic
evolving
about
is to stimulate
questions
subjectivity

dense,

that visual

obtuse.

intention

while enlarging the possibilities forhow we might explore and understand

visual

images.

Critical Pedagogy and Psychoanalytic

Pedagogy
a psychoanalytically informed
According toMark Bracher (2002),
to

is comparable

pedagogy

informed

pedagogies

by socio-cultural

theories

in that both value the pursuit of liberation from oppressive social and

cultural

hegemonies,
and

and

both

perspectives
and cultural

personal

values,

to empower

aim

the discovery
students
enable

resistance,

edge,
both

knowl
through
In addition,
potential.
to map,
their
identify, and question
historical
memories,
suppositions,

of

meanings,

students

their fullest

and emotions. Specifically, Bracher (2002) finds that in sharing the same
core desire

and psycho
critical
for positive
self-transformations,
pedagogy
a
a
result:
and
share
key process
significant
analytic pedagogy
to a
of oppositions
and the
one's
identity leads
recognition
Mapping
of conflicts between
different
identity components,
experiencing
to one's present
in relation
these conflicts
and
through
working
of one's
the alteration
realities and future possibilities
promotes
an alternative
or the
result that
of
identity?a
identity,
development
from a constricting
liberates subjects
identity and thus empowers

them both personally and collectively, (p. 113)

resonates
a desire
in both
and
for liberation
psychoanalytic
Although
share an interest in mapping
iden
and these approaches
critical pedagogy,
some
are also
in their
and
differences
tity, there
practices
significant
to each
can be traced
method's
differences
results. These
pedagogical
of

characterization
At

position.

of identity,
and subject
the relationships
subjectivity,
is the view of identity as determined
by subject position,

issue

rather than determined by subjectiveposition (Bracher, 2002). An identity

by

shaped

subject

a function

of a

or

position,

2002,
(Bracher,
identity"
socio-cultural
theory and
subjective

determined

"socially
ismost

often

114),

p.

signifiers
associated
with

of group
or

critical

as
while
approaches,
identity
pedagogical
unconscious
forms
desires,
position,
along with
related

the basis of psychoanalysis and psychoanalytically informed pedagogy.

Psychoanalytically informed pedagogy offers the cultivation of deeper
discussion
ments

and

we make

admissions
in

in individual,

of ownership

emotional

invest

images.

Viewing identityconstruction as largelydetermined by subject position

can

also

Studies

be,

cautions

inArt Education

Bracher

(2002),

potential

source

of alienation

311

This content downloaded from 148.206.159.132 on Wed, 12 Nov 2014 10:47:54 AM

All use subject to JSTOR Terms and Conditions

Sydney Walker

with Vicki Daiello,

than

rather

Kevin Hathaway,

Bracher

empowerment.

and Mindi

this

explains

Rhoades

controversial

notably

point arguing that even with the identification of core subject positions
that one

believes

explains
that a subject

significance

their

identity,
view
position

are

areas of
finely-grained
cannot
identity
acknowledge.

there
of

Even recognition of multiple and overlapping subject positions is often

to

that characterize
the contradictory
beliefs
one's
explain
a
For
of
the
distinctions
between
the
recognition
example,
subjectivity.
American
of "black,
women"
from
lesbian,
subject position
working-class
women"
that of "black,
African
2000,
lesbian, working-class
(Bracher,
inadequate

p. 114) cannot fully account for other identity attributes thatmay be

contributing to subject position. Psychoanalytic theorywould thus
and
affective responses
acknowledge
cant determinants
of subjectivity.

unconscious

to also

desires

be

signifi

Additionally, by not being restrained by discrete essentializing cate

gories, a psychoanalytically informed view of identity can acknowledge
the shifting,contextual and historical qualities of subjectivityand desire.

perspective
strategy when

psychoanalytic

complementary

offers

and

socio-cultural
images:

interrogating

critical

instead

theories

of explaining

a visual image's effectsprimarily through its affiliationwith "political

and

conflicts

alliances"

2002,

(Bracher,

p.

115)

or

external

forces,

an

image's alluremight be explained by identifyinghow it corresponds with

conflicts

internal

caused

and

by desire

by affective

complicated

responses.

In thisway, an individualmight begin an exploratory self-dialogue, thus

or creating images.
eliciting a sense of agency in the process of analyzing
Desiring
As

to Learn: Theorizing Visual

through Lacans Registers

theory acknowledges
or
can observe
speak

to socio-cultural

strategy

complementary
not

only

about,

those
but

theories,

characteristics

also

those

Culture

to be

psychoanalytic
that we
of subjectivity
in the absences,
found

A number
that shape human
invisibilities
and
silences,
experience.
gaps,
of scholars
and researchers
Britzman,
1999; Couture,
2002;
(Bracher,

2002; Felman, 1997; jagodzinski, 2002, 2004) have found psychoanalytic

theories
and

in

to be

applicable
the
researching

to

in education

problems

literature,

we

conclude

theory
that the

and

practice,
of

principles

for
psychoanalytic theory also hold promise for visual culture, especially
promoting
subjective

a sensitive,

characteristics

personalized
of images.

reading
Drawing

of the performative
upon

jagodzinski's

and

inter

writings

on youth fantasies and the media (2004), guided by Mark Bracher's

(2002) discussion of identity and desire in the classroom, Todd
McGowan's
(2004) critique of "the society of enjoyment" and Jacques
we wrestle with
the issues of psychoana
theory,
psychoanalytic
we
how
the psychoan
visual
culture.
and
explore
Specifically,
lytic theory
ties between
of the deep
its acknowledgment
with
alytic perspective,
to art
be of value
the unconscious,
and
visualities,
might
subjectivity,

Lacan's

312

Studies

This content downloaded from 148.206.159.132 on Wed, 12 Nov 2014 10:47:54 AM

All use subject to JSTOR Terms and Conditions

inArt Education

Visual

Complicating

education

for

a visual

conceptualizing

culture

that

is "more

Culture

about

vigilant

itsown sense of visuality" (Elkins, 2003, p. 65).

Lacan's
of Freud's
Psychoanalytic
theory, especially
Jacques
reworking
to visual
is relevant
in several ways.
culture
First, the Freudian
on a
and emphasis
drive
offer a means
of under
origins
scopophilic2
nature
even
the seductive
of the visual
the oft-irrational,
and
standing

postulates,

inexplicable, appeal that images inspire. Second, in its focus on the indi

vidual
analytic

can

theory

image/subject

their

and

subject

lead

investments
psychic
personal
to sensitive
and nuanced

relationship,

in

images,

explanations
other methods
of visual

complementing

psycho
of the
study.

Finally, in operating from the premise that a subject's identity is built

and

upon

sustained

by

an

unconscious

identification

with

images,
theories

can enrich
informed
theory
socio-culturally
a way of
even
the
affective,
irrational,
explaining
deeply
links between
visual
and
the formation
of subjectivity.3
In
experiences
find that the very
fact, Lacan's
psychoanalytic
theory would
inauguration
as one's
of
can be
is
and what
understood
subjectivity
consciously
identity
as the mirror
traced to a
visual
known
highly
significant
experience
stage
an
wherein
entrance
transaction
marks
into
In
image-based
subjecthood.
psychoanalytic
it offers
because

we describe
the mirror
following,
as
Lacan
that
registers
posits
integral
of one's
operation
subjectivity.
the

A Brief Introduction
In
general, Lacan
that occurs within

theorizes
the

stage and also the real and symbolic

to
the formation
and
understanding

developmental

as a

of the unconscious
process
or
as the
stages known
registers,

real, the imaginary,and the symbolic (Lacan, 1973). Arguably themost

accessible

of Lacan's

Not

2000).

(believed

the mirror

notoriously
writings,
event
in the formation
of subjectivity
a
event, but a psychical,
physiological
metaphorical

as a

theorized

difficult

refers

to a child's

sioned

an

by
this experience

between
first

encounter

the ages

of 6 and

18 months),

stage

juncture
the mirror
stage
occa
Whether

of their reflected
glimpse
image.
a mirror
or a reflection
with
in someone's

is synonymous

with

the nascent

"visual

sense

of the

wholeness" (jagodzinski, 2004, p. 53).

Prior

is

(Mansfield,

pivotal

to occur

eyes,
body's

to the mirror

exists within
the
stage, subjectivity
register of the
state where
and
bliss prevail.
fullness,
unity,
Within
no desires,
the real, there are no needs,
no
lack?just
complete
and utter
ness, wholeness
the
pleasure. Within
register of the real, there is
no
of an individual
that is separate
from others,
indeed
perception
body
even
surfaces
that the child
touches?the
mother's
"(t)he many
skin,
all felt to be part of a continuous,
carpet?are
clothing,
uninterrupted,
real?an

undifferentiated

limitlessbeing" (Mansfield, 2000, p. 41).

Importantly, the registerof the

real

is

to the advent
pre-symbolic,
experienced
prior
The
as a
absence
of
continues
language.
language
key

Studies

inArt Education

in looking, is "one of
the basic driveswith

which all (sighted)

children are born."
^As explained in
Kanakis Leledakis'
1995 study,Society
and psyche:Social theory
and theunconscious
dimension of the social,
a theoryof the

"unconscious dimen
sion of the social"
should be understood
as "a necessary
supple
ment" to theoriesof the
conscious socialworld
because it "provides a
theoreticalframework
to account for the non

To Lacan's Registers

subjectivity

-According toGillian
Rose (2001, p. 100),
Freud argued that
scopophilia,or a pleasure

of one's

entry

characteristic

into

of the

313

This content downloaded from 148.206.159.132 on Wed, 12 Nov 2014 10:47:54 AM

All use subject to JSTOR Terms and Conditions

conscious, non-rational,
but also potentially
immenselycreative
aspects of social life"
(p. 195).

Sydney Walker

even

real

with Vicki

after

one

Kevin Hathaway,

Daiello,

has

entered

the

As

the point

or

of separation

the

of

system

a
stage is

the real, the mirror

from

splitting

Rhoades

and

register

symbolic

significations (language and culture).

and Mindi

critical threshold.Not only does this threshold signal the passage into the
it also marks
of the
imaginary,
register
ization of the self as a whole,
unified,
the notion

of

a unified

self

is a

the
and

of one's

beginning
separate

conceptual

being." Unfortunately,
or
meconnaissance"

misrecognition

(Lacan, 1973, p. 74), for even though themirror reflection is believed to

be

one's

or

"I"

unified

integrated,

true

it is actually
only
that not
demonstrates

self,

of the

The

imaginary
register
paradoxical
a means
and
of communication
signification,
images
a
of
and
locus and symbolic
currency
contradictory
mirror

The

in several
gural
because

stage and

an

they

are also

illusory

self.

image.
are

only

the very

are
into the
register
significant
imaginary
the inau
First, the mirror
image represents
or
sense of an autonomous
self
ego; next,

entrance

intertwined

ways.
of a subject's
this autonomous
self is actually

moment

of an

image

misrecognition?an

other that the subject confuses with the idea of self, subjectivity is built
upon an illusion and ego stability thatwill foreverbe sought in external
or situations.
the meconnaissance
taken
Finally,
together,
images, objects,
entrance
locus
into
and
the external
the imaginary,
of the mirror stage, the

of the ego's stabilityestablish a subject's selfhood as "radically decentered

and located in theOther" (jagodzinski, 2004, p 53).
The
hood,

self
imaginary
and the subjective

is a complex
paradox
"center of gravity"

a contradiction,

and

that holds

one's

for self

ego

together,

is actually grounded outside of the self "in the very field of images from
which (the subject) firstgained a sense of separation" (Mansfield, 2000,
p. 43). This contradictory and external origin of subjectivityexplainswhy
and

fulfillment

security

as a

self is never

complete

achieved.

Additionally,

in being split from the unity of the real, a person's identitywill always be
to fill the lack (or
contingent and driven by desire?an unflagging desire
of

absence

the real)

at

the center

of one's

being.

In Lacanian

this

terms,

desire is the objet a. Further, this desire for completion is an impossible

quest

originate
conscious

at the unconscious
world

For Lacan,
and

fullness

the subject's

sense

the unbearable

because

will

ever

of

loss and

for the

the demand

that no object
level, ensuring
desires.
unconscious
one's
satisfy

or action

for a return
and subsequent
this separation
longing
It also
structure
to
unconscious.
of
the
the
is critical
entrance

into

the

symbolic

order,

the system

of

real

in the

to

unity

explains

significations

means by which desires are

(language and culture) that becomes the
or unity at
The
and
pursuit of completion
pursued.
expressed (signified)
the heart

of each

person's

subjectivity

in what

originates

Lacan

calls

the

or the object indesire.Acknowledging the paradoxical and slippery

objet a,
nature of Lacan's concept, jagodzinski (2004) points out:

314

Studies

This content downloaded from 148.206.159.132 on Wed, 12 Nov 2014 10:47:54 AM

All use subject to JSTOR Terms and Conditions

inArt Education

Visual

Complicating

as the

of desire,

'cause'

objet

a does

not

Culture

refer to the normative

scientificunderstanding of cause. Specifically, the objet a "does not

as an
entity
preexist desire
rather it is a nonspectacular

that sets it in motion,

element

that

desire,
arousing
to a felt lack.

'gives body'

(p. 41)
matters

Further

complicating
material
object,"

"actual

but

is that

the

objet
refers to an

instead

a does

not

object's

an

denote

or

"spectral

magical effects" (jagodzinski, 2004, p. 33). Therefore, as jagodzinski

posits, the fantasmatic, spectral objet a could be "applied equally to an
a culture's

or

uncon
(2004,
p. 33). The
are
an
not
in
revealed
individual's
then,
subjectivity,
only
are
in the
also
of fantasies
around which
cultures
complex

nation,

individual,
scious

fantasies"

of

origins
but

fantasies,

sustained. Building upon this idea, jagodzinski (2004) and Zizek (1989)
an

make

assertion
about
and
important
fantasy
fantasy
ideology:
a fundamental
the perception
by
"shaped
misrecognition
regarding
a
to be the result
therefore
of reality assumed
'reality,'"
perception
a
be
the
actually
fantasy
supported
"ideologies"
might
by
objet

is
of
of
a"

(jagodzinski, 2004, p 41). In otherwords, the false consciousness believed

to be

associated

with

consciousness

constituted

a false
structures
social
is
and
ideology
actually
a
lack?a
fundamental
by
subject's
misrecogni

tion of realityoriginating in, and perpetuated by, the objet a. The objet a
is the crux

of

and

identity

is as

unique

as a

fingerprint.

the

Moreover,

objet a is fluid and changeable, fluctuating inmeaning and importance

one's

throughout
Because
being,

the

lifetime.
objet

is an

is

subjectivity

exquisitely
with

fraught

sensitive

aspect
affective

complex

of each

person's
characteristics.

Additionally, the objet a, while powerfully influenced by subject position,

is not

a "direct

the way

reflection

one's
one

subjectivity

of that

social

complications

positioning
to the
position"
brings
arise from the fact that

shaped by the objet a. One's

the other

and

This means
explaining

positioning,
has been

also

from

but

rather

internalized

(Bracher,

(is) a function

by

2002,

p.

intersubjective

of

the particular
114). Further
are

relationships

identitydepends upon being recognized by

being worthy

of

assuaging

the other's

lack as well.

that desire is always the desire of the other (Lacan, 1973),

why

often

people

act

in ways

that they believe

others

expect

or

desire of them. Examples of desire's linkage of self and other abound in

youth cultures where the drive to be accepted and found desirable is
in fantasies

manifested

that

unite

teens?fantasies

as

ineffable

as

the

or
longing to be part of the "in" crowd or as tangible as iPods
body
observes
the
social
and
affective
piercings, jagodzinski (2004)
powerful
resonance

of

the

in

cultures where
youth
part of the 'in'
being
in
the
fantasies
of
culture
participation
symbolic
youth
while
the
that
unites
the
members
simultaneously
disavowing
antagonism
of the group. He
explains:
objet

group

necessitates

Studies

in Art Education

315

This content downloaded from 148.206.159.132 on Wed, 12 Nov 2014 10:47:54 AM

All use subject to JSTOR Terms and Conditions

Sydney Walker

In

what

cultures

youth

quickly

with Vicki Daiello,

out

contagious.
phrase?

Kevin Hathaway,

is 'cool'

and

in one

'hot'

in the next. This

of fashion

and Mindi

Rhoades

instance

can

fall

can be

affect, however,

as in the

the 'it' of the object's

power,
Possessing
a
'she got ii confirms
group fantasy where

identity

becomes solidified, (p. 44)

The slippery and paradoxical nature of the objet a is also complicated
its traversal

by

of all

three

registers.

Being

or

"surplus,"

'in'

"something

the object that is 'more than itself,'" (jagodzinski, 2004, p. 39) the objet a
is ametonymic bit of the real sought in, and enacted through, experiences

with

images

material

and

object,

open,

dynamic,
and
open-ended
in the process

as an
in desire,
and not a
Moreover,
language.
object
a is an
the
and
concept?as
dynamic
open-ended
objet
as the
it effects. Further,
the
and contingent
subjectivity
contingent

qualities
and
"becoming,"

of

of the

a ensure

objet

is

thus

it is always
to
leading

that

of ever

incapable

complete satisfactionof desire (jagodzinski, 2004).

to Lacanian

its
theory demonstrates
complexity,
construc
and
identity
subjectivity
understanding
in
tion. We
that Lacanian
believe
theory,
psychoanalytic
acknowledging
of
the unconscious
and affective
comple
subject positions,
underpinnings
we believe
ments
that
theories
and
socio-cultural
Further,
pedagogies.
can be of value
in visual
for
culture
Lacanian
theory
psychoanalytic
own
to
how
their
students
(and
teachers)
encouraging
self-interrogate
This

brief

introduction

its relevance

also

but

for

desires are being expressed or repressed through their relationshipswith

images. Finally,
framework
useful

make

in

images

and

a
that Lacanian
theory provides
posit
psychoanalytic
we
investments
all
the emotional
for acknowledging
in
conflict
so, creates a forum for discussing
and,
doing
as valid aspects
In
of one's
and identity.
subjectivity

we

pleasure-seeking
we
of Lacanian
the
the possibilities
explore
following,
artist
Glenn
with
contemporary
Ligon's
pedagogy

psychoanalytic
online
artwork,

Annotations (2003).

Glenn Ligon's Annotations

The choice oi Annotations (2003) forpurposes of analysismeets Elkins'
(2003) challenge to visual studies to choose objects of study that are less
and more

routine
it exists

complicated.
as an online
artwork

because

it represents

text,

and

from

images,

initial

interpretations.

poststructuralist
sound which

at

in part,

is less routine,

Annotations

hosted

www.diacenter.org
with
approach
alter,

elucidate,

because

and more

so

layered meanings
or
one's
disrupt

a
a
Superficially, Annotations is simple electronic version of family
album. As
photo
viewer must
The

such,

it is an

interact with

ephemeral,
the album

visually
to enter

interactive
it and

turn

experience.
the pages,

a traditional photo album, but Ligon adds

mimicking the interfacewith
some

most

complicating
photographs

elements

to this

in the 20-page

interaction.
album

are

One

complication

potentially

316

Studies

This content downloaded from 148.206.159.132 on Wed, 12 Nov 2014 10:47:54 AM

All use subject to JSTOR Terms and Conditions

is that

interactive,

in Art Education

Visual

Complicating

to an additional layeror layers.These layers includemore photos,

leading
lists,

Culture

letters,

book

captions,

covers,

or

literary quotations,

"audio

of

clips

music, including the artist singing a capella or with songs from the '70s
and

Sara

'80s."

asserts

Tucker

(n.d.,
and

that the layering

tions more

Another

Center

for the Arts,

an artwork

create

associations

that func

to "multiply the layers of

like memory, allowing Ligon

interpretation."

possible

the Dia

of

5),

para.

loose

of Annotations

complication

is that,

unlike a traditionalphoto album, many of the photographs in this album

are

from

culled

anonymity

unknown

and

viewer

disrupts

sources.

unrelated

about

assumptions

family

deliberate

Creating
albums

as a

reposi

tory formeaningful, truthful personal narrative. Additionally, Ligon

complicates this family album by employing its layered and deliberate
to expose

fiction

the gaps

the conventions

and

of family

a fecund
provides
In Annotations,

to

pertaining
subjectivity.
environment
for
nuanced
to

identity

creates

what

forum

sexuality,
Ligon

for

and
family relationships,
"a site of invention,
calls

cheering fictions, hidden histories and unforeseen

n.d.,

(Tucker,
ment
and

between

viewer
of

negotiation
one

On

5). This

para.

environment
dynamic
and work
that
highlights

juxtapositions"

depends
an
ongoing

on

an

engage

production

subjectivity.

the viewer

level,

through

issues
analyzing
a
dynamic,
Ligon
produces
as it relates
of
the process
subjectivity

exploring
such as race,

characteristics
Annotations

nationality.

and maintained

and Annotations

Subjectivity

Annotations

Ligon's

created

absences

albums.

may

get

a sense of

subjectivity

Ligon's

as a

gay

Black male through his inclusion of gay pornographic photos of African

American males and his labeling of heterosexual couples with the quota
tion,

two

"We

inclusion
about
affect

form

of details

a multitude"

(Tucker,

as

the viewer

such

Ligon's
subjectivity
the subjectivity
of

subjectivity
responses,
Some

of the viewer
beliefs,

viewers,

liberating

work

conflicts,
because
that

these,

as a

gay Black

some

and
of

para.

Through

the

information
partial
about
factors that can

and

males.

On

through

another
the viewer's

level,

the

affective

desires.

their

subjectivity,
might
as a
part of
sexuality
in a more
respond
negative
between
Black males
and

celebrates

6).

receives

male,

Black

gay
is also mobilized

n.d.,

find Annotations

African-American

manner
while
others
might
by noting
association
sexu
uncontained
stereotypical
or the inclusion
of a homosexual
orientation
within
the concept
of
ality
a viewer
On
the other hand,
learn that sometimes
family.
gay
might
as a result of a culture's
feel
and
people
oppressed
ubiquitous
celebratory
of
can be a
associated
with heterosexual
There
display
imagery
couples.
families,
the

as well
that include
these
as a
reactions
range of responses
contradictory
host of others.
In fact, one's
influences
the
elements
subjectivity
deeply
to in artworks.
that one will notice and
respond

Studies

inArt Education

317

This content downloaded from 148.206.159.132 on Wed, 12 Nov 2014 10:47:54 AM

All use subject to JSTOR Terms and Conditions

Sydney Walker

with Vicki

Daiello,

Kevin Hathaway,

and Mindi

Rhoades

Weather ^^^^^^^^^^H
S?m>y
Ain't
fc.
Misbehaving'
^^j?^HSiS-H^-r
^^^^^^^^^^H
^^^^^^^^^^|
.
.
IH
Taint
Botsss
Oo
Nobody's
^^^^^^^^H
y:k:^^sj^li'3u-A^^vm^J-,
aDay
aDifference
What
Makes ;!nfeMi?ffi'::?'-$SMS;iJ:i^lI&-J-:yi
^^^^^^^^^^H
^^^^^^^^^^|
'
8u<
tWB
Anything
>^^^^^^^^^^^^^^^^^^^^^^^^H

^^^^^^^^^^H

^^^^^^^^^H

tc

Someone

^^^^^^^^^H

Glenn
of the Dia

Courtesy

Me

^^^^^^^^M
^^^^^^^^^H

i^^^^^^^^^^^K^^^H^^^r

2003.
Ligon, Annotations,
Center for the Arts, New York, New

^^^^^^^^^1

York.

an

to frame

in
of Annotations
exploration
that
acceptance
theory does
psychoanalytic
not offer
or activities.
for classroom
prescriptive
templates
dialogues
are
an
Lacanian
in
best
used
reflective
Rather,
way.
principles
explorative,
to create
A
first step
be to offer students
the opportunity
suggested
might
Using
classroom

Lacanian

reflective

journals

and

principles

practice

requires

wherein

responses
and

guided

explored
through writings
discussion
of student
responses
of points

discovery

of conflict

or

can

to Annotations
Next,

images.
and reflections

irresoluble

issues

be

encountered

contemplation
can
help lead

generated

by

and
to the

the expe

rience.Through sustained reflectionand dialogue, there is the possibility

for

arise

developing
in one's

unmediated

an
of the
that can
oppositions
understanding
paradoxical
to
to achieve
reaction
it is
While
direct,
imagery.
impossible
access
to the unconscious,
one can
the effects of
engage with

their unconscious

drives
that

by exploring

the affective
to

reactions

and

contra

Further,

shape responses
imagery.
by introducing
tensions
into the
affects and
order
unsymbolizable
symbolic
or
a student's
sense of their
through
dialogue
images,
subjectivity
might
to exceed
and even fracture restrictively
coded
that
begin
subject positions

dictory

impulses

previously

limit or oppress

agency.

318

Studies

This content downloaded from 148.206.159.132 on Wed, 12 Nov 2014 10:47:54 AM

All use subject to JSTOR Terms and Conditions

in Art Education

Visual

Complicating

ii

-MM

^1

Glenn
Courtesy

Annotations

2003.
Ligon, Annotations,
Center for the Arts, New York, New

York.

can be understood

subjectivity

developmental

McGowan

(2004),

and

HI

The Registers

and

Lacan's

tion

b|
Ijfl

W^t

of the Dia

believe

registers.
that all

concern

express

about

Culture

Scholars
three

such

registers

the framework
of
using
as Bracher
and
(2002)
are
for educa
important
one
and
register

overemphasizing
how an artwork

or doesn't work
works
By exploring
a more
can
and teachers
the three registers, students
gain
awareness
with
of the world
and themselves. Annotations,
layers of

neglecting
within
each
complex

the others.
of

devices
that include
visual,
(Williams,
literary, and conceptual
to the viewer's
in ways
reactions
that
affective and cognitive
appeals
to the real,
of
imaginary, and symbolic registers
subjectivity.

meanings
2002),
relate

Imaginary and Symbolic Registers

Within

the imaginary

and

registers,

symbolic

the work

itself comprises

collection of photographic images, primarily of African Americans but

including
Caucasians.
tion

some

scattered

Tucker

for these

faces

family album?the
moments"
(para.

Studies

and

some

(n.d.,)

asserts

because

of

"our

portraits,
proud
In other words,
7).

inArt Education

concentrated

that

the viewer

sections
feels

of
of photos
of recogni

a sense

the conventions
intimacy with
new babies,
occasions,
special
we

recognize

the

structure

of a

banal
and

its

319

This content downloaded from 148.206.159.132 on Wed, 12 Nov 2014 10:47:54 AM

All use subject to JSTOR Terms and Conditions

^1

with Vicki

Sydney Walker

Kevin Hathaway,

Daiello,

Rhoades

and Mindi

components regardlessof whether we recognize the faces (the people) in

within

the photos

the album.

The

imaginary

can

register

disrupt

this sense

of recognition and identificationfrom the symbolicif the images and text

of Annotations
the family

do

not

structure.

reinforce
For

and mirror

the viewer's

idealized

an African-American

instance,

viewer

image
might

of

feel

connected and validated because this family album documents a primarily

African-American family.This same viewer might feel distanced because
a much
status than his or
socioeconomic
different
the pictures
represent
use of
a time too far removed
or
from the present,
represent
Ligon's
a conventional
demon
elements
format with
disruptive
photo-album
can arise between
strates how
and
the
the imaginary
conflict
symbolic
of it, can
rather than suppression
of such conflict,
registers. Recognition
a learner's
awareness
as a
to increase
and
tool used
function
pedagogical
to and
and
in
visual
agency
experiences.
creating
objects
responding

hers,

(2002), Ligon considers all his works "self

According toWilliams
we
portraitsfiltered through other people's texts" (para. 6). As educators,
can work with students to explore how towork through the discourse of
the Other
as

Ligon
students

and
must

the effects
use

that

result. A

discussion

language
their own position
understanding
to
between
"the difference
explore

artist

may

in this
regard. Further,
and
and
seeing
reading,

in

can work

an

of how

to communicate

of the Other

the

such
assist
we
the

reliability of the ways in which people see and read each other"
(broadartfoundation.org), the difference between the imaginary and the
what

symbolic,

we

see and what

we

understand.

The Register of theReal

can

Annotations
real. To

better

Margaret
sentative
in Camera

of the
the pre-symbolic
register
through
we call upon
we can
this
engage
register,
the realms repre
of Lacan's
(1994)
register of
reading
notion
of the punctum
Barthes'
and similar to Roland

also

be

understand

Iverson's
of trauma
Lucida

(1981).

read

how

Iverson

notes

Barthes
the tuche while
point of experience
as "this element which
rises from
described
an

arrow,

punctum

that Lacan

it as

designates
the scene,

Iverson
me"
(p. 26).
pierces
as a detail
the viewer
that "takes
by
and

this

calls

shoots

(1994)
surprise"

traumatic

the punctum
out of it like

Barthes'
explains
shares with
and

Lacan's real "an uncoded, inassimilable quality" (p. 455). That is, if the
detail could be interpretedand integrated itwould become part of the
itselfas a felt
symbolic whole, but remaining unnamable, it evidences
affectivedisruption.
Barthes (1981) argues, "the incapacity to name is a good symptom of
disturbance" (p. 51). In exploring this notion, Iverson (1994) comments
She
and the punctum.
obtuse meaning
between
overlap
possible
a
the latter is sharp and reactivates
is blunt while
that the former
an
one
of subjec
trauma.
"While
She explains,
acknowledgement
implies
the real of that loss" (1994,
awakens
tive loss, the other actually
p. 456).

on

the

notes

320

Studies

This content downloaded from 148.206.159.132 on Wed, 12 Nov 2014 10:47:54 AM

All use subject to JSTOR Terms and Conditions

inArt Education

Visual

Complicating

Annotations

the

possesses

its unorthodox
and

to invoke

potential

the

presentation
a resistance
to
symbolic

of the real with

register
that may

content

of familial

Culture

induce

strong

feelings
interpretation.
only when
one
over
the
of
the
mastery
relinquishes
illusory position
symbolic register
does
the real come
into
if the
to assume
play. Thus,
register of the real is
an
in
the
to
teachers
will
need
environment,
presence
animating
learning
an
out
an
of
arrow
that
which
"shoots
like
and
permit
acknowledgment
However,

pierces" (Barthes, 1981) and marks without being named.

The
of the most

One

objet

and

interesting

a
of Lacan's

aspects

challenging

psycho

analytic theories is the objet a, or the object in desire (jagodzinski, 2004).

Zizek (1991) draws our attention to "the pure contingency on which the
of

and
the sense of permanent
(p. 39),
in the real and
In
contingency
imaginary
registers.
a is the desire we cannot
each
the
In
fulfill.
the
register,
objet
completely
a is the absence
or
the
is
what
register,
imaginary
gap within
objet
a also includes
In the
the
that
which
is
pictured.
symbolic,
perpetu
objet
from or in excess of what we can represent.
In the
ally absent
register of
a invokes trauma and
the real, the
affective response.
objet
heightened
process

flux

symbolization

depends"
that exists

and

Scholars'

of

interpretations

objet a. For instance,Meyer

texts borrowed

works

Ligon's

often

and

suggest

imply

the

(n.d.) cites Ligon's deliberate inclusion of

from

the gap created

emphasizing
by
uses book covers,
such as
Ligon
he references
to the
these texts in relation
Burn,
Baby, Burn,
symbolic
of individual
viewers. Meyer
also
that
subjectivity
recognizes
Ligon's works
a "series of
continue
between
a
and erasure,"
dialogues
visibility
process
at the level of the
that can be enacted
as what
we
can and
imaginary
recognizable
a
the
objet

cannot

see.

routine

the

as

available

like many
noted,
previously
in visual
culture, Annotations

from
originating
the
objet

responses
real.

Importantly,
isn't
explain, what

cannot

others,

register. When

symbolic

Additionally,

subjects

affective
of

in the

the

objet
a draws

represented,

The

for

what

a and
our

and less
engaging
can invoke
strong

pre-symbolic
register
to what
we

attention

or excluded.

is silenced

the

are

important

questions

possibilities
pedagogical
objet
expansive,
again
an
of art and education
extending
exploration
past the identity character
istics of cultural
theories. Felman
insists that the crucial
issue for Lacanian
pedagogy

is the issue of resistance.

a text

Where

does

Where

does what

ignorance?
thus

precisely
I read...

the resistance

learn from

the locus

make

The
no

resist my
to

sense

[and]

understanding?

knowledge?located?
of that
ignorance? How

become:

resist

interpretation?
Where
is the
And

can

what
I

can

interpret

I
out

of thedynamic ignorance I
analyticallyencounter, both in others and
inmyself? (Felman inGallop, 1985, p. 13)

Studies

inArt Education

321

This content downloaded from 148.206.159.132 on Wed, 12 Nov 2014 10:47:54 AM

All use subject to JSTOR Terms and Conditions

Sydney Walker

with Vicki Daiello,

Annotations
what

language

Annotations,

Ligon

and Mindi

Rhoades

in what

works
is

Kevin Hathaway,

supposed
creates

"the space between

(n.d.) has called
Arning
to do and what
it does"
in
(para. 9). Moreover,
a

is neither

"what

nor

of crisis

space

anxiety,

although the potential for both is present" (Arning, n.d., para. 9). An
interaction

with

Annotations

Ligon's

demonstrates

that

"if we

allow

that

the gap exists, the space can be full of possibility" (Arning, n.d., para. 9).
Annotations

to

for students
opportunities
as learners, and in
of themselves

presents

tive awareness

a
metacogni
so, discover ways

develop

in
doing
in the kinds
one's
of
agency
we
can use this kind of
and accepted.
created
Importantly,
knowledge
with
the registers of the unconscious
any artwork
investigation
engaging
occur. With
we can
to
where
these absences
this approach,
explore
begin
the ways we resist
and
learn.
knowledge
which

and

silences,

gaps,

resistances

affect

Conclusions
call for a more

Elkins'

that visual

suggestions

and
rigorous
complex
studies be "less routine

visual

studies

the

includes

in its choice

of

subjects"

and "warier of existing visual theories" (2003, p. 65). In our exploration

for art education

of theoretical

perspectives
the concept
of the

that

self

and

is a

visual

concern

culture,

within

we

noted

sociocultural

significant
we discovered
theories. Moreover,
that
psychoanalytic
psychoanalytic
a
on the
offers
between
visual
theory
unique
perspective
relationship
We
Lacanian
and
that
propose
experience
subjectivity.
psychoanalytic
a
not
in art education,
used
be
theory,
perspective
routinely
might

and

employed to complement and enrich understandings of subjectivity as it

relates

to visual

culture.

we

Further,

stimulating
and affective
Bracher

new

possibilities
investments made

(2002)

for

offer

the current

of psychoanalytic
theory within
in art education
culture
might

complicate

introducing
flux of discussion
visual

existing
and understanding

like all other

a function of identity and desire" (p. 93). He

educators

successful
moving

students

and

at all

consideration

human

visual

about
theories,
the

exploring
in visual
images.

"education,

argues,

that

thus

personal
is

enterprises,

contends that although

are
in
and
already
understanding
engaged
toward
and social
desires
personal
growth,
a tacit and
part intuitively, with
impres
only

levels

their own

for the most

"they operate
and identity components
of the desires
sionistic
understanding
an
and
with
rather
than systemically,
explicit
comprehensive

involved,
under

we
standing of identity and desire" (p. 93). Concurring with Bracher,
an
its
of
find that the absence of
identity, development
adequate theory
and

alteration,

limits art educators

in

enabling

students

to

"fully

own

and

our
develop their identities" (2002, p. 114). This deficit has motivated
attention

to Lacanian

psychoanalytic

theory.

But

with

its notorious

complications and difficulties, is this theoretical perspective worth the

investment

required

ship and teaching?

for meaningful

into one's

incorporation

322

Studies

This content downloaded from 148.206.159.132 on Wed, 12 Nov 2014 10:47:54 AM

All use subject to JSTOR Terms and Conditions

own

scholar

inArt Education

Complicating

Visual

Culture

In her insightfulreview of Youth Fantasies: The Perverse Landscape of

theMedia,
Smith-Shank (2005) admits the difficulties of accessing
We
jagodzinski's text,but posits the benefits that accrue from the effort.

in our own
that Lacanian
psychoan
investigations
finding
a means
to work
to
responses
represents
alytic theory
subjective
through
a means
of
the visual
conflicts
rather
and, as Bracher
contends,
owning
are not
than consigning
them to external
forces. We
that art
suggesting
assume
but that the
educators
the role of psychoanalyst,
of
intertwining

would

concur,

identityand learning and the visual and subjectivityproposes opportuni

to
in the
students'
Ligon
example,
deepen
the world.
and
that
understandings
Acknowledgment
a more
is not
but
honest
unavoidable,
welcome,
only
permits
complexity
areas of
of the conflicted
Lacanian
recognition
subjectivity.
psychoana
a means
for overtly
and
the
lytic theory thus offers
approaching
mapping
not
with
ease, but in the company
territory of the subjective,
necessarily
of promise
and potential.
ties,

such

as demonstrated
of

themselves

References
Arning, B. (n.d.). Glenn Ligon. Retrieved September 4, 2005, from
http://www.artpace.org/aboutTheExhibition.php?axid=186&sort=artist
Barthes, R. (1981). Camera lucida: Reflectionsonphotography.Richard Howard
York: Hill andWang.

(Trans.). New

Bracher,M.

(2002). Identityand desire in the classroom. In j. jagodzinski (Ed.), Pedagogical

desire:Authority, seduction,transference,
and thequestion of ethics (pp.93-121). Westport, CT:
Bergin & Garvey.

Britzman, D. P. (1999). Between liftingand accepting:Observations on thework of angst in

learning. In S. Appel (Ed.), Psychoanalysisandpedagogy(pp. 1-16).Westport, CT: Bergin &
Garvey.
(2002). Teaching some cruel symptoms. In j. jagodzinski (Ed.), Pedagogical desire:
and thequestion of ethics (pp. 149'-167).Westport, CT: Bergin
Authority, seduction,transference,
& Garvey.

Couture, J.C.

Duncum, P., & Bracey,T. (Eds.). (2001). On knowing:Art and visual culture.Christchurch, New
Zealand: Canterbury University Press.
Duncum, P. (2002). Theorizing everydayaesthetic experiencewith contemporary visual culture.
Visual ArtsResearch,28(2), 4-15.
Duncum, P. (2003). The theories and practices of visual culture in art education. ArtsEducation
Policy Review, 105(2), 19-25.
Duncum, P. (2004). Visual culture isn't just visual:Multiliteracy, multimodality and meaning.
Studies inArt Education, 45(3), 252-264.
New York: Routledge.
Elkins, J. (2003). Visual studies:A skepticalintroduction.
Felman, S. (1997). Psychoanalysis and education: Teaching terminable and interminable. In
S. Todd (Ed.), Learning desire:Perspectiveson
pedagogy, cultureand theunsaid(pp. 17-43).
New York: Routledge.

Studies

inArt Education

323

This content downloaded from 148.206.159.132 on Wed, 12 Nov 2014 10:47:54 AM

All use subject to JSTOR Terms and Conditions

Sydney Walker

with Vicki

Daiello,

Kevin Hathaway,

and Mindi

Rhoades

Freedman, K. (2000). Social perspectives of art education in theU.S.: Teaching visual culture in a
democracy. Studies inArt Education, 4(4\), 314-29.
Freedman, K. (2001). How do we understand art?:Aesthetics and the problem ofmeaning in the
curriculum. In P. Duncum & T. Bracey (Eds.),Ow knowing:Art and visual culture (pp. 34
46). Christchurch, New Zealand: Canterbury University Press.
Freedman, K. (2003a). Teaching visual culture.NewYork: Teachers College Press.
importance of student artisticproduction to teaching visual culture.
Art Education, 56(2), 38-43.

Freedman, K. (2003b). The

Gallop, J. (1985). Reading Lacan. Cornell University Press: Ithaca.

Glenn Ligon. (n.d.). Retrieved September 10, 2005, from
http://www.broadartfoundation.org/collection/ligon.html
Iverson,M.

(September 1994).What

is a photograph? ArtHistory, 17(3), 450-464.

jagodzinski, j. (2002). A strange introduction:My apple thing. In j. jagodzinski (Ed.), Pedagogical

desire:Authority, seduction,transference,
and thequestion of ethics (pp. xiii-ix).Westport, CT:
Bergin & Garvey.
jagodzinski, j. (2004). Youthfantasies: The perverse landscape of themedia. NewYork:

Palgrave.

Lacan, J. (1973). Thefourfundamentals ofpsychoanalysis.A. Sheridan (Trans.). NewYork:

W. W. Norton.
Leledakis, K. (1995). Societyand psyche: Social theoryand theunconsciousdimension of the social
Oxford: Berg Publishers, Limited.
(2000). Subjectivity:Theories of the self
from Freud toHaraway. NewYork:
New York University Press.

Mansfield, N.

McGowan, T. (2004). The end ofdissatisfaction?

Jacques Lacan and the emergingsocietyof enjoy
ment.Albany, NY: State University ofNew York Press.
Meyer, R. (n.d.). Borrowed voices:Glenn Ligon and the
force of language.Retrieved September 4,
2005, fromhttp://www.queerculturalcenter.org/Pages/Ligon/LigonEssay.html
Mitchell, W.
Moxey

J.T. (2002). Showing seeing:A critique of visual culture. InM. A. Holly & K.
(Eds.), Art history,aesthetics,and visual studies.New Haven, CT: Yale University Press.

Rose, G. (2001). Visual methodologies:An introductionto the interpretationof visualmaterials.

London: Sage Publications.
Smith-Shank, D. L. (2005). [Review of the book Youth fantasies:The perverse landscape of the
media.] Studies inArt Education, 46(3), 270-274.
on art education: Teaching in and throughvisual
impact of visual culture
Multicultural and Cross-Cultural Research inArt Education, 18(\),
culture. The Journal of

Tavin, K. (2000). The

20-23/37-40.

Tavin, K. (2001). Swimming upstream in the jean pool: Developing a pedagogy towards critical
citizenship in visual culture.Journal ofSocial Theory inArt Education, 21, 128-158.
Tavin, K. (2002). Engaging advertisements:Looking formeaning in and through art education.
Visual Arts Research,28(2), 38-47.
Tavin, K. (2003). Wrestling with angels, searching forghosts: Toward a critical pedagogy of visual
culture. Studies inArt Education, 44(3), 197-213.
Tavin, K. (2005). Hauntological shifts:Fear and loathing of (popular) visual culture. Studies in
Art Education, 46(2), 101-117.

324

Studies

This content downloaded from 148.206.159.132 on Wed, 12 Nov 2014 10:47:54 AM

All use subject to JSTOR Terms and Conditions

inArt Education

Complicating

Visual

Culture

Tucker, S. (n.d.). Introduction toAnnotations. Retrieved September 15, 2005, from

http://www.diacenter.org/ligon/intro.html
Williams, C. (2002). Ligon, Glenn, glbtq: An Encyclopedia ofgay, lesbian, bisexual, transgender,
and queer culture.Retrieved August 30, 2005, fromwww.glbtq.com/arts/ligon_g.html
Zizek, S. (1989). The sublime object of ideology.London: Verso.
Zizek, S. (1991). Looking awry:An introductiontoJacques Lacan through
popular culture.
Press.
MA:
The
MIT
Cambridge,

Studies

inArt Education

325

This content downloaded from 148.206.159.132 on Wed, 12 Nov 2014 10:47:54 AM

All use subject to JSTOR Terms and Conditions