Uses autobiographical and cultural narratives related to art research and practice to explore; experiment; and improvise multiple correspondences between and among learnersrsquo; own lived experiences and understandings; and those of others.By beginning each chapter of The Prosthetic Pedagogy of Art with an autobiographical assemblage of personal memory and cultural history; Charles R. Garoian creates a differential; prosthetic space. Within these spaces are the particularities of his own lived experiences as an artist and educator; as well as those of the artists; educators; critics; historians; and theorists whose research and creative scholarship he invokesmdash;coexisting and coextending in manifold ways. Garoian suggests that a contiguous positioning of differential narratives within the space of art research and practice constitutes prosthetic pedagogy; enabling learners to explore; experiment; and improvise multiple correspondences between and among their own lived experiences and understandings; and those of others. Such robust relationality of cultural differences and peculiarities brings about interminable newness to learnersrsquo; understanding of the other; which challenges the intellectual closure; reductionism; and immutability of academic; institutional; and corporate power.ldquo;To open oneself to the possibilities of a work is precisely the position that one needs to take with Garoianrsquo;s The Prosthetic Pedagogy of Art. It is a rich; complex; and demanding book that has the potential to take its readers to places where other thinking practices become possible hellip; [it] is a provocative piece of workmdash;a seductive foray into the complexity and beauty of thoughtmdash;that combines autobiographical; analytical; and speculative writing from one of the most important thinkers in our field at the present time.rdquo; mdash; Studies in Art EducationCharles R. Garoian is Professor of Art Education at Penn State University. He is the author of Performing Pedagogy: Toward an Art of Politics and the coauthor (with Yvonne M. Gaudelius) of Spectacle Pedagogy: Art; Politics; and Visual Culture; both also published by SUNY Press.
#1447528 in eBooks 2013-04-16 2013-04-16File Name: B00B7JKGF2
Review
2 of 2 people found the following review helpful. Hats off to Wilcox!By Trish FitzpatrickI bought this book because I read a great deal of historical fiction and the terms used for articles of clothing are mysterious to me. This makes it easier to identify what is being described. The only criticism I have is the text next to the illustrations is a handwritten type font that is distracting and difficult to read. I am glad I bought it; however.2 of 2 people found the following review helpful. Five StarsBy alejandraGvery interesting for those who design fashion or simply like the history of costume. printed Black White2 of 2 people found the following review helpful. Hats and more hatsBy Cecily R. PilzerA great guide for any costumier who desires to compliment a historical outfit. It should be in anyones collection of fashion books.