Prosthetic Pedagogy of Art, The

Cover

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p. C-C

Title Page, Copyright

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pp. i-iv

CONTENTS

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pp. v-vi

ILLUSTRATIONS

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pp. vii-x

ACKNOWLEDGMENTS

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pp. xi-xii

ONE Introduction

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pp. 1-22

I have often wondered about that canvas (Figure 1.1), that first canvas leaning against the wooden easel, the one that I stretched in the first, that beginning painting course in which I was enrolled years ago . . . ...

TWO Verge of Collapse

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pp. 23-40

As dead American GIs are returned home in body bags from the war in Iraq, the many wounded, a vast number of them amputees who in any previous wars would have died on the field of battle or on an operating table in a combat support hospital, have survived, their lives extended due to the most recent technological advances and surgical procedures in medical...

THREE The Prosthetic Pedagogy of the Ignorant Schoolmaster

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pp. 41-56

Handful of nails, pounding hammer (Figure 3.1), th‑h‑hu‑ud, th‑h‑hu‑ud, th‑h‑hu‑ud, another nail, again, a hammer pounding, th‑h‑hu‑ud, and again, another nail, poundings of a hammer, th‑h‑hu‑ud, th‑h‑hu‑ud, and again and again. . . . Because of his very young age I would not allow him up in the tree with me, to build the tree house that I was building for him with proper ...

FOUR Precarious Leanings

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pp. 57-80

. . . disasters, Disasters of War, war paintings, the poster read outside the gallery door, the open door through which I walked in, into the gallery where, except for the several large‑scale paintings exhibited on the walls, no one else was in sight, no other bodies in the gallery, I walked in, a place unlike I’d ever been before, now, all by myself, never seen such dark, imposing, difficult compositions, never such abstraction, dark nonobjective...

FIVE The Anxiety of Disequilibriumin the Museum

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pp. 81-98

For me, culture has always been a prosthetic experience, not to compensate for a lack or to replace disparate fragments of my body of knowledge, but from curiosity and desire to explore and extrapolate from their dislocations new meanings and understandings. The images, ideas, and attitudes that surrounded me during my youth had a double aspect that was complex ...

SIX Drawing Blinds

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pp. 99-116

. . . was I there, I was, and . . . and I saw it, saw it . . . witnessed with my eyes, with my own eyes . . . did I see what I, what I was looking at . . . did I see what I, what I thought I saw, had my eyes deceived me . . . did what I see really happen . . . did it really happen and I saw it, but did not see . . . just as I am seeing, yet not seeing the words as I write them, ...

seven Art‑In‑The‑Flesh

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pp. 117-134

There are times in our lives when extraordinary experiences stir our sensate bodies to such an extent that we are jarred out of complacency. To make sense of these strange embodied stirrings, to render them familiar, requires our willingness to extend and expand the parameters of what we already know and understand. On one such an occasion, I witnessed an unusual...

EIGHT Art Research and Practice as Deleuzoguattarian Embodiment

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pp. 135-162

Throughout the chapters in this book, I have explored and examined prosthesis, the slippages and adjunctive characteristics of the trope, as it applies to creative and intellectual performance in the visual arts. I have focused my writing on the prosthetic pedagogy and epistemology of art research and practice, namely, its enabling of eccentric and ecstatic ways of making and...

Notes

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pp. 163-170

REFERENCES

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pp. 171-180

INDEX

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pp. 181-BC