Unlearning imperialism through artistic remediation: a critical pedagogy approach
Autor(a) principal: | |
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Data de Publicação: | 2024 |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | http://hdl.handle.net/10451/63226 |
Resumo: | Analysing art that emerges from remediation can be a form of critical pedagogy in and of itself. This article focuses on art forms that involve remediation as a strategy of the critical pedagogy of “unlearning imperialism” (Azoulay 2019). The aim is to examine the role of the adaptive process of artistic remediation (by which new media technologies incorporate, reinterpret, and reference older media forms) in conceptualising and developing a critical and engaged approach in the classroom to the inequities in knowledge production, mediation, and sharing. The strategic approach to unlearning imperialism is combined with Ariella Azoulay’s idea of “potential history”. This frames the analysis of three artworks that are, in different ways, linked to photography, either as photography-to-painting or painting-to-photography remediations. The first artwork discussed is Roxana Manouchehri’s Power (2014), a neo-Victorian photography-to-painting remediation depicting Queen Victoria and Princess Tadj es-Saltaneh; the second and third artworks are Jan Banning’s Immigrant (Jamaican) Olympia with Dutch Servant (2011) and Raeda Saadeh’s Who Will Make Me Real? (2003), both painting-to-photography remediations of Édouard Manet’s 1863 oil painting Olympia. |
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Unlearning imperialism through artistic remediation: a critical pedagogy approachCritical pedagogyImperialismRemediationVisual artsPhotographyPaintingAnalysing art that emerges from remediation can be a form of critical pedagogy in and of itself. This article focuses on art forms that involve remediation as a strategy of the critical pedagogy of “unlearning imperialism” (Azoulay 2019). The aim is to examine the role of the adaptive process of artistic remediation (by which new media technologies incorporate, reinterpret, and reference older media forms) in conceptualising and developing a critical and engaged approach in the classroom to the inequities in knowledge production, mediation, and sharing. The strategic approach to unlearning imperialism is combined with Ariella Azoulay’s idea of “potential history”. This frames the analysis of three artworks that are, in different ways, linked to photography, either as photography-to-painting or painting-to-photography remediations. The first artwork discussed is Roxana Manouchehri’s Power (2014), a neo-Victorian photography-to-painting remediation depicting Queen Victoria and Princess Tadj es-Saltaneh; the second and third artworks are Jan Banning’s Immigrant (Jamaican) Olympia with Dutch Servant (2011) and Raeda Saadeh’s Who Will Make Me Real? (2003), both painting-to-photography remediations of Édouard Manet’s 1863 oil painting Olympia.Taylor & FrancisRepositório da Universidade de LisboaMendes, Ana Cristina2024-03-06T18:04:35Z20242024-01-01T00:00:00Zinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttp://hdl.handle.net/10451/63226engAna Cristina Mendes (2024) Unlearning Imperialism Through Artistic Remediation: A Critical Pedagogy Approach, Critical Arts, DOI: 10.1080/02560046.2024.23124340256-0046https://doi.org/10.1080/02560046.2024.23124341992-6049info:eu-repo/semantics/openAccessreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAP2024-03-11T01:19:20Zoai:repositorio.ul.pt:10451/63226Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-20T03:14:26.602873Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
Unlearning imperialism through artistic remediation: a critical pedagogy approach |
title |
Unlearning imperialism through artistic remediation: a critical pedagogy approach |
spellingShingle |
Unlearning imperialism through artistic remediation: a critical pedagogy approach Mendes, Ana Cristina Critical pedagogy Imperialism Remediation Visual arts Photography Painting |
title_short |
Unlearning imperialism through artistic remediation: a critical pedagogy approach |
title_full |
Unlearning imperialism through artistic remediation: a critical pedagogy approach |
title_fullStr |
Unlearning imperialism through artistic remediation: a critical pedagogy approach |
title_full_unstemmed |
Unlearning imperialism through artistic remediation: a critical pedagogy approach |
title_sort |
Unlearning imperialism through artistic remediation: a critical pedagogy approach |
author |
Mendes, Ana Cristina |
author_facet |
Mendes, Ana Cristina |
author_role |
author |
dc.contributor.none.fl_str_mv |
Repositório da Universidade de Lisboa |
dc.contributor.author.fl_str_mv |
Mendes, Ana Cristina |
dc.subject.por.fl_str_mv |
Critical pedagogy Imperialism Remediation Visual arts Photography Painting |
topic |
Critical pedagogy Imperialism Remediation Visual arts Photography Painting |
description |
Analysing art that emerges from remediation can be a form of critical pedagogy in and of itself. This article focuses on art forms that involve remediation as a strategy of the critical pedagogy of “unlearning imperialism” (Azoulay 2019). The aim is to examine the role of the adaptive process of artistic remediation (by which new media technologies incorporate, reinterpret, and reference older media forms) in conceptualising and developing a critical and engaged approach in the classroom to the inequities in knowledge production, mediation, and sharing. The strategic approach to unlearning imperialism is combined with Ariella Azoulay’s idea of “potential history”. This frames the analysis of three artworks that are, in different ways, linked to photography, either as photography-to-painting or painting-to-photography remediations. The first artwork discussed is Roxana Manouchehri’s Power (2014), a neo-Victorian photography-to-painting remediation depicting Queen Victoria and Princess Tadj es-Saltaneh; the second and third artworks are Jan Banning’s Immigrant (Jamaican) Olympia with Dutch Servant (2011) and Raeda Saadeh’s Who Will Make Me Real? (2003), both painting-to-photography remediations of Édouard Manet’s 1863 oil painting Olympia. |
publishDate |
2024 |
dc.date.none.fl_str_mv |
2024-03-06T18:04:35Z 2024 2024-01-01T00:00:00Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
http://hdl.handle.net/10451/63226 |
url |
http://hdl.handle.net/10451/63226 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
Ana Cristina Mendes (2024) Unlearning Imperialism Through Artistic Remediation: A Critical Pedagogy Approach, Critical Arts, DOI: 10.1080/02560046.2024.2312434 0256-0046 https://doi.org/10.1080/02560046.2024.2312434 1992-6049 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Taylor & Francis |
publisher.none.fl_str_mv |
Taylor & Francis |
dc.source.none.fl_str_mv |
reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
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Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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RCAAP |
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RCAAP |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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1799137797090574336 |