The work of American artist, educator, and researcher Elizabeth Ellsworth is profoundly influential in many fields of study, including social policy, architecture, feminism, mass communication, media, education, and art activism. In education, Ellsworth’s insights and ideas about knowledge and pedagogy challenge the view of student education in terms of mental activity and processes of growth promoted by modern psychology. She problematizes knowledge and learning by connecting them to moving bodies, offering radical insights regarding how human embodiment affects activities of teaching and learning and how places of learning implicate bodies in pedagogy. Ellsworth claims knowledge to be always in the making and pedagogy as a force that is already at play in the world, driving experience and sustaining the human prospect. Ellsworth challenges art education by actively questioning knowledge and reality as already made, arguing instead that both are multiple, and can and must be challenged so that society can respond and engage with discursive and material spaces of classroom and daily life practices that changing times, spaces, and bodies engender. Drawing from a wide variety of disciplines, including contemporary art and media design, Ellsworth urges education to orient to the pragmatics of aesthetic experience and the rich indeterminacy of time in moving bodies and demonstrates the potentialities in responding to the anomalies of teaching even while allowing them to be undecidable. In calling for pedagogic efforts that liberate matter from constraint, her work has inspired many varieties of new materialisms currently coming to the fore in curriculum studies. Ellsworth emphasizes the practice of thinking that pedagogy offers, which engages the aesthetic to neutralize binary thinking. She argues that even in attempts to act against oppressions, easy polemics oppose victims to perpetrators; unity is based on sameness; and an “us-ness” versus “them-ness.” Methods appear unproblematic in their use of rationalistic tools, and there are incapacities or refusals to acknowledge one’s own implication in the information and practice that assume exemption from becoming oppressive to others. Instead, Ellsworth advocates thinking in which dynamic and relational unities move through each other, always emerging as something un-predetermined. Her work carries a clearly articulated sociopolitical agenda for design of pedagogic circumstances whose anomalous and “impossible” natures are the actual places in which difference has the flexibility to differ, and students of difference can thrive.
Decolonising Responses to ‘Engaged Art’: Disposability and Neoimperialism in Art, Activism and Academia
