"This deconstructive practice of art- or anti-art..., far from being natural or simply `given,` is itself a construction. If traditional representation has insisted upon maintaining the spectator within `an illusorily unfissured narrative space,` (36 Peter Wollen) then it hardly seems an accident that the material practice of photo-collge, that free and aggressive combination of words and ready-made images characteristic of Berlin Dada in the 1920s, manifests its subversive politics in an art of cutting down and reconstructing..."
Linda Nochilin on Hannah Höch`s Pretty Girl (page 39) in Women, Art, and Power, 1988Garoian and Gaudelius appear to have three particular points to discuss to support of the idea of creating students that "learn to participate in the democratic process as critical citizens." The first point appears to be "creating a dialectical interplay between curriculum and pedagogy as collage narrative..." the second as discussing "the indeterminate interplay, between what is taught and how it is taught..." and the third creating a radically democratic opening where students learn to challenge the academic assumptions of schooling and to create images and ideas based on their differing cultural perspectives...." (Garoin, C. & Gaudelius,Y., p. 97, 2008). Although there is not enough evidence to convince us that collage in every academic subject needs to be a work of critical art and that by using "pastiche pedagogy of collage..." the educator "...contributes to the commodity of fetishism of corporate capitalism..." (Garoin, C. & Gaudelius,Y., p. 90, 2008), the author feels it is safe to assume that collage has been and still is an extremely useful tool in deconstructing mass media images, dominant ideologies and much more. Feminism has been using collage as such a critical means for some years. Artists and writers that support collage as a tool of critical thought include: Barbara Kruger, Linda Nochlin, Susan Sontag, Rosalind Krauss, Camille Paglia and many more. With experience creating American Feminist Art, the author of this article has learned to use collage as a tool to engage viewers, participators and students to discuss the "critical choices" (Garoin, C. & Gaudelius,Y., p. 90, 2008) that they make. Collage, for the author, has proved itself helpful in teaching students to create their own informed decisions, visualize their discussions and reflect on the outcomes offering new insights into future decisions. References: Garoian, C. and Gaudelius, Y. (2008) Spectacle Pedagogy: Art, Politics and Visual Culture. New York: State University of New York Press, [Accessed: April 7, 2013]. Nochlin, L. (1988) Women, Art, and Power. In: Bryson, N. et al. eds. (1991) Visual Theory, Painting & Interpretation. 1st ed. New York: Hapercollins Publishers. Image: Hanna Hoch`s Pretty Girl from Tumblr.com: http://a-r-t-history.tumblr.com/post/4601521582/hannah-hoch-the-beautiful-girl-1919-20