本文旨在簡述藝術教育的各項視覺文化策略， 包含理論與實踐層面。在理 論方面，筆者就個人對視覺文化的理解提出統整性看法，包括現代社會過渡至 後現代社會的過程中，如何靠近( 邁向)視覺文化研究的需求，以及如何從理 論觀點瞭解視覺文化。從現代社會轉型至後現代社會酌過程裡， I 藝術」酌定 義持續擴充，納入了大眾/流行文化， 流行文化也被納入， 成為文化研究評論 酌重要場域;日益普及配媒體與傳播; I 美學」一詞酌擴充， 不僅包含透過理 性心智陶冶的「更精緻的感官J ' 還擴及無拘無束前身體感覺; 並且相對於現 代主義美學強調的商品生產， 反而強調商品配消費以及對商品慾望酌製造。所 有的轉變逐漸造就了今日全球資本主義社會的嘉年華特質， 以美學快感迷惑人 心，同時透過無所不在的媒體傳播工具， 傳遞各種意識形態。視覺文化研究的 主要功能，在於賦能予(扮演觀賞者的) 學生，教導學生超脫美學快感的虛假 表象， 揭露相關視覺文化載體所傳播酌陳腐意識形態。 在探索藝術教育的視覺文化理論之後，筆者將提出幾項視覺文化策略酌實 踐範例，包括大學部職前教師藝術教育課程以及k-12 酌美術課。在這些範例 裡，筆者眼中的視覺文化研究，乃是一種賦能於藝術教育工作者、學生藝術家， 及其藝術品觀眾的方式，據此針對消費主義提出認知性批判;同時，也藉此透 視視覺文化產物用以吸引消費慾望。

The objective of this article is to summarize various approaches to visual culture in art education, both in theory and in practice. As related to theory, I will synthesize an understanding of visual culture in terms of how we approached (came up to) the need for visual culture studies in our transition from modern to postmodern society, as well as how visual culture is approached theoretically in studies. In the shift from modern to postmodern, we see an expansion of notions of “art” to include mass/popular culture; the inclusion of popular culture as a significant site for critical investigation in cultural studies; the increasing pervasiveness of media and its communications; an extension of the term “aesthetics” to include not only the “finer senses” disciplined by the mind but also the uninhibited bodily sensations; and an emphasis on the consumption of goods and the manufacture of desire for these goods, as opposed to the modern ascetic emphasis on the production of goods. All shifts led to the carnivalesque nature of today’s global capitalist society, which lures with aesthetic pleasures while simultaneously relaying ideologies via omnipresent media communications. Visual culture studies are necessitated as a means of giving agency to students as viewers, by teaching them how to see past the mask of aesthetic pleasure, and expose the potentially corrupting underlying ideologies relayed by vehicles of visual culture. This theoretical exploration to how we approached visual culture in art education is followed by examples of approaches to visual culture in practice, in both the undergraduate preservice art education classroom, and a k-12 art room. In these examples, visual culture investigations are utilized as a means for giving agency to the art educator and student artist to empower themselves, as well as viewers of their artwork, to critique consumerism cognitively; and, in doing so, navigate beyond the layers of visual culture artifacts’ appeal to their bodily consumer desires.