Responding to an absence of Latina/e/o/x and Chicana/o/x artist and teaching resources, Art Borderlands in Theory, Practice, and Teaching shows how artists and educators can use borderlands, in-between geographical, emotional, cultural, and conceptual spaces, in three ways: theory, art practice, and teaching.
Responding to an absence of Latina/e/o/x and Chicana/o/x artist and teaching resources, Art Borderlands in Theory, Practice, and Teaching shows how artists and educators can use borderlands, in-between geographical, emotional, cultural, and conceptual spaces, in three ways: theory, art practice, and teaching.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
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Autorenporträt
Christen Sperry García is Associate Professor in the Department of Art Education at Florida State University. García's work is informed by borderlands, Chicane and Latine theories. She is co-founder of the Nationwide Museum Mascot Project that has performed at the Museo de Arte Contemporáneo Lima, Peru; Museo Jumex, Mexico City; Hammer Museum, Los Angeles, CA; and Museo de Arte Moderno, Bogotá, Colombia. García has published in peer-reviewed journals including Art Education, The Drama Review, and Journal of Curriculum and Pedagogy. She is co-editor of the book BIPOC Alliances: Building Community and Curricula (2023). Leslie C. Sotomayor II is a first-generation writer, artist, curator McNair scholar. She received her dual PhD from Penn State in Art Education and Women's, Gender & Sexuality Studies. She centers intersectional Latine/x feminist themes in her work including BIPOC Alliances: Building Communities and Curricula (2023), Teaching In/Between: Curating Educational spaces Through Autohistoria teoría and Conocimiento (2022), "Nepantla & Feminist Art Education: Theorizing the In/Between (Latina/x/o)" (2023) and "My Ancestors in My Studio: Researching My Taíno Roots" (2023). She is a Frederick Douglas Institute (FDI) Scholar and assistant professor of art education at Kutztown University.
Inhaltsangabe
Foreword By Sonya Alemán Introduction: Las Rajaduras (Gaps) and Los Puentes (Bridges) within Art Education Section I: Theorizing Art Borderlands 1. Framing Creative Acts through Chicana Feminist Epistemologies 2. Nepantlando as Methodology 3. Praxis: Epistemology of Testimonios, Cultural Memory, and De/colonization Section II: Making Art Borderlands 4. Visual Plática: An Act of Nepantlando 5. A Visual Plática en Dos Partes (Two Parts) 6. Temporal homes: Borders in the Body 7. Studio as Activating Healing: Latina Speculative Art with Jorge Elías Gil 8. Visual Translanguaging: From Los Doyers to Lonche 9. Zines de Nepantla: Autohistoria-teoría through the In-Between 10. Food Nepantla: Cocin -epantla, Nepant-labeling, and Nepantla-maginery Section III: Teaching Art Borderlands 11. Latinx Thriving: Culturally Sustaining Arte Pedagogies 12. Nepantlando Workshops 13. Chicana/o/x & Latina/x/e Art Resources
Foreword By Sonya Alemán Introduction: Las Rajaduras (Gaps) and Los Puentes (Bridges) within Art Education Section I: Theorizing Art Borderlands 1. Framing Creative Acts through Chicana Feminist Epistemologies 2. Nepantlando as Methodology 3. Praxis: Epistemology of Testimonios, Cultural Memory, and De/colonization Section II: Making Art Borderlands 4. Visual Plática: An Act of Nepantlando 5. A Visual Plática en Dos Partes (Two Parts) 6. Temporal homes: Borders in the Body 7. Studio as Activating Healing: Latina Speculative Art with Jorge Elías Gil 8. Visual Translanguaging: From Los Doyers to Lonche 9. Zines de Nepantla: Autohistoria-teoría through the In-Between 10. Food Nepantla: Cocin -epantla, Nepant-labeling, and Nepantla-maginery Section III: Teaching Art Borderlands 11. Latinx Thriving: Culturally Sustaining Arte Pedagogies 12. Nepantlando Workshops 13. Chicana/o/x & Latina/x/e Art Resources
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