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.
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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