Short description:

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.

Long description:

Responding to an absence of Latine and Chicane 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.

Throughout this teaching-oriented text, the authors draw from borderlands theories and apply them to visual art and teaching. This volume centers art making and teaching practices based on borderlands lived experiences that are not commonly taught in higher education. Making productive the rupture and fragmentation that occurs in borderlands spaces, this text explores ways in which artists rebuild and become whole again through the process of making art. Using hands-on approaches, the authors model how to use borderlands theories in the classroom by employing arts-based and teaching methodologies. This includes access to Latine and Chicane centered digital information, interactive classroom activities, artist resources, and beyond the classroom learning experiences.

Art Borderlands in Theory, Practice, and Teaching offers artists, students, and educators art making and teaching approaches that are centered on Latine and Chicane theories and concepts.

?Art Borderlands in Theory, Practice, and Teaching is the decolonial and interdisciplinary book of healing that we have been waiting for! I rewrote my syllabi as I read each chapter, applying Anzaldúan philosophy to teaching, theorizing about art, and art-making. Embracing the ambiguities, tensions, and contradictions of the borderlands, the authors make the case for a new pedagogy in art education. It's a survival tool for their students. Unless colonial logic and the deficit-model are desired by your art school, inhabitants of the borderlands no longer need to be left out of art school with this culturally sustaining resource.?

- Karen Mary Davalos, Professor, University of Minnesota, Twin Cities and author of Chicana/o Remix: Art and Errata Since the Sixties (NYU Press)

?The authors draw from borderlands theories and lived experiences to guide art education practice to be inclusive of Latina/e/x and Chicana/o/x teaching frameworks. The book is significant to changing the course toward decolonizing art pedagogies, curricula, and syllabi, offering a must-needed resource on why and how to do so.?

- Karen Keifer-Boyd, Ph.D., Professor of Art Education and Women?s, Gender, & Sexuality Studies at The Pennsylvania State University

?There's only one way to have a more polyvocal presence at the intersected table of contemporary art and its education. We need to have smart individuals, partners, and collaboratives adding their unique voices to the dynamic aggregate of the lived and archived experience, poquito a poquito.  In Art Borderlands in Theory, Practice, and Teaching, Sotomayor and Garcia present us with an urgent creative work that does exactly that, chiseling away at broadly held academicisms that have invited us in, but mostly through the side door.  Garcia and Sotomayor foreground our ways of knowing (talking,  cooking, eating, making, closeness, proclamation, and in-betweeness) to present a one-of-a-kind Chicana/feminist/scholar/artist intertwinement, that engenders liberation and celebration everywhere from la sala through la cocina, then back and forth through the front, back, and side doors!?

- Jorge Lucero, Professor of Art Education and Associate Dean for Research, College of Fine and Applied Arts, University of Illinois, Urbana-Champaign

Table of Contents:

Introduction: Las Rajaduras (Gaps) and Los Puentes (Bridges) within Art Education

PART 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

PART 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: Latine 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

PART III: Teaching Art Borderlands

11 Latinx Thriving: Culturally Sustaining Arte Pedagogies

12 Nepantlando Workshops

13 Chicane and Latine Art Resources