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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.
List of contents
Introduction: Las Rajaduras (Gaps) and Los Puentes (Bridges) within Art Education
PART I: Theorizing Art Borderlands1 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
About the author
Christen Sperry García is Associate Professor in the Department of Art Education at Florida State University, USA. From the San Diego/Tijuana border, 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, and McNair scholar. She received her dual PhD from Penn State in Art Education and Women's, Gender and Sexuality Studies. She centers intersectional Latine feminist themes in her work including
Teaching In/Between: Curating Educational spaces Through Autohistoria-teoría and Conocimiento (2022),
BIPOC Alliances: Building Communities and Curricula (2023),
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, USA.
Summary
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.
