Mg House Publisher Feminism and Queer in Art Education
October 1, 2015 is the deadline for 500-word abstracts of proposed chapters.
Submit proposals hither.
Editors: Karen Keifer-Boyd, Linda Hoeptner-Poling, Sheri Klein, Wanda B. Knight, and Adetty Pérez de Miles.
Across the National Art Education Clan's Women's Caucus (NAEA WC) sessions, meetings, and events that reside within the formal institution of the NAEA, the Women'south Caucus Lobby session is an almanac upshot held in the lobby of the "headquarters" hotel for the NAEA Convention. Significance aspects of the Lobby session include cocky-introductions to someone you lot take never spoken to before, artistic prompts for small group discussion almost current issues, and human mic distension every bit public operation in the hotel lobby. The "speak-out" affirmation of our beliefs and actions is recorded, transcribed, and posted with photographs online at http://naeawc.internet/
Our goal is publication of the anthology by the 2018 NAEA convention equally a 10th ceremony of the NAEA Women's Caucus Lobby Activism. Below are descriptions of the ten sections of the book with guidance for chapter submissions to 1 or more of the book sections. Submit proposals here. Send queries to the pb editor Karen Keifer-Boyd at kk-b@psu.edu. Co-editors include Linda Hoeptner-Poling, Sheri Klein, Wanda B. Knight, and Adetty Pérez de Miles.
We also encourage all participants at our Anteroom sessions to create art and write nigh what was awakened at the Antechamber session as submissions to the Anteroom Activism book. Sheri Klein did but that in her cartoon created in response to a question about identity posed at the 2011 Entrance hall: "When did you first experience like an art educator?"
"Connecting the Dots" drawing past Sheri Klein, 2011.
Questions/Prompts:
2018: Activism
2017: Entanglement
2016: Feminist Leadership
2015: How exercise you lot (re)design gender codes in your teaching, art, and life?
2014: Speak Truth to Power
2013: What are my personal responsibilities and our commonage responsibilities to end violence?
2012: What do you believe is disquisitional to lobby for in 2012
2011: A Fourth dimension When …
2010: What is the Image of a Feminist in the Field of Art Educational activity Today?
2009: Enacting Change: What We Tin can Acquire From Each Other?
2008: Collaborative JAE publication: "Vote 2008: What Should an Art Educator Do?"
A summary of past Lobby sessions conveys the NAEA WC's resolve to identify current injustice and collectively work to eradicate discrimination. Each twelvemonth our attendance at these Lobby sessions has increased, with more than 75 participants in attendance at recent Lobby sessions.
2017 Entanglement
Kimberlé Crenshaw is credited with having coined the term intersectionality to clear how interlocking systems of oppression based on categories of race, ethnicity, class, gender, sexuality, (dis) ability, among other identity variables, intersect to create multiple forms of oppression. This department of the book revisions intersectionality theory as more of an entanglement (rather than an intersection) in which social identities, hard situations and complicated circumstances are twisted or knotted into an entwining mass that hampers 1's power to escape, disengage or act at will. Authors might consider, but are non express to (i) entangled relationship of textile with ideological; (2) entanglement of race, form and gender; (3) entanglement of social, political, and economical inequities, (four) entanglement of complex and nuanced multiple selves and shifting identities; (v) entanglement of tacit, situated, and authoritative knowledges; and (6) entanglement of other sorts that reside in culturally hegemonic, stratified social structures that control options in people'southward lives.
2016 Feminist Leadership
Feminist leadership initiates, organizes, dialogues, distributes, transforms, and collaborates. Feminist leadership motion is not hierarchical only instead is horizontal, entangled, and intersectional. Feminist leadership legitimizes situated knowledge and recognizes diverse positionalities. Feminist leadership tin be everyday actions or passionate activism that advances social justice. This department of the Antechamber Activism book invites capacity of feminist leadership in fine art education. Examples include Judy Chicago'south circumvolve educational activity, Linda Stein's Holocaust Heroes: Violent Females tapestries, and art teachers who are transformational in their schools and communities.
How practice yous (re)deSIGN gender codes in your teaching, fine art, and life?
Forms of gender identity that, by design, resist the man/woman binary are unimaginable to many people. As Judith Butler (2004) puts it, "To notice that you lot are fundamentally unintelligible (indeed, that the laws of culture and language notice yous to exist an impossibility) is to find that you lot have not yet achieved admission to the human being, to find yourself speaking only and always as if you were man, but with the sense that y'all are not because the norms by which recognition takes place are not in your favor" (p. thirty). [Butler, J. (2004). Undoing gender. New York City, NY: Routledge.]
Many scholars, activist, and educators agree that it is vital to create opportunities that extend circuitous understandings of gender identity. This section of the book is open to a multiplicity of explorations that (re)deSIGN binary-based constructions of gender in research, teaching, art, and life, for example, simply not limited to:
How practice you (re)deSIGN:
- Inquiry through the lens of feminist, queer, and transgender theories to raise thought-provoking questions about relationships of power
- Curricula to explore feminist and LGBTQ topics, problems, and concerns
- Pedagogical practices to support gender diversity and inclusive environments
- Forms of critique and analysis to focus on not-conforming gender and sexual expression(southward) in art, visual, material, and popular culture
- Contemporary understandings of social/locative media, mobile gaming, cyber/virtual worlds, and emerging media technologies to trouble persistent sexist ideologies and practices in visually mediated inquiry, data, and technologies
- Research through narrative inquiry, ethnography, phenomenology, performance, example studies, or mail-qualitative methodologies to broaden the definition of diversity past focusing gender not-conforming methodological approaches
- Frameworks to problematize the creative industries, digital labor, immaterial labor, communicative commercialism, and the "participatory" museum, equally these ideas are connected to neoliberal and postal service-Fordist economic models in relation to gender identity.
- Upstanding responsibility in working with LGBTQ communities
- Fine art, inquiry, curriculum, and activist projects to meliorate the quality of life of a wide range of learners and diverse gender variations
- Approaches to Queer and Transgender the academy
"Speak Truth to Power" is a phrase adopted by or applied to those who claiming dominant forces—namely, patriarchy and commercialism. Barbara Kruger'south artwork Speaks Truth to Ability. (Smithsonian magazine, July 2012). Kruger refashions idioms, as Judy Chicago does in her Resolutions: A Stitch in Time, 1994-2000 series.
In Chicago'southward Retrospective in a Box series, 2009-2013, printed past Landfall Press, her work "Aging Adult female/Artist/Jew" from 2013 speaks truth to power. Next to the piece of work is Chicago's creative person statement:
As ever, I wanted to challenge stereotypical attitudes, particularly those that export older women to an undesirable, nonsexual and declining beingness, replacing this mean-spirited view with a fiery image of a adult female whose torso may be succumbing to the aging process, only whose spirit remains strong and her identity clearer than always before.
In Chicago's cocky-portrait, her mouth is filled, where teeth would be, with uppercase letters: "TRUTH." For more than a half-century, from The Dinner Party created in the 1970s to the 2013 cocky-portrait, Judy Chicago has been speaking truth to ability. Judy Chicago's spirited work speaks volumes to artists, educators, and scholars who seek feminist perspectives and practices.
2014 Lobby participants spoke truth to power by writing or drawing on strips of fabric then pinning the message on either an artist's apron or academic gown. A human mic practice amplified the group speaker, speaking truth to power.
The artist apron symbolizes feminist ability. While aprons have been associated with housework, the artists' work apron symbolizes both the intellectual work and labor of artistic production. The academic gown symbolizes patriarchal ability, and the hierarchies within educational institutions that often run counter-productive to creating equitable and only education, learning, and working environments. The 2014 Lobby session process is linked here.
Nosotros invite chapters for this department of the book that speak truth to power through art and/or art pedagogy.
The presence of violence in our culture is pervasive, all as well commonplace and is reflected in ongoing global reports of suicide, murder, rape, animal and human rights violations, school and workplace violence, violence confronting women and girls, hate spoken communication and proliferation of imagery generated in the media. This section explores ways that fine art educators tin, one stride at a time, disrupt the chain of violence through teaching, service, community work, activism and other forms of resistance. The guiding question for this department is: What is our individual responsibility and our collective responsibleness to terminate violence?
The 2013 Entrance hall session procedure is linked here.
In response to the prompt, more than than 60 participants formed groups and each of the five groups created posters.
It goes without saying that the social milieu of our times is wrought with complication, contention, and challenge. The U.Southward. presidential election of 2012 certainly highlighted many issues with which to fence, and these bug evolve and aggrandize with fourth dimension, many intimately continued to feminism. Prior to 2012, NAEA WC leadership collected information in 2010 via the "Survey of Art Educators' Perceptions of and Human relationship to Feminism" (http://naeawc.cyberspace/survey.html). As stated in the survey, "[t]he purpose of this survey [was] to learn of art educators' perceptions of and relationship to feminism in their work in the field of art didactics today. What are the reasons that art educators place with or refuse feminism? What are the differences of ideology and teaching practices between those who consider themselves to exist feminists and those who don't?" In other words, what exercise you believe is critical to entrance hall for, inside the lenses of feminism(s) today? Balancing the personal and the professional is certainly not achieved without claiming, challenge that requires us to brand choices about competing demands. This section explores how and why we as feminist art educators decide where to put our activist energies both in and exterior of the classroom at all levels of didactics, in addressing competing demands posed by issues of both personal and broader social landscapes of feminist activism.
Questions to guide this discourse and engagement:
- What does it mean to lobby for feminist issues in art education and across?
- How do nosotros spend personal and professional free energy as activists?
- What bug bulldoze our decisions, actions, and intentions in lobbying for what we believe is critical?
- How practice activist stances inform and impact our art education (feminist) exercise?
2011 SEATTLE: A Time When … 
About fifty people assembled to share personal experiences as possible pedagogical or commonage actions. Themes emerged such as feminization of art education, gender inequity, reinventing self, and enacting beliefs. A Fourth dimension When … prompts linked hither.
Transcript of the 2011 session linked here.
Our identities are shaped by a myriad of experiences, people, events and intersecting factors, such every bit, gender, race, ethnicity, grade, faith, sexuality, and vocation. In this sense, the discussion "identities" describe a dynamic and evolving construction of our personal and professional lives that intersect with tensions and disharmonize. Teacher and professional identity has been the focus within educational narrative inquiry to meliorate empathize how teachers' anticipate their work and navigate the personal, professional, pedagogical and political. The guiding theme of: "A time when…" points to a moment or time of identification with the profession, or role of art educator. Information technology may also signal a time when 1's position or perceptions of self have shifted due to structural, economic and global forces in means that consider one's positionality.
2010 BALTIMORE: What is the Epitome of a Feminist in the Field of Art Didactics Today?
The 2010 Foyer Session extended the "Survey of Art Educators' Perceptions of and Relationship to Feminism." Of the 123 respondents to the survey, of which 104 identified as women, 100 reported that they had experienced gender discrimination. Transcript of the 2010 session linked hither. Photos from 2010 Lobby session.
In part, goals of feminism and feminist pedagogy are: to create gender disinterestedness through empowerment of students; to create gender equity through creating customs or communal classroom spaces; the embodiment of shared leadership, collaboration and cooperation; the practise and cognition of disciplines that intersect many facets of cultural identifiers; and, to create meaningful ways to engage students in disquisitional thinking and inquiry virtually topics of gender bug, including inequality, privilege, and power. Working towards equity, questioning assumptions, and engaging in reflective do, nosotros invite a multiplicity of expression in reconceptualizing the aims of feminism and feminist pedagogy in art didactics for contemporary times.
Questions to guide this discourse and engagement:
- What are the forms, language, and knowledge of feminism, feminists, and feminist pedagogy in art pedagogy today and of the past?
- How does one work towards equity in art education?
- What critical transgressions of the past inform today's momentum in fine art education?
- How do we ascertain feminist pedagogy in art education? Does it wait/feel/read differently today than the forms practiced by feminists that forged openings and opportunities available today?
- What feminist critical transgressions need to be considered and conceptualized at all levels of art education?
- What forms can the telling, recording, performing, and imagining of contemporary feminist pedagogy have that will (re)voice the lexicon of art education?
- Who in art education practice feminism and feminist pedagogy? How is their impact felt?
2009 MINNEAPOLIS: Enacting Change: What We Tin can Learn From Each Other?
A suggestion from the 2008 lobby session for the Women's Caucus to organize mentor relationships was the topic in 2009. Read responses to what the participants wanted to hear almost each other's experiences in the transcript of 2009 session linked hither.
The Women'due south Caucus/NAEA membership draws individuals who are committed to advancing feminist perspectives and practices and envisioning, creating, and co-creating new ways of beingness, relating, teaching, and leading that promote diversity, inclusivity, equity, and personal and social change.
The richness of our community is evidenced in the myriad of our various experiences and NAEA WC members who are at very different stages of a professional person life. The guiding question for this section is: What can we learn from one another? Possible topics for this section of the Lobby Activism volume might include:
- Professional do, such as, leading, mentoring, activism, building networks of support, developing a vocalism in teaching and research, balancing personal and professional person lives, coping with loss, disappointment and moving through the transitions and cycles of ane'due south professional person life (east.m., from new faculty to tenure, mid career, and from professional practice to retirement).
- Reflecting on how nosotros can learn from ane another via engineering science is also relevant in our time of a networked society and can provide new approaches and avenues for teaching, mentoring, leading, activism, reaching out, and sharing with others.
2008 NEW ORLEANS: "Vote 2008: What Should an Art Educator Do?"
Participants collaborated in a response to the prompt for a strategic essay published in the Journal of Art Education (Copyright July 2008. Used with permission of the National Art Education Association). Meeting notes linked here.
In March of 2008, a group of art educators met at the NAEA Conference in New Orleans to hash out the presidential ballot every bit a source of active learning and critical investigation. President Barack Hussein Obama was elected the first African-American president of the U.s. in Nov 2008 and re-elected to a 2nd term in 2012. The almost memorable images of Obama, as W.J.T. Mitchell (2009) reminds u.s., "were produced by members of the movement he catalyzed, not by his professional image-makers" (p. 127). Some examples of this phenomenon include, Shepard Fairey'southward "Hope" poster and obama-icon-me—a DYI Web App that allows individuals to upload self-portraits to create posters of her or his prototype in the way of Fairey's depictions of president Obama. But not all visual representations of president Obama accept been positive. Despite claims of racial progress and becoming a post-racial social club, overt and symbolic racist stereotypes (joker, chimp) and Othering (Muslim and non denizen), in the form of visual representations, ensued. Today, we are gearing upwards for the 2016 presidential ballot. Hillary Rodham Clinton has entered the race as a front-runner for the presidency. One tin can merely imagine the (re)presentations that will permeate media civilization surrounding the Clinton campaign. The salient point is that visual culture is omnipresent and plays a role in our everyday decisions from the products that we swallow to of import decisions nearly "whom we elect to govern the states" (Howells & Negreiros, 2012, p. 4).
The guiding question for this section of the book is: What Should an Art Educator Do? Reflecting on the past (Vote 2008), looking forward to the futurity (Vote 2016), and envisioning an artful or socio-political time where the knots of time and space are untied (the latter, is open to interpretation). Papers may be closely or broadly related to the guiding question, and include a broad range of sites of investigation, such every bit movie, art, images, photos, newsprint, literature, verse, historical records, archival materials, graphic novels, social media, virtual reality, and emergent media culture/technologies. Central to this section is to analyze the ways that visual practices shape and inform discourses related to our art, enquiry, teaching, curriculum, activism, or education—mediations that fuel our pleasures, displeasures, play, fears, desires, and hopes every bit refracted in the contextual specificity of the time, space, and identify that we occupy. Chapter submissions might focus on (re)presentation, epitome-makers, making images, and practices of looking or visuality. Broadly conceived, visuality encompasses the ocular, just also the sonic, the sensorial, the material, the embodied, and incorporeal, likewise as the human and post-homo.
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The editors for all sections of the Lobby Activism book encourage submissions that have a feminist/disquisitional race theoretical lens with enquiry designs and presentation forms that might include arts-based enquiry, performance-based research, narrative inquiry, ethnography, interview, instance study, photo/visual essays, and documenting activist work based on the Lobby prompts.
We invite all NAEA members to come to and participate in our annual Antechamber sessions, typically held in the lobby of conference hotel at half dozen:00 p.chiliad. on the first day of the conference.
Oct 1, 2015 is the deadline for 500-discussion abstracts of proposed chapters.
Submit proposals here.
SUBMISSION DETAILS
Proposal Format : Prospective contributors will submit a 400-500 word abstract with at least v references from relevant literature and a chapter title, author name, affiliation, and contact information (phone, east-mail and mailing address).
Procedures : Delight upload the proposal as a Word file here. All submitters will be notified past December 1, 2015 of the status of their proposal. Authors of selected proposals will receive chapter guidelines and will be invited to submit full capacity for consideration by October 1, 2016. Editors will review submitted capacity for terminal option and make recommendations for revisions by December i, 2016. Final submissions will be due by January 1, 2017. The Anteroom Activism anthology will include capacity that form the 2016, 2017, and 2018 Antechamber Activism themes. Our goal is publication of the anthology by the 2018 NAEA convention as a xth anniversary of the NAEA Women's Caucus Lobby Activism. Send queries to the lead editor Karen Keifer-Boyd at kk-b@psu.edu. Co-editors include Linda Hoeptner-Poling, Sheri Klein, Wanda B. Knight, and Adetty Pérez de Miles.
IMPORTANT DATES
October 1, 2015: Proposal Submission Deadline
Dec ane, 2015: Notification of Proposal Acceptance and Invitation to Submit Chapters
September 1, 2016: Full Chapter Submission
Dec 1, 2016: Notification of Acceptance and Revisions Returned
January i, 2017: Final Affiliate Submission
Click here to download a pdf of the call for papers.
Click here to submit your proposal.
Source: https://judychicago.arted.psu.edu/lobby-activism/
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