Description
Promoting the expansion of art in society and education, this book highlights the significance of the arts as an instrument of social justice, inclusion, equity, and protection of the environment. Including twenty-seven diverse case studies of socially engaged art practice with groups like the Black Lives Matter movement, the LGBTQ community, and Rikers Island, this book guides art educators toward innovative, transdisciplinary, and diverse methodologies. A valuable resource on creating spaces for change, it addresses the relationships between artists and educators, museums and communities.
Table of Contents
Introduction;
Section I Museums and Cultural Institutions in Diverse Communities;
Chapter One "Martha Wilson and Franklin Furnace" Martha Wilson;
Chapter Two "Strength in Diversity" Patricia Lannes, Heather Maxson, April Oswald, Mariana Pengo;
Chapter Three "Insights from an Educator Crafting Scent-Based Experiences in Museum Galleries,"Marie Clapot;
Chapter Four "ArtsAction Group: Fostering Capabilities through Socially Engaged Art" Cindy Maguire, Rob McCallum;
Chapter Five "Art in Collaboration: Creating Creative Communities Through Dialogue" Katy Rogers, Arianna Chavez;
Chapter Six "From Please Touch to ArtAccess: A Rhizhomatic Growth" Mitra Dejkameh, Vida Sabbaghi;
Chapter Seven "Outside In: Bringing Art Museums to Rikers" Mia Ruyter, Eunji Lee;
Section II: Art Pedagogy in Diverse Communities;
Chapter Eight "How Do You Get to Prospect Avenue?" Tim Rollins;
Chapter Nine "Living Geometry: The Pythagoras Narrative" Judith M. Burton;
Chapter Ten "Filling the Void with Casitas: A Historical Case Study for Critical Social Practice Art Pedagogy" Alicia Grullon;
Chapter Eleven "Hunting for Insects and Metaphors in the Mojave" Mark Graham;
Chapter Twelve "Rockaway Tales" Patty Harris;
Chapter Thirteen "Walking with Paulo in a Southern US Textile Town" Susanne Floyd Gunter;
Chapter Fourteen, "Field Notes from Studio 9" Chloë Bass, Jeff Kasper;
Chapter Fifteen "STEAM It Up: Digital Fabrication, Transdisciplinary Zones, & Art Education" Aaron Knochel;
Chapter Sixteen "Transversaling Aesthetic Practices: Toward an Anti-Disciplinary Practice" Cala Coats;
Section III: Critical Race and Gender Perspectives;
Chapter Seventeen "#Blacklivesmatter: Race in Art and Education" Alice Wexler;
Chapter Eighteen "Bridging the Racial Divides Through Interracial Dialogue in Art/Education: One More River to Cross" Wanda B. Knight;
Chapter Nineteen "Spaces of Engagement, Sites of Ownership: Exploring the Black Lunch Table" Adriana Burkins, Robyn Hillman-Harrigan;
Chapter Twenty "An In(Ex)clusive World: Toward “Participatory” Archives Practices in Education" Ann Holt;
Chapter Twenty-one "Fiercely Exuberant Extravagances: Queerly Reading Nick Cave’s Soundsuits, Installations and Interventions" James H. Sanders III;
Chapter Twenty-two "Resistance is Futile: Two Case Studies Exploring Intersections/Assimilations, Limits and Discriminations in Relation to Creativity in the Lives of Two Gay Artist Educators/Academics" Ed Check, Andres Peralta;
Chapter Twenty-three "Finding Unfamiliar Bridges: Questioning the Familiar" Karen Keifer-Boyd;
Chapter Twenty-four "Street Art Interventions: Nuclear Cake and Atomic Ray Goats on the Rez" Adetty Perez de Miles;
Section IV: DIS/ability Justice and Outsiders;
Chapter Twenty-five "A Case Study of Kenny Hill’s Chauvin Sculpture Garden, Its Preservation, and Decay" Christina McCollum;
Chapter Twenty-six, "All our Voices: Developing Frameworks for Inclusive Research in Art Education Flavia Bastos;
Chapter Twenty-seven "The Rockland Living Museum: An Open Studio that Bridges Diverse Worlds" Christine Randolph;
Index
