FIGURE 6 - uploaded by Dipti Desai
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Art Rebate/Arte Reembolso. " Art Rebate/Arte Reembolso " was commissioned as part of the traveling exhibition La Frontera/The Border, Art about the Mexico/United States Border Experience sponsored by the Centro Cultural de la Raza and the Museum of Contemporary Art, San Diego (MCA San Diego). Collaborative public art event at various locations throughout San Diego County. (Elizabeth Sisco, Louis Hock, David Avalos; July–September 1993). Courtesy of artists.  

Art Rebate/Arte Reembolso. " Art Rebate/Arte Reembolso " was commissioned as part of the traveling exhibition La Frontera/The Border, Art about the Mexico/United States Border Experience sponsored by the Centro Cultural de la Raza and the Museum of Contemporary Art, San Diego (MCA San Diego). Collaborative public art event at various locations throughout San Diego County. (Elizabeth Sisco, Louis Hock, David Avalos; July–September 1993). Courtesy of artists.  

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This article uses the lens of contemporary visual art as a counternarrative to explore the racialization of immigration in the United States and its relationship to education. Drawing on critical race theory, I argue that today several artists use their artistic practice to intervene strategically in the immigration debates. These artistic interven...

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... with a group of activists who had a long history addressing migrant rights as "facilitator advisors" gave the project a deeper resonance. Similar to the Brinco project, this one also attracted media coverage and raised controversy in the media (see Figure 6). ...

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This chapter explores multivocality, when working with refugees, as an approach to challenge and destabilize homogenizing narratives. Museum as Sanctuary is a long-term program at the Tucson Museum of Art that leverages community partnerships to engage refugee audiences through art-making and in-gallery activities. The author will explore how museums can foster multivocal, community-based programs by creating opportunities for participants to share their opinions, observations, and experiences in response to works of art on view and through their own artistic products. The theories of Trinh T. Minh-ha provide a lens for contextualizing the multivocality that emerges from collaborations and that honors difference, builds comfort, supports individual strengths, and welcomes change. Through a methodological blending of critical narrative inquiry and decolonizing theories, the author examines pedagogical strategies that include performance and process in order to unsettle monolithic ideas to make space for multiplicities.
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Though it is widely used, the concept of “underserved” is sorely undertheorized in art education. Before the field of art education can effectively address the persistent educational disparities across different sociocultural and economic groups, we need deeper understandings of entangled sociocultural and political processes that create and conceal underservedness. The term “underservedness” moves us away from conceiving of populations, and instead draws attention to cultural articulations and material conditions that prevent certain groups from fully accessing and benefiting from the resources and opportunities for effective education, including high-quality art experiences. In this article, the authors discuss four theoretical perspectives—critical race theory, intersectionality, critical multiculturalism, and social justice education—that can foster nuanced analyses and cogent explanations of art education in the context of underservedness. The discussion focuses on key tenets of these theoretical perspectives, important points of tension and synergy, and their relevance for art education research.