Call for chapters for the Women’s Caucus Lobby Activism book
Call for chapters for the Women’s Caucus Lobby Activism book
based on the Lobby themes since 2008.
September 1, 2015 is the deadline for 500-word abstracts of proposed chapters.
Submit proposals at http://judychicago.arted.psu.edu/lobby-activism/
2015: How do you (re)deSIGN gender codes in your teaching, art, and life?
2014: Speak Truth to Power
2013: What are my personal responsibilities and our collective responsibilities to end violence?
2012: "What do you believe is critical to lobby for in 2012"
2011: "A Time When ... "
2010: "What is the Image of a Feminist in the Field of Art Education Today ?"
2009: "Enacting Change: What We Can Learn From Each Other? "
2008 Collaborative JAE publication: "Vote 2008: What Should an Art Educator Do?"
Call to participate: NAEA Women’s Caucus Retreat, August 8- 9, 2015
INVITATION to the 2015 Women’s Caucus retreat on a Lake Erie beach around a bonfire burning the patriarchal robe, wearing feminist aprons. Yoga, swim, beach bonfire, patriarchy burning, apron and story telling on the shores of Lake Erie, east of Cleveland. Sleep under the stars, backyard tent, or bring an airmattress for a place to sleep in Karen’s Ohio house inherited from her mother. Visit the Rock & Roll Hall of Fame or the Cleveland Art Museum. Come for the weekend, August 8-9, or just the bonfire on Saturday night, August 8. Croquet or crochet, draw and paint, make art from driftwood, engage in creative practice, toss horseshoes on the beach symbolic of what you want to wrap yourself around in the year ahead, or group together for writing workshops, dialogue.
The apron symbolizes feminist power. The woman’s apron has been traditionally connected to housework and to protecting clothing from being soiled. Yet, aprons of all sorts have enjoyed a recent resurgence in style and popularity, with both men and women wearing many different types of aprons as an intentional choice. Our project takes up this rich symbol and brings it to bear on the intellectual, social, and material dimensions of art education. “Our” art educator’s apron challenges the feminization of art education as a field. Art teachers are prepared for physical, messy work and not hampered by clothes that restrain them from such work. Our Apron supports and encourages art teachers as they confront an often highly feminized art education environment in strong and assertive ways. Today, the artists’ work apron symbolizes both the intellectual work and labor of artistic production.
The academic gown symbolizes patriarchal power, intellectual power, academia, and the university/academy as a site of and for knowledge. The academic gown symbolizes the dichotomies of thinking/feeling, the legitimization and valuing of 'thought' over feelings, intuition and ways of knowing, that are characteristic of feminist teaching, pedagogy and leadership and it also represents the hierarchies within educational institutions that often run counter-productive to creating equitable and just teaching, learning and working environments. Academic regalia worn by graduates at commencements—from kindergarten ceremonies to high school and university degrees—follow a tradition begun in the Middle Ages by men at European universities. Color, trim or binding on the gown designates educational status. The style of academic dress most frequently worn in the United States dates back to colonial times when few women had access to university degrees. Today, many women achieve advanced degrees and don the male garb at graduation ceremonies.For more information contact Karen Keifer-Boyd, email@example.com
WC Collective Bibliographies
Zotero (http://www.zotero.org/) is a free Firefox plug-in for recording and organizing bibliographic information about Web pages, images, and online journal articles, and bibliographical information not online. Zotero enables export of selected references as a formatted bibliography text file in recognized writing styles such as APA and MLA, or custom reference styles. Zotero is a research tool that leverages the concept of tagging. Zotero can extract key metadata from Web pages and insert them into citations. In addition to collecting metadata, Zotero organizes user-generated information including snapshots, images (e.g., from Flickr), notes, attachments, tagging, and related items. Once the plug-in is installed, the Zotero icon is at the bottom of your browser, easy to access your private entries, as well as to join groups or create a new group. For a quick start video tutorial go to http://www.zotero.org/support/quick_start_guide
Please join the NAEA Women's Caucus group at https://www.zotero.org/groups/naea_womens_caucus to collaboratively build a bibliography of research relevant to the NAEA WC mission.
Collins, G. C. ( 1981). Feminist Approaches to Art Education. Journal of Aesthetic Education, 15( 2). pp. 83-94.
Garber, E. & Garber-Pearson, E. (2012). Tramps and bruisers: Images of roller derby and contemporary feminism. Ch. In O. Ivaskevich & M. Bae (Eds.), Girls, cultural productions, and resistance (pp. 92-106). New York: Peter Lang.
Garber, E. (1990). Implications of feminist art criticism for art education. Studies in Art Education, 32(1), 17-26.
Garber, E. (1992). Feminism, aesthetics, and art education. Studies in Art Education, 33 (4), 210-225.
Garber, E. (2003). Teaching about gender issues in the art education classroom: Myra Sadker Day. Studies in Art Education, 45(1), 56-72.
Garber, E.; Sandell, R.; Stankiewicz, M.A.; & Risner, D. (2007). Gender equity in visual arts and dance education. Ch. in Susan Klein (Ed.), Handbook for achieving gender equity through education (pp. 359-380). Mahwah, NJ: Lawrence Ehrlbaum. There is a fairly comprehensive list at the end of the chapter as it was a lit. review.
Grauer, K., Irwin, R.L., & Zimmerman, E. (Eds.). (2003). Women art educators v: conversations across time: Remembering, Revisioning, Reconsidering, Reston, VA: National Art Education Association.
Kay, L. & Arnold, A. (2014). Order out of chaos: An arts-based approach to counteract violence. Art Education, 67(4), 31-36.
Klein, S. (1993). Breaking the mold with humor: Changing images of women in the comics. Art Education, 45(5) 60-65.
Klein, S. (2014). “Humor and contemporary product design” In D. Chairo and R. Baccolini (Eds.). Gender and Humor: International and Interdisciplinary Perspectives (pp. 201-211). New York: Routledge.
McClure, M. (2015). "So, bye, Justin Bieber, I love you!" The Affective Work of Managing Masculinity and Femininity in Preschool Girls' Digital Video Productions in M. Kallio-Tavin & J. Pullinen (Eds.). Conversations on Finnish art education in international contexts.
McClure, M. (2014). s/m/othering Commentary. Studies in Art Education 55(3), 253-257.
McClure, M. (2014). S/m/othering (Art Education). Cover artwork, Art Education 67(3).
McClure, M. (2012). The Monster and LoverYGirl: Mapping complex relations in preschool children’s digital video production. Studies in Art Education, 55(1), 18-34.
McClure, M. (2013). The princess’s protagonist: The affective and discursive work of managing masculinity and femininity in Mexican and Native American preschool girls’ digital video productions. In O. Ivashkevich & M. Bae (Eds.). Girls, cultural productions, and resistance, pp. 13-24 New York: Peter Lang.
McClure, M. (2006). Thank heaven for little girls: Girls’ drawings as representations of self. Visual Culture and Gender 1, 63-78.
Stankiewicz, M.A. & Zimmerman, E. ( Eds.) (1993).Women Art Educators II. Mary Rouse Memorial Fund at Indiana University and the NAEA Women's Caucus.
Stankiewicz, M.A. & Zimmerman, E. ( Eds.) (1985).Women Art Educators III. Mary Rouse Memorial Fund at Indiana University and the NAEA Women's Caucus.
Sacca, E.J. & Zimmerman, E. (Eds.). (1998). Women art educators IV: Herstories, ourstories, future stories. Boucherville, Quebec: Canadian Society for Education Through Art, 70-75.
Smith-Shank, D.L. (1998b). Sugar and Spice and Everything: Reflections on a feminist aesthetic. The Journal of Social Theory in Art Education, (18), 21-28.
Smith‑Shank, D.L. (2000). You don't need a penis to be a genius. In D.E. Fehr, K.K. Fehr,
& K. Keifer‑Boyd (Eds.), Real world readings in art education: Things your professors never told you (pp. 65-72). New York: Falmer Press.
Zimmerman, E. & Stankiewicz, M.A. ( Eds.) ( 1982).Women Art Educators. Mary Rouse Memorial Fund at Indiana University and the NAEA Women's Caucus.
Zimmerman, E. (2015). Extending Thurber’s and Zimmerman’s Models for Developing Feminist Leadership in Art through Collaboration, Community Building, and Creativity. In J. Daichendt, A. Kantawala & J. Haywood Rolling (Eds.), Visual Inquiry: Learning and Teaching Art, 3 (3), 363-278. Bristol, H UK: Intellect.
Bae. M & Ivashkevitch, O. (2012). Girls, cultural productions, and resistance. New York: Peter Lang.
Beudert, L. & McClure, M. (2015). Curriculum Inquiry and Design for School and Community-Based Art Education. Reston, VA: NAEA Press.
Broude, N. & Garrad, M. D. (2005). Reclaiming female agency: Feminist art history after postmodernism.
Butler, C. & Mark, L. G. (2007).WACK! Art and the feminist revolution.
Chicago, J. & Lucie-Smith, E., Women and Art: Contested Territory. (1999). New York: Watson-Guptill.
Chicago, J. (2014. Institutional Time: A critique of Studio Art Education. Monacelli Press.
Collins, G., & Sandell, R. (1984). Women, art and education. Reston, VA: National Art Education Association.
Collins, G. & Sandell, R. (1996 ). Gender issues in art education: Content, contexts and strategies. Reston, VA.: NAEA Press.
Curtis, A.S. (2005). Women, Trauma & Visual Expression. Portland, ME: WTVE.
Deepwell, K. (2014). Feminist art manifestos.
Gilligan, C. (1993). In a different voice: Psychological theory and women's development. Cambridge, MA: Harvard University Press.
Guerrilla Girls (1998). The Guerrilla girls bedroom companion to the history of western art.
Karras, M. & Elliott, M. (2011). The Woman’s building and feminist art education 1973-1991
Klein, S. (2007). Art and Laughter. London: I.B. Tauris Press.
Kraft, M. & Keifer-Boyd, K. Including Difference: A Communitarian Approach to Art Education in the Least Restrictive Environment. Reston, VA: National Art Education Association.
Lather, P. (1991). Getting smart: Feminist research and pedagogy with/in the postmodern. New York: Routledge
Lippard, L.R. (1995). The pink glass swan: Selected feminist essays on art. New York: The New Press.
Malhotra, S. & Rowe, A.C. ( 2013 ). Silence, feminism, power: Reflections at the edges of sound.
Reckitt, H. & Phelan, P. (2012). Art and feminism.
Valenti, J. (2014). Full frontal feminism: A young woman’s guide to why feminism matters
National Museum of Women in the Arts http://nmwa.org