Abstract
This chapter situates the artistic practices of two contemporary artists, Kehinde Wiley (African American) and Carmen Lomas Garza (Mexican American/Chicana), who (re)construct power and privilege by (re)presenting and honoring people of color in their art. Critical Race Theory is utilized to examine how their efforts to counter elitist and exclusionary practices of the past can serve as exemplars for K-16 educators seeking to create instructional spaces, where students “become subjects in the instructional process, not mere objects” (Ladson-Billings, 2014, p. 76).
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Notes
- 1.
The terms white and black, in reference to skin color, are used in lower case letters throughout this chapter. The intention is to reflect equitable practices that do not privilege select members of society over others.
- 2.
Carmen Lomas Garza self-identifies as a Chicana. Planas (2012) says the term “Chicano” was originally used by wealthy Mexican Americans as a derogatory term to describe less wealthy Mexican Americans. During the 1960s civil rights protests, when many students walked out of classes to raise awareness to discriminatory practices from South Texas all the way to California. Activists of Mexican and Latin American descent adopted the term to (re)frame the term to embody their efforts to enact change and awareness. Chicano is masculine, while Chicana is feminine.
- 3.
The terms “Latinos/ Latinas” refers to people of Latin American origin or descent. Latino is masculine, while Latina is feminine. Latinx, a more recent term, is gender neutral and a non-binary alternative.
- 4.
To view more specific data on this Dallas Independent School District campus, please see http://www.dallasisd.org/cms/lib/TX01001475/Centricity/Shared//SchoolProfiles/SCHOOL_PROFILE_120.pdf
- 5.
Examples of ceremonial art for students to recreate using common everyday materials as a form of cultural appreciation included the Korhogo Mud Cloth and Wodabbe Mirror Pouch from Africa, Chippewa Dream Catchers and Inuit Finger Masks of the Native Americans, and Japanese Kokeshi Dolls from Asia, to name a few.
- 6.
I have worked with graduate and undergraduate art education students enrolled in the University of Nebraska at Kearney’s online program from 2010 to 2013 and 2015 to present.
- 7.
I have students read and discuss ideas involving sensitive teaching practices that respect the diverse cultural identities of students in our classrooms raised by Acuff (2012), Ballengee-Morris and Stuhr (2001), Ballengee-Morris and Taylor (2005), Desai (2000, 2002), Fey, Shin, Cinquemani, and Marino (2010), Garber (1995), Keifer-Boyd, et al. (2007), Kraehe (2010, 2015), and Lampela (2005), along with others.
- 8.
Examples of stereotypes featured in the proposed book implied that Mexican Americans are lazy (Tallet, 2016; Villa, 2016), are illegals either due to criminal activity or entering the country illegally ((Tallet, 2016), and that Chicanos in particular are trying to overthrow the government (Wang, 2016).
- 9.
John Contreras, a former student at Fox Tech High School, chose to use his real name to convey his story, rather than take on a pseudonym.
- 10.
Artist Robert Colescott (1929–2009) also addressed the void of non-white art in his body of work where he replaced white figures from art history with people of color (Langer, 2009). I had the pleasure of attending a lecture by Robert Colescott when he visited the University of Texas at Austin on June 15, 1989. He shared his personal inspiration for creating works that challenged the art historical canons.
- 11.
Street casting is a practice whereby Wiley and his assistants go into the streets of the local community he is working in and asks people that catch his attention if they would like to be a model for his work. He often brings along examples of his paintings to show prospective models, and if selected, they are hired. On the day of the photos being taken, models are often shown examples of famous art historical works to inform how they want to present themselves in the portraits. Most often, except for in the case of the women who modeled for his paintings featured in An Economy of Grace, models wear their own clothes for these photo shoots.
- 12.
Since I was not able to secure a seat in the museum to hear the lecture by Wiley, I had to watch the simulcast lecture projected onto the wall of the museum’s restaurant, along with other enthusiastic fans of Wiley’s work. Many of the people at my table had driven hours to attend the event.
- 13.
To view A Plaza in Texas in the 1930s and look at a lesson plan developed by UTSA Institute of Texan Cultures (2015) in relation to Garza’s work, please see http://www.texancultures.com/assets/1/15/Carmen_Lomas_Garza_4th-6th_07092015.pdf
- 14.
According to the UTSA Institute of Texan Cultures (2017), the term “Tejanos” is described as follows: “Encounters between Spanish, Mexican and indigenous peoples created a mestizo – mixed – population commonly identified as Tejanos. Their contributions to the Texan identity and culture are significant, and can be seen all around.” Retrieved from http://www.texancultures.com/los_tejanos/
- 15.
To view numerous examples of Carmen Lomas Garza’s images online, visit her webpage at http://carmenlomasgarza.com/
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Leake, M. (2018). The Politics of Representation: Reconstructing Power and Privilege Through Art. In: Kraehe, A., Gaztambide-Fernández, R., Carpenter II, B. (eds) The Palgrave Handbook of Race and the Arts in Education. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-65256-6_20
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