Abse Gogarty, Larne (2023) ‘Introduction’, What We Do Is Secret: Contemporary Art and the Antinomies of Conspiracy, Sternberg Press
Adepitan, Ade for Parapride (2023) Intersectionality in Focus: Empowering Voices during UK Disability History Month 2023. Available at: https://www.youtube.com/watch?v=_yID8_s5tjc&t=1s (Accessed: 23 July 2024)
Art21 (2023) Christine Sun Kim in Friends & Strangers – Season 11 | Art21. 16 October 2020. Available at: https://www.youtube.com/watch?v=2NpRaEDlLsI (Accessed: 23 July 2024)
Bradbury, Alice (2020) A Critical Race Theory Framework for Education Policy Analysis: The Case of Bilingual Learners and Assessment Policy in England, Race Ethnicity and Education, 23:2, 241-260, DOI: 10.1080/13613324.2019.1599338
Crenshaw, Kimberlé (1990) Mapping the Margins: Intersectionality, Identity Politics, and Violence against Women of Color. Stanford Law Review43 (6)
Darling, Brett (2018) The Pluralist: The Visibility Issue, the Royal College of Art Newspaper
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I like the way you open your blog with a critique on critical art. with the statement by Martha Rosler, Culture class. In states. Social Critical Art can survive in an overheated market environment. Questioning: that the arts and the artists must serve the rich and be part of the dominant economies that that the world financial societies follow and adheres to for growth. Which leads to riches and wealth.
Are you questioning that education is truly a business, or arts education is a business?
Are we preparing students for this world, or are we educating our student artist to be independent?
With reference to Noble and Chantelle Muffy.2. “Artworks explore subject positions and identity’s defined by ‘otherness’ marginality oppression or victimisation. This has been a dominant mode of making critical art in recent years. Feminist art. Queer art. Art made by ethnic or religious minorities”.
Are these viewed as critical art or sellable marketing material for the art market. Do they truly value it? Does the uniqueness of the art create value; increases value?
I agree with the points you make concerning Christine Sum Kim who identifies as a deaf person and who is aware of her gender, nationality and where she works?
I agree with the statement, which is very powerful, “I am always a little bit jealous of artists who have the privilege to be misunderstood” That is telling and challenges the exploitation of herself and her work. She must be open ‘In the middle of society’, loud, proud and be honest.
(note: when the able bodied is misunderstood. – all our faculties of communication are intact. So that we can explain our issues If misunderstood.)
It is always very interesting to note that Kimberly Crenshaw’s theory of intersectionality always keeps coming up. Appearing and intersecting across all the theories on education and pedagogy teaching/learning on themes of teaching and student engagement. Intersectionality is unavoidable. Teachers must be aware of it. Students have to navigate and live it.
I see that you challenge the series of undergraduate design courses whose course content isn’t geared towards employability to industries- with certain learning expectations not being met. You note that they are not actually geared to support diversity and encompass difference.
The final statement. ‘What makes people disabled is not their disability, it Society. Society. Is what holds us back. It’s that systematic discrimination and oppression’. Is a great signpost to highlight in your blog. An ‘awakening’ to those who ‘have’, who ‘are’, who are ‘able’, who are ‘healthy and able’. You challenge this by the student who critically engage with their work.
The student-to better understand and empower themselves. Socially, intellectually. To see the potential in themselves Do you want students to refuse to use words that Identifies them, and their disabilities? Do you want students to refuse to be recognised by disability?
To ignore their mental and physical limits and pursue greater engagement of their work in the art world.
Disability
I like the way you open your blog with a critique on critical art. with the statement by Martha Rosler, Culture class. In states. Social Critical Art can survive in an overheated market environment. Questioning: that the arts and the artists must serve the rich and be part of the dominant economies that that the world financial societies follow and adheres to for growth. Which leads to riches and wealth.
Are you questioning that education is truly a business, or arts education is a business?
Are we preparing students for this world, or are we educating our student artist to be independent?
With reference to Noble and Chantelle Muffy.2. “Artworks explore subject positions and identity’s defined by ‘otherness’ marginality oppression or victimisation. This has been a dominant mode of making critical art in recent years. Feminist art. Queer art. Art made by ethnic or religious minorities”.
Are these viewed as critical art or sellable marketing material for the art market. Do they truly value it? Does the uniqueness of the art create value; increases value?
I agree with the points you make concerning Christine Sum Kim who identifies as a deaf person and who is aware of her gender, nationality and where she works?
I agree with the statement, which is very powerful, “I am always a little bit jealous of artists who have the privilege to be misunderstood” That is telling and challenges the exploitation of herself and her work. She must be open ‘In the middle of society’, loud, proud and be honest.
(note: when the able bodied is misunderstood. – all our faculties of communication are intact. So that we can explain our issues If misunderstood.)
It is always very interesting to note that Kimberly Crenshaw’s theory of intersectionality always keeps coming up. Appearing and intersecting across all the theories on education and pedagogy teaching/learning on themes of teaching and student engagement. Intersectionality is unavoidable. Teachers must be aware of it. Students have to navigate and live it.
I see that you challenge the series of undergraduate design courses whose course content isn’t geared towards employability to industries- with certain learning expectations not being met. You note that they are not actually geared to support diversity and encompass difference.
The final statement. ‘What makes people disabled is not their disability, it Society. Society. Is what holds us back. It’s that systematic discrimination and oppression’. Is a great signpost to highlight in your blog. An ‘awakening’ to those who ‘have’, who ‘are’, who are ‘able’, who are ‘healthy and able’. You challenge this by the student who critically engage with their work.
The student-to better understand and empower themselves. Socially, intellectually. To see the potential in themselves Do you want students to refuse to use words that Identifies them, and their disabilities? Do you want students to refuse to be recognised by disability?
To ignore their mental and physical limits and pursue greater engagement of their work in the art world.