Notes
1 Dwanna L. McKay, “Masking Legitimized Racism: Indigeneity, Colorblindness, and the Sociology of Race,” Seeing Race Again: Countering Colorblindness across the Disciplines (University of California Press, 2019), 87. This source describes the legacy of racism across disciplines.
2 McKay, 88.
3 Yasmin Jiwani, “Pedagogies of Hope: Counter Narratives and Anti-Disciplinary Tactics,” Review of Education, Pedagogy, and Cultural Studies 33, no. 4 (2011) 334. This manual prescribes methods of interpreting art and pedagogical counter narratives.
4 Data Reporting Office, “Fingertip Facts of Education in California,” CA Dept of Education, last reviewed August 29, 2019, https://www.cde.ca.gov/ds/sd/cb/ceffingertipfacts.asp. This fact sheet shows demographic data of California.
5 Elizabeth R. Howard, Julie Sugarman, Marleny Perdomo, Carolyn T. Adger, “Two-Way Immersion Education: The Basics,” The Two-Way Immersion Toolkit (2005). This source highlights the basics of TWIBI programs.
6 William Saunders, Claude Goldenberg, David Marcelletti, “English Language Development: Guidelines for Instruction,” American Educator 37, no. 2 (Summer 2013). This is a guide for ELD programs.
7 “Hoover Middle School: Performing Arts,” San Jose Unified, https://hoover.sjusd.org/our-programs/performing-arts. This is the official website of Hoover Middle School.
8 “VAPA Standards Advisory Committee,” California State Board of Education, last modified April 11, 2019, https://cde.ca.gov/be/st/ss/vapasacmembers.asp. This is the CDE reference site containing the goals of the VAPA standards.
9 "Content Standards,” California State Board of Education, last modified June 11, 2020, https://cde.ca.gov/be/st/ss. These are the official adapted CDE VAPA standards.
10 Amelia M. Kraehe and Joni B. Acuff, “Theoretical Considerations for Art Education Research with and about “Underserved Populations”, Studies in Art Education 54 no. 4 (2013): 297. This provides theoretical framework for teaching minority populations.
11 F. Graeme Chalmers, “Cultural Colonialism and Art Education: Eurocentric and Racist Roots of Art Education,” Art, Culture, and Pedagogy (2019): 138. This highlights much of the Eurocentrism in art curriculum.
12 Chalmers, 137.
13 Ibram X. Kendi, How to Be an Antiracist (One World, 2019), ch. 2. This source advises anti-racist discourse, not only in education.
14 Alice Wexler, “#BLACKLIVESMATTER. Access and Equity in the Arts and Education,” Art and Education 71, no. 1 (January 2018): 21. This article has a peoples’ interpretation of fine arts that is culturally relevant.
15 David Hockney (b. 1937), “Christie’s”, https:// christies.com/lotfinder/Lot/david-hockney-b-1937-betty-freeman-5204586-details.aspx. This auction lot explains imagery present in Beverly Hills Housewife.
16 Cecile Whiting, “David Hockney: A Taste for Los Angeles,” Art History: Journal of the Association of Art Historians 34, no. 4 (2011). This is a well-regarded review of David Hockney’s work on suburban Los Angeles Life.
17 Eric Avila, “Reviewed Work(s): POP L.A.: Art and the City in the 1960s by Cécile Whiting,” Southern California Quarterly 89, no. 2 (2007): 239. This review combats erasure present in Cecile Whiting’s book about David Hockney.
18 Daniel G. Cumming, “Black Gold, White Power: Mapping Oil, Real Estate, and Racial Segregation in the Los Angeles Basin, 1900-1939,” Engaging Science, Technology, and Society, (2018), 86. This article examines racist real estate and city planning practices in suburban LA.
19 Jennifer A. Watts and University of California staff, “California and the Postwar Suburban Home,” Huntington Library Photo Archives and Regents of the University of California, 2009, https://calisphere.org/exhibitions/40/california-and-the-postwar-suburban-home/ This is description of an exhibit of photos by LA-based photographer Maynard L. Parker.
20 Diane Kuthy, “Redlining and Greenlining: Olivia Robinson Investigates Root Causes of Racial Inequity,” Art Education 70, no. 1 (January 2017): 22. This article highlights Olivia Robinson’s art to explain racist and predatory lending practices.
21 Johnson Hur, ”History of Nuclear Families,” BeBusinessed.com, https://bebusinessed.com/history/history-nuclear-families/ This website explains trends in the concept of a nuclear family.
22 Richard Schein, Landscape and Race in the United States (New York, 2006): 37. This article shows that race and suburbia are intricately linked in many ways.
23 Eric Avila, Popular Culture in the Age of White Flight: Fear and Fantasy in Suburban Los Angeles (University of California Press, 2006)” 20. This entire book addresses dominant discourses in the construction of post-war LA.
24 Cameron McCarthy, Michael D. Giardina, Susan Juanita Harewood, Jin Kyung Park, “Contesting Culture: Identity and Curriculum Dilemmas in the Age of Globalization, Postcolonialism, and Multiplicity,” Harvard Educational Review 73 no. 3 (2003): 456. This article analyzes the mainstream and neo-Marxist explanations of racial ine quality in schools
25 McCarthy, Giardina, Harewood, Park, 457.
26 Jiwani, 336.
27 Ramiro Gomez, “Ramiro Gomez Looks Into the Inner Lives of L.A.’s Laborers,” Interview by Liz Ohanesian,. LA Magazine, November 20, 2019. This is an interview with Ramiro Gomez.
28 Ramiro Gomez, “Hacking Hockney: the Mexican American painter bringing Latino culture into art,” Interview by Janelle Zara. The Guardian, August 22, 2017. This is an interview of Ramiro Gomez that highlights cultural factors present in his art.
29, Lawrence Weschler, Domestic Scenes: The Art of Ramiro Gomez (Harry N. Abrams, 2016). This is a comprehensive art book of Ramiro Gomez’s Hockney Series.
30 Amelia M. Kraehe & Joni B. Acuff, “Theoretical Considerations for Art Education Research with and about ‘Underserved Populations’, Studies in Art Education 54, no. 4 (2013): 302. This article details findings “that suggest that art education is deeply implicated in the production and maintenance of social inequalities.”
31 Lucy Calkins, The Art of Teaching Writing (Heinemann, 1994). This is a manual on teaching writing.
32 Rita Felski, Uses of Literature (Wiley‐Blackwell, 2008). This article details applications of children’s literature.
33 Rudine Sims Bishop, “Mirrors, Windows, and Sliding Glass Doors,” Perspectives: Choosing and Using Books for the Classroom 6 no. 3 (Summer 1990). This is a well-known article that originated the mirrors, windows, and sliding glass doors paradigm.
34 Manuel G. Correia and Robert E. Bleicher, “Making Connections to Teach Reflection,” Michigan Journal of Community Service Learning 14 no. 2 (Spring 2008). This article is highlights how students benefit from learning to make connections.
35 Abi Nader, “Creating a Vision of the Future,” Phi Delta Kappan 72, no. 7 (March 1991). This article imagines what culturally relevant education can be like.
36 “Ramiro Gomez,” Charlie James Gallery, https://www.cjamesgallery.com/artist-detail/ramiro-gomez. This is Ramiro Gomez’s gallery representation site.
37 Laurie Gordon and John Salkin, “’Eat Me and Grow Young!’: Orange Crate Art in the Golden State,” California Historical Quarterly 56, no. 1 (1977): 53. This explains imagery in citrus crate art.
38 “Citrus crate label collection,” Corona Public Library, Corona, California 92882. This is a collection of citrus crate labels from Corona and Riverside farms.
39 Douglas Cazaux Sackman, “’By Their Fruits Ye Shall Know Them’: "Nature Cross Culture Hybridization" and the California Citrus Industry, 1893-1939,” California History 74 no. 1 (1995): 89. This is an authority of the California citrus industry intersection with culture.
40 Sackman, 95.
41 Sackman, 90.
42 Devra Weber, Dark Sweat, White Gold: California Farm Workers, Cotton, and the New Deal (University of California Press, 1996), 27. This is the history of California farm workers.
43 Cletus E. Daniel, Bitter Harvest, a History of California Farmworkers, 1870-1941 (University of California Press, 1981),17. This is a history of California farm workers.
44 Daniel, 26.
45 Weber, 37.
46 Richard Steven Street, Beasts of the Field: A Narrative History of California Farmworkers, 1769-1913 (Stanford University Press, 2004): 209. This is a history of California farm workers.
47 F. A. Gunther, Y. Iwata, G. E. Carman, C. A. Smith, “The citrus reentry problem: Research on its causes and effects, and approaches to its minimization,” Residue Reviews 67 (1997). This is a book about residues of pesticide in the environment.
48 Franciso Rosales, Chicano! The History of the Mexican American Civil Rights Movement, Arte, (Publico, 1996), 119. This is an authority on the Chicano Civil Rights Movement.
49 Marshall Ganz, Why David Sometimes Wins: Leadership, Organization, and Strategy in the California Farm Worker Movement (Oxford University Press, 2009), 5. This is a theoretical framework for why the California Farm Worker Movement was successful.
50 Rosales, 119.
51 Rosales, 145
52 Alliance for California Traditional Arts, “Juana Alicia Araiza,” https://www.actaonline.org/profile/juana-alicia-araiza/. This is a profile on Juana Alicia.
53 Juana Alicia Araiza, “Bay Area Muralist Juana Alicia Araiza discusses her work, social justice, and accessibility,” interview by Grace Orriss, The Daily Californian, April 11, 2019. This is an interview with Juana Alicia.
54 Social and Public Art Resource Center, “The Great Wall of Los Angeles,” https://sparcinla.org/programs/the-great-wall-mural-los-angeles/. This is Judy Baca’s organization’s webpage
55 Juana Alicia, “Las Lechugueras/The Women Lettuce Workers,” https://juanaalicia.com/las-lechugueras-the-women-lettuce-workers/ This Juana Alicia’s art portfolio.
56 Dyan Mazurana,” Juana Alicia's Las Lechugueras/The Women Lettuce Workers,” Meridians 3, no. 1 (2002): 77. This is an academic reading of Juana Alicia’s work.
57 Juana Alicia, “Santuario/Sanctuary Mural SFO,” https://juanaalicia.com/portfolios/murals/santuariosanctuary-mural-sfo/. This Juana Alicia’s art portfolio.
58 Judy Baca, “Gente de Maíz, 2012.,” http://www.judybaca.com/artist/art/gentedelamaiz/. This is Judy Baca’s art portfolio.
59 Judy Baca, “Uprising of the Mujeres. 1979.,” http://www.judybaca.com/artist/art/uprisingofthemujeres/. This is Judy Baca’s art portfolio.
60 Jiwani, 334.
61 McCarthy, Giardina, Harewood, Park, 461.
62 Paula Ioanide, “Negotiating Privileged Students’ Affective Resistances: Why a Pedagogy of Emotional Engagement is Necessary,” Seeing Race Again: Countering Colorblindness across the Disciplines (University of California Press, 2019): 335. This is a manual for teaching and argues that teaching in with emotional engagement is anti-white-supremacist.
63 Robyn F. Wasson, Patricia L. Stuhr and Lois Petrovich-Mwaniki, “Art in the Multicultural Classroom: Six Position Statements,” Studies in Art Education 31, no. 4 (Summer 1990): 240. This manual defines how to teach art using culturally relevant pedagogy.
64 Wasson, Stuhr, Petrovich-Mwaniki, 239.
65 Paul Duncum, “Clearing the Decks for Dominant Culture: Some First Principles for a Contemporary Art Education,” Studies in Art Education 31, no. 4 (1990): 214. This article outlines what contemporary art education should look like.
66 Ioanide, 339.
67 F. Graeme Chalmers. “The Origins of Racism in the Public School Art Curriculum,” National Art Education Association 33 no. 3 (1992): 138. This article outlines some sources of white supremacy in art curriculum.
68 Anne E. Wagner, “Unsettling the academy: working through the challenges of anti‐racist pedagogy,” Race Ethnicity and Education 8, no. 3 (2005). This article outlines drawbacks of working with anti-racist pedagogy.
69 Felice Blake, “Why Black Lives Matter in the Humanities,” Seeing Race Again: Countering Colorblindness across the Disciplines (University of California Press, 2019), 308. This article shows how humanities and race are intricately intertwined and how an attitude of colorblindness is no longer acceptable.
70 Lawrence, Tatum, 2.
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