{"id":22492,"date":"2023-02-16T04:54:37","date_gmt":"2023-02-16T04:54:37","guid":{"rendered":"https:\/\/uaaglobal.com\/what-were-reading-wheres-the-art-in-the-ap-african-american-studies-curriculum\/"},"modified":"2023-02-16T04:54:37","modified_gmt":"2023-02-16T04:54:37","slug":"what-were-reading-wheres-the-art-in-the-ap-african-american-studies-curriculum","status":"publish","type":"post","link":"https:\/\/uaaglobal.com\/what-were-reading-wheres-the-art-in-the-ap-african-american-studies-curriculum\/","title":{"rendered":"What We’re Reading: Where\u2019s the Art in the AP African American Studies Curriculum?"},"content":{"rendered":"
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Submitted by Jaime Sharp<\/a> on February 15, 2023<\/div>\n<\/div>\n
\n

“Ahead of the 2022\u20132023 school year, the College Board rolled out a pilot version of its new Advanced Placement (AP) African American Studies course. The class had been in the works for over a decade, and this pilot version is currently offered to students at only 60 high schools across the country,” said Elaine Velie for Hyperallergic. “Last week, the College Board announced an updated official curriculum framework in advance of the course\u2019s expansion into hundreds more schools that some critics say is missing a host of important artists, writers, and concepts.”<\/p>\n

<\/p>\n

\nKelli Morgan, the director of curatorial studies at Tufts University, whose work focuses on anti-Blackness and anti-racism in the museum field, pointed to a handful of successful living Black artists whose work is not \u2014 and she says should be \u2014 included in the framework: Firelei B\u00e1ez, Titus Kaphar, Harmonia Rosales, Alison Saar, and Ren\u00e9e Green among them. (Morgan is a recipient of Hyperallergic\u2019s 2022\u201323 Emily Hall Tremaine Fellowship for Curators.)<\/p>\n

Morgan, however, told Hyperallergic she was not surprised at the College Board\u2019s amendments.<\/p>\n

\u201cI feel like we\u2019re in this moment where White, capitalist, patriarchal supremacy is on its last legs \u2014 it kind of sees its own demise,\u201d Morgan said. \u201cSo anything or anybody \u2014 Black scholars, Black authors, Black artists \u2014 who are producing work that not only demonstrates the dysfunctionality of White supremacist patriarchal capitalism but offers other options \u2026 There\u2019s no way that\u2019s gonna be handed to Black teenagers in high school.\u201d<\/p>\n

Morgan also spoke to the histories of African American Studies and Art Histories, stating that part of the reason she entered her line of work (which lies at the intersection of the two fields) is that Art History was behind the curve when it came to examining Black and African diaspora work, and African American Studies lagged behind in examining visual art at all.<\/p>\n

\u201cMusic\u2019s there, history and politics are there, but in terms of visual art, it was really small,\u201d Morgan said.<\/p>\n

\u201cOne thing I love about art is how wonderful it can be to have a mind that literally is trying to create something that doesn\u2019t exist,\u201d Morgan said. \u201cWe have to be able to see the possibility of beginning to be able to do what we want to do \u2013 being able to create the things we love or that we think of or that we conceptualize, within a system that is designed literally for us to die.\u201d<\/p>\n

\u201cSeeing Black artists, especially these days at the level that is being done, is vital,\u201d Morgan continued. \u201cIt\u2019s beyond critical. It\u2019s so vital to put that there.\u201d<\/p>\n

Read the full article here.<\/a><\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

<\/p>","protected":false},"excerpt":{"rendered":"

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