We are three art educators, Women of Color (WoC), in higher education. In this article, we use trioethnography, a dialogic methodology, to provide context for understanding our struggles as such. We describe our challenges navigating a field (art education) that has embraced feminist scholarship, yet has historically paid little attention to how the intersections of race and gender systemically marginalizes WoC. We utilize scholarship from feminists of color, and the artwork of Black, queer, female visual artist Mickalene Thomas to counter the negation of our voices and reveal the complexity of our lived experiences to our predominately White female field. We look to intersectional feminisms to shift the art education discourse so that WoC’s matrices of oppression are considered. Ultimately, we seek to complicate the traditional feminist discourse that occurs in the art education field. Using trioethnography as a methodology allowed our recorded and transcribed dialogs to become our site of inquiry and, ultimately, become narratives of resistance in relation to dominant narratives/discourse. We offer three thematic lenses for examining our dialog: “Keeping it Real,” “Invisible Burdens,” and “Kinship Ties.” Further, we juxtapose these narratives alongside our photographic reenactment of Thomas’s artwork as a backdrop and third space for examination.

中文翻译：

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草地上的午餐：三位女性色彩艺术教育家

我们是高等教育领域的三位艺术教育家，有色人种女性 (WoC)。在这篇文章中，我们使用了一种对话方法论的民族志，来为理解我们的斗争提供背景。我们描述了我们在接受女权主义奖学金的领域（艺术教育）所面临的挑战，但历史上很少关注种族和性别的交叉点如何系统地边缘化 WoC。我们利用有色人种女权主义者的学识，以及黑人、酷儿、女性视觉艺术家 Mickalene Thomas 的艺术作品来反驳对我们声音的否定，并向以白人为主的女性领域揭示我们生活经历的复杂性。我们期待交叉女权主义来改变艺术教育的话语，以便考虑到 WoC 的压迫矩阵。最终，我们试图使艺术教育领域中出现的传统女权主义话语复杂化。使用民族志作为一种方法，让我们记录和转录的对话成为我们的探究场所，并最终成为与主导叙事/话语相关的抵抗叙事。我们提供了三个主题镜头来检查我们的对话：“保持真实”、“隐形负担”和“亲属关系”。此外，我们将这些叙述与我们对托马斯艺术作品的摄影重演并置，作为背景和第三空间进行检查。我们提供了三个主题镜头来检查我们的对话：“保持真实”、“隐形负担”和“亲属关系”。此外，我们将这些叙述与我们对托马斯艺术作品的摄影重演并置，作为背景和第三空间进行检查。我们提供了三个主题镜头来检查我们的对话：“保持真实”、“隐形负担”和“亲属关系”。此外，我们将这些叙述与我们对托马斯艺术作品的摄影重演并置，作为背景和第三空间进行检查。