Academics often comment that their teaching affects their research, but how this manifests is often implicit. In this essay, I explicitly explore the artistic, scholarly, and curatorial research instantiated by an undergraduate class titled “Transgender Studies meets Art History,” which I taught during the fall of 2022. Alongside personal anecdotes—both personal and connected to the class—and a critical reflection on my pedagogy, I discuss the artwork and public programming connected to a curatorial project, “Forever Becoming: Decolonization, Materiality, and Trans* Subjectivity, I organized at UrbanGlass, New York City in 2023. The first part of the article I examine how “trans” can be applied to thinking about syllabus construction and re-thinking canon formation for a class focused on transgender studies’ relationship to art history. In the second half, I theorize trans joy as a felt vibration between/across multiplicity and singularity, belonging and unbelonging, and world-making and world-unmaking. Overall, I consider trans as a lived experience and its utility as a conceptual tool. As a coda, I consider the precarity of teaching this course in the current political climate of the United States.

中文翻译：

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永远成为：“跨性别研究遇上艺术史”教学和跨性别欢乐理论化


学者们经常评论说他们的教学会影响他们的研究，但这如何体现往往是隐含的。在这篇文章中，我明确探讨了我在 2022 年秋季教授的一门名为“跨性别研究遇上艺术史”的本科生课程所实例化的艺术、学术和策展研究。除了个人轶事（包括个人轶事和与课程相关的轶事）以及对我的教学法的批判性反思，我讨论了与策展项目“永远成为：非殖民化、物质性和跨*主观性”相关的艺术作品和公共项目，我于 2023 年在纽约市 UrbanGlass 组织了该项目。文章我研究了如何将“跨性别”应用于思考课程大纲的构建以及重新思考跨性别研究与艺术史关系的课程的经典形成。在后半部分，我将跨性别快乐理论化为一种在多重性和单一性、归属感和非归属感、创造世界和毁灭世界之间感受到的振动。总的来说，我认为跨性别者是一种生活体验，也是一种概念工具。作为结尾，我认为在美国当前的政治气候下教授这门课程是不稳定的。