CAA Conversations: Recent Episodes
CAA
In episode two of this two-part conversation, Diedra Harris-Kelly, Camara Holloway, and Samantha Rowe continue their discussion of the The Romare Bearden Catalogue Raisonné Project. Catalogue raisonné research constitutes relatively new ground for the study of African American art. They address the unique challenges they faced bringing this project to fruition and reflect on the insights gained. This conversation sheds light on how digital catalogues raisonné can contribute to legacy-building for African American artists like Romare Bearden.
In the first episode of this two-part conversation, Camara Holloway and Samantha Rowe discuss the development of The Romare Bearden Catalogue Raisonné Project which was launched online in June 2025. The conversation is moderated by Diedra Harris-Kelley, co-director of the Romare Bearden Foundation. In 2020, the artist-endowed foundation formed a partnership the Wildenstein Plattner Institute, which is devoted to facilitating access to archival materials and publishing digital catalogues raisonnés. The project leveraged art historical, technological, and archival resources, including the Romare Bearden Papers. Working without the benefit of an artist inventory, Harris-Kelley, Holloway, and Rowe pooled their diverse backgrounds and expertise to recover vital information about the artist.
In this episode of The Museum Worker, hosts and CAA Museum Committee members Miriam Paeslack and Samatha Sigmon delve into the literal ins and outs of museum architecture today with experts in the field. This discussion features various stakeholders in the field: Erin Coe, a museum professional who has spearheaded major building projects; Lauren McQuistion, an educator and theorist specializing in museum architecture; and architects Paul Schulhof and Azadeh Rashidi, who design cultural spaces in both urban and rural environments. Working from the outside into the physical museum space, each speaker draws on their own experiences and case studies to underscore the imperative of incorporating the input of diverse voices along the design process. Museums today, all participants agree, must navigate between being beacons of unique design and crafting a meaningful environment that facilitates the institution’s role as a community anchor.
In this episode of the CAA Conversations podcast subseries, “The Museum Worker,” Andrew Gardner, Laura Raicovich, and Ella Wesly discuss with host Samantha Hull their multifaceted careers in and out of museums, how museums have shaped their career trajectory, and the skills and lessons they have learned from the field that have benefited their work today.
In this episode of CAA Conversations, Feixue Mei, Yanbin Li, and Eric Millikin explore how educators break down disciplinary barriers through collaborative teaching, community-engaged practice, and inclusive learning environments. Through discussion of interdisciplinary teaching framework, examples of cross-disciplinary classroom collaborations, and projects such as culturally grounded Tarot-card design and the Boundless Bound Symposium and Art Book Fair, the conversation highlights how students learn to translate concepts across fields, reflect on cultural and social contexts, and develop critical, creative, and adaptive problem-solving skills. The guests emphasize how shared learning spaces, low-barrier activities, and thoughtfully integrated technologies support meaningful participation, foster curiosity and dialogue, and empower students to connect theory with practice across diverse disciplines and communities.
This episode of CAA Conversations, Research and Scholarship edition, focuses on Hannah Entwisle Chapuisa's background in law and the visual arts. In it she discusses curating exhibitions in diplomatic venues, specifically around the topics of climate change and human migration, as well as the role of artistic practice in societal norm development and the factors that led her to choose diplomatic venues as the sites of her curatorial work
In the second episode of this two-part conversation for CAA Conversations, multidisciplinary artists Lineadeluz (Darleen Martinez) and Edgar Fabián Frías shift from institutional critique to speculative possibility, examining how digital practices can reimagine pedagogy, knowledge production, and cultural stewardship. Drawing from examples in augmented reality, AI art, queer archives, and self-instituted platforms such as Lineadeluz's Selfie Institute for Selfie Studies (SISS) and Frías’s MOMMM (Museum of Multidimensional Mutant Maps), they consider how institutions can be performed, hacked, and collectively reauthored through care-based and community-driven frameworks. The discussion explores digital pedagogy as a slippery and relational technology that resists fixed hierarchies of legitimacy and authority, particularly within systems that continue to marginalize experimental, interdisciplinary, and Indigenous knowledge practices. Martinez and Frías reflect on speculative infrastructures as tools for redistribution, proposing models of institutional governance rooted in futurity, embodiment, and collective imagination. Together they position the institution not as a static structure, but as an evolving performance, one shaped by queer worldmaking, technological magic, and the ongoing labor of reenvisioning how knowledge is created, shared, and sustained.
In the first of this two-part conversation for CAA Conversations, multidisciplinary artists Lindeadeluz, aka Darleen Martinez, and Edgar Fabián Frías examine the intersections of pedagogy, performance, and institutional power. Drawing from their experiences as educators, artists, and cultural workers, they reflect on how institutions shape bodies, knowledge production, and lived experience; often through mechanisms of trauma, exclusion, and legitimacy. The discussion considers the performative dimensions of teaching and scholarship, particularly within digital and interdisciplinary practices that remain marginalized in traditional academic and museum contexts. Martinez and Frías explore questions of accessibility, representation, and cultural stewardship, emphasizing that inclusion alone is insufficient without structural transformation. Through examples of performative and speculative art practices, they highlight strategies for reclaiming space, redistributing authority, and imagining institutions as evolving sites of possibility. Together, they propose speculative frameworks that challenge inherited hierarchies while opening pathways for more accountable, embodied, and future-oriented forms of learning and engagement.
This episode of CAA Conversations, featuring Lilia Cabrera, Gina Gwen, and Christen S. García, considers borderlands-informed art pedagogies as acts of classroom, community, and artist practice, in both formal and informal spaces of art education. These guests make productive liminal spaces of art education by harnessing cultural, navigational, familial, creative, and linguistic capital. Lilia Cabrera explores multiple environments with her art education students, offering experiences to work alongside hospital patients, asylum seekers in shelters, and resident doctors in Rio Grande Valley, Texas, hospitals. Her students work with communities with a range of age groups, motor skills, and cognitive abilities. She has taught art at various levels ranging from early childhood to university. She creates opportunities that align with the education of regional communities lacking in art experiences and has led art education students to create art workshops to delicate, low-economic, and multicultural youth in a border town. Cabrera is a lecturer for the art education program at the University of Texas Rio Grande Valley and an Associate Dean for Student Succes for the College of Fine Arts. Gina Gwen Palacios creates work highlighting the underrepresented geographic and cultural narrative of the people and land of South Texas. Rooted in the theory of conocimiento, Palacios invites viewers to embrace a multiplicity of perspectives and honor the rich, marginalized knowledge and history embedded in the US/South Texas borderlands. She is an associate professor and the Director for the Center for Mexican American Studies at the University of Texas at Rio Grande Valley. Christen S. García theorizes through lived experiences, sharing autohistoria-teorías as creative capital in nepantla espacios. García is co-founder of the Nationwide Museum Mascot Project and is an associate professor in the Department of Art Education at Florida State University. García is co-author of Art Borderlands in Theory, Practice, and Teaching, with Leslie C. Sotomayor II (Routledge, 2025) and is co-editor of the book BIPOC Alliances: Building Community and Curricula (Information Age Publishing, 2023).
Practice. Mya Dosch is associate professor of art of the Americas at California State University, Sacramento. Their current research considers commemorations of the 1968 student movement in Mexico City, from monumental sculptures to ephemeral protest interventions. Dosch’s work on Mexican prisons, public art, and protest appears in the journal Future Anterior and the anthologies Teachable Monuments and Imágenes en Colectivo. They have also facilitated student-written audio guides for the Crocker Art Museum and are working on a student-developed public art catalog for Sacramento State.
In this episode of CAA Conversations, Kimberly Sandoval moderates a discussion on what it means to be a border artist and what separates Border Arte from other aspects of Chicana/o art, featuring Amanda Pardo and Samantha Ceccopieri, as well as Dr. Constance Cortez and Dr. Karen Mary Davalos, creators of Mexican American Art Since 1848.Amanda Pardo was working toward a BA in history with a minor in art from the University of Texas Rio Grande Valley (UTRGV) at the time of recording. Her work and research focus on the history of women, gender, and sexuality. She has given a public talk about her work and research as part of a lecture series and participated in pop-up exhibitions dedicated to the discussion of modernity and the domestic space. Samantha Ceccopieri has a BFA with a K–12 certification from UTRGV. Her work and research focus on the usage of art in mental wellness to reduce anxiety in scholars, both young and old, working with students and educators throughout the Rio Grande Valley. She has shared her research at TAEA and other art education conferences as part of UTRGV’s Engaged Scholar Program and School of Art and Design. Constance Cortez is a professor at UTRGV for the School of Art and Design, currently teaching Chicano/a art history as well as special topics courses such as Women in Art History. Dr. Cortez is a prominent figure in Chicano/a scholarship, with works like The New Aztlan: Nepantla (and Other Sites of Transmogrification), published in 2001, and has an extensive background in early Mesoamerican art history. Karen Mary Davalos is a professor at the University of Minnesota Twin Cities, currently teaching topics in Chicano studies and art history as affiliated faculty. Dr. Davalos is also a prominent figure in Chicano/a scholarship with works like Exhibiting Mestizaje: Mexican (American) Museums in the Diaspora, also published in 2001, and recently presented a paper on Nepantla aesthetics at the CAA Annual Conference in 2024. Kimberly Sandoval is an independent scholar, artist, and MFA alumna of UTRGV. Her work speaks to the life and experiences occurring around and within the Brownsville, South Texas, borderlands. She has exhibited her video artwork across the United States and Indonesia. She has also spoken about culturally affirming art pedagogies at art education conferences and chaired a panel discussion on Border Arte at the CAA Annual Conference in 2024 .
In this episode of the CAA Conversations, Amanda Douberley, Clarissa J. Ceglio, and Alison Paul discuss the William Benton Museum of Art at the University of Connecticut, which brings student perspectives into its galleries and fosters belonging through innovative curricular partnerships. Three recent projects undertaken by classes in UConn’s School of Fine Arts produced student-centered interpretive materials for the Benton’s exhibitions. Each interactive project connected the museum with the campus community in a different way and cultivated a sense of belonging for both students enrolled in partner courses and student visitors to the Benton. Clarissa J. Ceglio, PhD, is Associate Professor of Digital Humanities, Associate Director of Research, for Greenhouse Studios, and Associate Director of Collaborative Research for UConn’s Humanities Institute. Her research focuses on the ways in which museums, past and present, engage diverse communities in issues relevant to individual and civic thriving. She looks, too, at the affective and rhetorical uses of material, visual, and digital artifacts in constructing national and social imaginaries. Through her teaching and research, Ceglio also collaborates with museums, libraries, and communities on interdisciplinary public-facing and grant-funded projects that engage diverse audiences in topics of contemporary concern. Amanda Douberley is Curator & Academic Liaison at the William Benton Museum of Art, University of Connecticut, Storrs. She is responsible for connecting Benton’s collections and exhibitions with teaching in departments across the university. She has curated numerous exhibitions at the museum, often in collaboration with faculty and other campus partners. Douberley holds a Ph.D. from the University of Texas at Austin with a focus on 20th-century American sculpture and public art. Before coming to UConn in 2018, she taught in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago. Alison Paul is an Associate Professor of Art and Area Coordinator for the Illustration/Animation concentration in the Department of Art and Art History at the University of Connecticut. Paul creates illustrations and stop-motion animations using cut paper collage. Her work is fundamentally about storytelling to a variety of audiences. Paul’s animations have been shown in film festivals internationally, and her children’s books have received starred reviews from Publishers Weekly and Kirkus Reviews. She has curated exhibitions at the William Benton Museum of Art in Storrs and the Roots Reading Room in Providence, RI. Professor Paul has taught at UConn since 2011.
In this episode of the CAA Conversations podcast subseries, “The Museum Worker,” guests Robert Cozzolino, Mia Locks, and Kelli Morgan discuss some of the significant challenges facing those working in museums, including the lack of institutional transparency in decision making, the culture of philanthropy, change management, and the failures of hierarchical structuring. The guests also offer some strategies for workers endeavoring to navigate fraught institutions. Robert Cozzolino is an independent curator, art historian, and critic. Mia Locks is the Executive Director and co-founder of Museums Moving Forward. Kelli Morgan is the founding Executive Director & CEO of Black Artists Archive. Erica Warren is a member of the CAA Museum Committee, an independent curator, and assistant instructional professor in the Master of Arts Program in the Humanities at the University of Chicago.
This episode of CAA Conversations reprises themes from "Acts of Care," a CAA 112th Annual Conference panel (2024) sponsored by the Women's Caucus for Art. Moderated by Rachel Epp Buller, the discussion brings together four artists and art historians to consider how caring gestures and labors take shape across activist, academic, curatorial, and performance contexts. Rachel Epp Buller is an artist, art historian, professor, and gallery director at Bethel College. Her books include Reconciling Art and Mothering and Inappropriate Bodies: Art, Design, and Maternity (edited with Charles Reeve). Her current research addresses listening as an artistic method. She is a two-time Fulbright Scholar and the CAA liaison to the Women's Caucus for Art. Mya Dosch is Associate Professor of Art of the Americas at California State University, Sacramento. Their research focuses on art and urban space in Mexico City, from monuments to protest interventions, with a secondary research interest in art history pedagogy. Their work has appeared in Future Anterior, Sculpture Journal, and the edited volumes Teachable Monuments and Imágenes en colectivo.Elena Marchevska is Professor of Performance Studies at London South Bank University. Elena is a practitioner-researcher writing on issues of belonging, displacement, the border, and intergenerational trauma. Her artistic work explores borders and stories that emerge from living in transition. Gloria Dai is an independent curator, art critic, and graduate student in the Arts Management and Art History programs at George Mason University. Her professional work at GMU focuses on building the community through arts and culture activities and organizing educational programs. Recently, she curated the exhibit A Path to Healing & Transformation at the National Veterans Art Museum and co-curated RE(FORM)ER at Fenwick Gallery, George Mason University.Deirdre Donoghue is a visual and performance artist, practicing birth doula, and Research Associate at the Faculty of Arts at KU Leuven University in Antwerp, Belgium. Her work centers on issues of relationality and the aesthetics of care from feminist, decolonial, and posthumanist perspectives. In her artistic practice, she works across disciplines to design encounters that facilitate the production of new knowledge systems.
In this episode, Kim Conaty, Anne Rose Kitagawa, and Rory Padeken talk to the host Magdalena Moskalewicz about everyday challenges of curatorial work inside collecting institutions such as university museums, art museums, and large, encyclopedic institutions. The curators share their own career paths and address the profession’s current aspirations and needs.The Museum Worker is a subseries of CAA Conversations about pathways to careers in museums, featuring candid conversations with professionals in the field. Museum workers share how they got where they are today, what they do, and the role of diversity, equity, access, and inclusion in day-to-day work as well as hopes for the future of the field. Anne Rose Kitagawa is Chief Curator of Collections & Asian Art and Director of Academic Programs at the Jordan Schnitzer Museum of Art, University of Oregon. Kim Conaty is the Nancy and Steve Crown Family Chief Curator at the Whitney Museum of American Art, New York.Rory Padeken is the Vicki and Kent Logan Curator of Modern and Contemporary Art, at Denver Art Museum, Colorado.Magdalena Moskalewicz is a member of the CAA Museum Committee.
In episode two of this two-part conversation, interdisciplinary scholars Miranda Belarde-Lewis and Temi Odumosu continue to delve into the possibilities that emerge when arts pedagogy is integrated within the STEM-oriented setting of an information school. Belarde-Lewis and Odumosu describe their practices of teaching, curation, and research while discussing insights, methods, and core skills they have developed along the way. Together, they highlight why it's important to move beyond the siloed nature of traditional disciplinary boundaries to seek truly polyvocal contexts and collaborations. The conversation is moderated by David Strand.Miranda Belarde-Lewis (Zuni/Tlingit) is an associate professor of North American Indigenous Knowledge at the iSchool and an independent curator. Indigenous knowledge systems are central to her work as she examines the role of social media and the arts in protecting, documenting and perpetuating Native information and knowledge. Her work highlights and celebrates Native artists, their processes, and the exquisite pieces they create. She has worked with tribal, city, state and federal museums to create Native-focused educational programming, publications and art exhibitions. Belarde-Lewis holds a B.A. in Cultural Anthropology from the University of Arizona, an M.A. in Museology and Ph.D. in Information Science from the University of Washington.Temi Odumosu is assistant professor at the UW Information School and an independent curator and cultural heritage consultant. Drawing on her training in art history and international teaching experience in media, visual communication, and cultural studies, she takes a creative approach to mentoring information professionals. For over two decades she has been interrogating the visual politics and legacies of colonialism, activating collections as sites of memory and conscience, and collaborating with contemporary artists, designers, and curators to communicate unfinished histories more sensitively. Her current research and curatorial work centers wellbeing, considers the ethics of digitization in the age of AI and big data, and engages Black archival histories and possible futures. Odumosu is author of the award-winning book Africans in English Caricature 1769-1819: Black Jokes White Humour (2017). She holds both a Ph.D. and MPhil in Art History from the University of Cambridge (King’s College).David Strand is an editor, curator, and emerging informational professional pursuing his M.A. in Library & Information Science at the University of Washington. He currently works as the graduate research assistant for the Center for Advances in Libraries, Museums, and Archives (CALMA) at the University of Washington Information School. Strand has over a decade of experience working in the arts and museums. He previously worked at the Frye Art Museum as associate curator and prior to that as the manager of exhibitions and publications. Strand holds a B.A. in Visual Art and English-Creative Writing from Seattle University.
In episode one of this two-part conversation, interdisciplinary scholars Miranda Belarde-Lewis and Temi Odumosu delve into the possibilities that emerge when arts pedagogy is integrated within the STEM-oriented setting of an information school. Belarde-Lewis and Odumosu describe their practices of teaching, curation, and research while discussing insights, methods, and core skills they have developed along the way. Together, they highlight why it's important to move beyond the siloed nature of traditional disciplinary boundaries to seek truly polyvocal contexts and collaborations. The conversation is moderated by David Strand.Miranda Belarde-Lewis (Zuni/Tlingit) is an associate professor of North American Indigenous Knowledge at the iSchool and an independent curator. Indigenous knowledge systems are central to her work as she examines the role of social media and the arts in protecting, documenting and perpetuating Native information and knowledge. Her work highlights and celebrates Native artists, their processes, and the exquisite pieces they create. She has worked with tribal, city, state and federal museums to create Native-focused educational programming, publications and art exhibitions. Belarde-Lewis holds a B.A. in Cultural Anthropology from the University of Arizona, an M.A. in Museology and Ph.D. in Information Science from the University of Washington.Temi Odumosu is assistant professor at the UW Information School and an independent curator and cultural heritage consultant. Drawing on her training in art history and international teaching experience in media, visual communication, and cultural studies, she takes a creative approach to mentoring information professionals. For over two decades she has been interrogating the visual politics and legacies of colonialism, activating collections as sites of memory and conscience, and collaborating with contemporary artists, designers, and curators to communicate unfinished histories more sensitively. Her current research and curatorial work centers wellbeing, considers the ethics of digitization in the age of AI and big data, and engages Black archival histories and possible futures. Odumosu is author of the award-winning book Africans in English Caricature 1769-1819: Black Jokes White Humour (2017). She holds both a Ph.D. and MPhil in Art History from the University of Cambridge (King’s College). David Strand is an editor, curator, and emerging informational professional pursuing his M.A. in Library & Information Science at the University of Washington. He currently works as the graduate research assistant for the Center for Advances in Libraries, Museums, and Archives (CALMA) at the University of Washington Information School. Strand has over a decade of experience working in the arts and museums. He previously worked at the Frye Art Museum as associate curator and prior to that as the manager of exhibitions and publications. Strand holds a B.A. in Visual Art and English-Creative Writing from Seattle University.
The Museum Worker is a subseries of CAA Conversations about pathways to careers in museums, featuring candid conversations with professionals in the field. Museum workers share how they got where they are today, what they do, and the role of diversity, equity, access, and inclusion in day-to-day work, as well as hopes for the future of the field. In this episode, Cynthia Cao, Matt Isble, and Leticia Pardo discuss the challenges facing those working in museum exhibition design and installation as well as their dedication to making museums more accessible.Cynthia Cao is an artist and freelance art installer in San Jose, California. Matt Isble is an exhibition Designer and Chief Preparator at the Crocker Art Museum in Sacramento, California as well as the founder of museumtrade.org. Leticia Pardo is the Creative Director of Exhibition Design at the Art Institute of Chicago. Samantha Hull is a member of the CAA Museum Committee and the Museum Engagement and Operations Coordinator at the de Saisset Museum at Santa Clara University in California.
In this conversation, Alison McNulty talks with Katerie Gladdys about the vast interdisciplinary territory she navigates in her work and pedagogy to “encourage others to look more closely at what constitutes . . . everyday existence.” Gladdys’s courses in studio art and technology view creative practice from the intersection of social and ecological inquiry, open spaces, and opportunities for her students to practice art that is based in diverse modes of research and nontraditional sites, and make creative use of resources and unexpected partnerships. McNulty and Gladdys also discuss the inspirations and questions guiding Gladdy’s research and pedagogy, the strategies she uses to craft and implement her courses safely, with reciprocity and flexibility to serve all students, and where she finds the support and resources to work with her students in these challenging modalities. Katerie Gladdys is a transdisciplinary artist who thinks about place, marginalized landscapes, sustainability, mapping, consumption, food, agriculture, and disability. She creates installations, interactive, sculpture, video, and relational performances. Her creative work has been exhibited in national and international juried venues, including in the UK, Canada, Germany, Spain, and Croatia. She is an associate professor in Art and Technology in the School of Art and Art History at the University of Florida. Gladdys received her MFA in New Media from the University of Illinois at Urbana-Champaign and a BA in Art and Design from the University of Chicago. Alison McNulty is an interdisciplinary artist, educator, and curator based in the Hudson Valley, NY. She grounds artmaking in embodied poetics through explorations of ordinary material histories, precarious places, and ecological entanglements. Her work has been presented at museums, galleries, conferences, and unconventional spaces throughout the US, Europe, and Columbia. McNulty was recently awarded an Arts Mid-Hudson Individual Artist Commission, a Saltonstall Foundation Residency Fellowship, the Stone & DeGuire Contemporary Art Award from Washington University in St. Louis, and the Empowered Artist Award from Arts Mid-Hudson. McNulty is an assistant professor at Parsons School of Design and the director of Ann Street Gallery, a nonprofit contemporary art space in Newburgh, NY. She earned a BFA from Washington University in St. Louis and an MFA at the University of Florida.
In this conversation, Alison McNulty and Steve Rossi touch on topics of site responsiveness, site-specificity, performance, and environmental ethics, as they relate to foundations and studio art pedagogy, as well as connections with these topics in each of their creative practices.Born into a family of makers, Steve Rossi developed an intense appreciation and respect for artistic craft and physical labor through growing up around family members making quilts, knitting blankets, repairing houses, and arranging flowers. He received his BFA from Pratt Institute and his MFA from the State University of New York at New Paltz. His work has been exhibited at the Maguire Museum, the John Michael Kohler Art Center, the Jules Collins Smith Museum of Fine Arts, the Wassaic Project, and the public art festival Art in Odd Places among many others. He has participated in artist residencies with the Lower Manhattan Cultural Council, Vermont Studio Center, and was awarded the Sustainable Arts Foundation fellowship at Gallery Aferro. He is currently an Assistant Professor and Sculpture Program Head at St. Joseph’s University in Philadelphia. Alison McNulty is an interdisciplinary artist, educator, and curator based in the Hudson Valley of New York. She is a Part-Time Assistant Professor at Parsons School of Design at the New School where she’s taught in the First Year Program since 2015, and is currently the Director of Ann Street Gallery, a contemporary art space in Newburgh, NY, a program of Safe Harbors of the Hudson, a nonprofit organization that combines supportive housing and arts. Her practice as an artist explores the layered histories and poetics of ordinary reclaimed materials, precarity in sites, species, and ecological entanglements. Her work has been presented at museums, galleries, conferences, and unconventional spaces throughout the US, Europe, and Columbia. In 2023 McNulty was awarded an Arts Mid-Hudson Individual Artist Commission and a Saltonstall Foundation Residency Fellowship. She received the 2022 Stone & DeGuire Contemporary Art Award and an Empowered Artist Award from Arts Mid-Hudson in support of her work with the Artist in Vacancy initiative of the Newburgh Community Landbank.
In this conversation Steve Rossi, Assistant Professor and Sculpture Program Head at St. Joseph’s University, and Lyn Godley, Full Professor of Industrial Design at Thomas Jefferson University discuss their work developing studio art and design pedagogy informed by a healthcare context. Born into a family of makers, Steve Rossi developed an intense appreciation and respect for artistic craft and physical labor through growing up around family members making quilts, knitting blankets, repairing houses, and arranging flowers. He received his BFA from Pratt Institute and his MFA from the State University of New York at New Paltz. His work has been exhibited at the Maguire Museum, the John Michael Kohler Art Center, the Jules Collins Smith Museum of Fine Arts, the Wassaic Project, and the public art festival Art in Odd Places among many others. He has participated in artist residencies with the Lower Manhattan Cultural Council, Vermont Studio Center, and was awarded the Sustainable Arts Foundation fellowship at Gallery Aferro. He is currently an Assistant Professor and Sculpture Program Head at St. Joseph’s University in Philadelphia. Lyn Godley is a Full Professor of Industrial Design at Thomas Jefferson University, where she has developed a cross-disciplinary curricula in Lighting Design with a focus on light as experience. She is also the Director of the Jefferson Center of Immersive Arts for Health, an initiative to investigate the impact of dynamic light and interactive art on health. She has spoken at national and international conferences on these topics along with lighting design education. In addition to her academic work, she also is a multi-media artist. Her designs, done individually and as a partner of Godley-Schwan have been exhibited internationally and are in numerous international museums and private collections, including the Museum of Modern Art in New York. Since 2000, her studio work has focused on merging light and art and the relationship between art, technology, and its impact on the viewer. Her studio practice is linked to her research through integrating dynamic light in artwork that can create a deeper engagement by affecting both the environment and, ultimately, the user.
The Museum Worker is a subseries of CAA Conversations about pathways to careers in museums, featuring candid conversations with professionals in the field. Museum workers share how they got where they are today, what they do, and the role of diversity, equity, access, and inclusion in day-to-day work, as well as hopes for the future of the field. In this episode, Lisa Abia-Smith, Erica Hubbard, and Nenette Luarca-Shoaf discuss challenges facing those working in museum education, engagement, and outreach, as well as their dedication to making museums more accessible. Lisa Abia-Smith is the Director of Education at the University of Oregon's Jordan Schnitzer Museum of Art and Senior Instructor in the College of Design (School of Planning, Public Policy, and Management). Erica Hubbard is the Director of Chicago Programs at the Obama Foundation in Chicago.Nenette Luarca-Shoaf is the Managing Director for Learning and Engagement at the Lucas Museum of Narrative Art in Los Angeles. Erica Warren is a member of CAA’s Museum Committee, former curator and currently assistant instructional professor in the Master of Arts Program in the Humanities at the University of Chicago.
In this roundtable dialogue, three art historians discuss pedagogical approaches in socially engaged art practices as they apply to the teaching of art history, paying critical attention to the ways these strategies intervene on and challenge neoliberal educational norms. How have contemporary artists working in various social and political contexts transformed public and alternative spaces into discursive platforms through which knowledge can be generated, shared, or amplified collectively? And what can we learn about teaching art and art history in the North American system by studying these artists’ approaches? This conversation emerged from a panel at CAA 111th Annual Conference, “Generative Pedagogies in Art and Curatorial Practice.” The project will culminate with the publication of Pedagogical Art in Activist and Curatorial Practices, edited by Noni Brynjolson and Izabel Galliera, forthcoming from Routledge in early 2025.Noni Brynjolson is an Assistant Professor of Art History at the University of Indianapolis, where she has taught since 2020 after receiving her PhD in Art History from the University of California San Diego. Her research focuses on collaborative public art projects and examines themes of repair and construction in contemporary art.Izabel Galliera is an Associate Professor of Art History at Susquehanna University, where she is also an Associate Director of the Center for Teaching and Learning and co-coordinator of the minor in museum studies. She received her PhD in Art History from the University of Pittsburgh. Her research is at the intersection of contemporary art, activism, and social justice. Jessica Santone is an Associate Professor of Art History and Visual Studies at Cal State East Bay, where she has taught since 2015. She received her PhD from McGill University. Her research concerns pedagogical art and social practice, particularly projects that expand knowledge around climate and science.
Starting from a shared need to decolonize their curricula, ceramic educators Anne Drew Potter, Brendan Tang and Tasha Lewis discuss essential changes to the classroom which can help mitigate systemic concerns. They describe how acknowledging personal and historical bias can help jumpstart an ongoing conversation with students, centering student contributions to the class discourse and increasing student investment. Lewis also shares her experience employing rubric-based self-assessment in order to further these aims.Anne Drew Potter has coalesced a fascination with, adoration of, and abhorrence for the human condition into a unique sculptural language. Raised in Berkeley, California, potter has lived throughout the US and in Mexico, Germany, and Canada. She earned MFA degrees from the New York Academy of Art and Indiana University. Brendan Lee Satish Tang is a visual artist who is widely known for his ceramic work. He earned an MFA from Southern Illinois University Edwardsville, a BFA from the Nova Scotia College of Art and Design, and he is the recipient of numerous awards and accolades, both nationally and internationally. Tasha Lewis is a sculptor of many materials. She holds a Master of Fine Art from the University of Tennessee, Knoxville and a Bachelor of Arts from Swarthmore College in Pennsylvania. Her academic study has consistently woven literature, theory and art history with her materially expansive visual art practice.
Starting from a shared need to decolonize their curricula, ceramic educators Anne Drew Potter, Brendan Tang and Tasha Lewis discuss essential changes to the classroom which can help mitigate systemic concerns. They describe how acknowledging personal and historical bias can help jumpstart an ongoing conversation with students, centering student contributions to the class discourse and increasing student investment. Lewis also shares her experience employing rubric-based self-assessment in order to further these aims. Anne Drew Potter has coalesced a fascination with, adoration of, and abhorrence for the human condition into a unique sculptural language. Raised in Berkeley, California, potter has lived throughout the US and in Mexico, Germany, and Canada. She earned MFA degrees from the New York Academy of Art and Indiana University. Brendan Lee Satish Tang is a visual artist who is widely known for his ceramic work. He earned an MFA from Southern Illinois University Edwardsville, a BFA from the Nova Scotia College of Art and Design, and he is the recipient of numerous awards and accolades, both nationally and internationally. Tasha Lewis is a sculptor of many materials. She holds a Master of Fine Art from the University of Tennessee, Knoxville and a Bachelor of Arts from Swarthmore College in Pennsylvania. Her academic study has consistently woven literature, theory and art history with her materially expansive visual art practice.
Susan Altman, Professor and Assistant Chairperson in the Visual, Performing and Media Arts Department at Middlesex College, Erika Mahr an Assistant Professor of Painting and Drawing at SUNY Westchester Community College, and Steve Rossi an Assistant Professor and Sculpture Program Head at St. Joseph’s University discuss their shared experiences related to the many benefits and challenges of teaching studio art to non-majors. Susan Altman is a Professor and Assistant Chairperson in the Visual, Performing and Media Arts Department at Middlesex College where she teaches courses in drawing, painting and printmaking to both majors and non-majors. In addition to her studio teaching, she is the Director of The Center for the Enrichment of Learning and Teaching and where her research interest is in the pedagogy of teaching studio art, as well as improving teaching across the disciplines. As a practicing artist, her work is focused on drawing and printmaking. Her work has been exhibited nationally and internationally, and she is the recipient of numerous grants and fellowships including a NYFA Artist Fellowship. She lives and works in New York City. Erika Mahr is an artist and educator based in the Hudson Valley of New York. She is an Assistant Professor of Painting and Drawing at SUNY Westchester Community College and is currently serving as the Department Chair for the Art + Design and Performing Arts Department. Her studio practice explores drawing with an expanded sensibility and is invested in the act of mediation, reducing, and repeating to locate where the ephemeral and concrete intersect, become blurred, and create tension. She earned a BFA from the University of Florida and MFA from Hunter College and is a recipient of the New York Foundation for the Arts Artist Fellowship in Drawing. Born into a family of makers, Steve Rossi developed an intense appreciation and respect for artistic craft and physical labor through growing up around family members making quilts, knitting blankets, repairing houses, and arranging flowers. He received his BFA from Pratt Institute and his MFA from the State University of New York at New Paltz. His work has been exhibited at the Maguire Museum, the John Michael Kohler Art Center, the Jules Collins Smith Museum of Fine Arts, the Wassaic Project, and the public art festival Art in Odd Places among many others. He has participated in artist residencies with the Lower Manhattan Cultural Council, Vermont Studio Center, and was awarded the Sustainable Arts Foundation fellowship at Gallery Aferro. He is currently an Assistant Professor and Sculpture Program Head at St. Joseph’s University in Philadelphia.
In this conversation, Steve Rossi, Assistant Professor and Sculpture Program Head at St. Joseph's University, speaks with Lauren Whearty a co-director of Ortega y Gasset Projects and Emma Wilcox a co-director of Gallery Aferro. As non-profit gallery co-directors and artists with dedicated creative practices themselves, they each have a unique vantage point on the topic of studio art professional practices curriculum. In the first half of the conversation the history and founding of each art space is discussed, along with Emma and Lauren’s organizational roles, followed by a discussion of the nuts and bolts of general professional practices skill sets, a discussion of how failure can be framed as a creative act, as well as various employment opportunities explored along with advice offered to students preparing to enter the visual arts field.
In this episode of CAA Conversations, the authors of Racism Untaught: Revealing and Unlearning Racialized Design–and hosts of the book’s companion podcast—Lisa Elzey Mercer and Terresa Moses, speak with renowned designer Dr. Cheryl D. Miller. Antiracist design interventions can be difficult. Well-intentioned conversations can fuel tensions, activate racialized trauma, and lead to misunderstandings, especially in spaces not typically focused on diversity, equity, and inclusion. Even when progress is made, white supremacist culture can resurface. Antiracist guidelines and approaches that lay bare racialized systems of oppression and fundamentally disrupt their replication are critical. This episode of CAA Conversations makes space for a frank discussion around design equity. In addition to being an advocate for Black graphic designers, Cheryl D. Miller is also a theologian and author. She is a Cooper Hewitt National Design Awardee and AIGA Medalist and has been inducted into the One Club Hall of Fame. Lisa Elzey Mercer (she/her) is a designer, educator, and researcher, and Associate Professor of Graphic Design and Design for Responsible Innovation at the University of Illinois. Terresa Moses (she/her) is Assistant Professor of Graphic Design, and the Director of Design Justice at the University of Minnesota, and a PhD candidate in Social Justice Education at the University of Toronto.
Lauren Whearty and Eric Hibit are artists, curators, and educators, who both think deeply about the importance of color as a subject in art, society, and in how they teach painting and design courses. Color is a vital component in foundational artistic studies, it also plays an important role in culture, technology, history, science, and more. In this episode Lauren & Eric will discuss the ways they use and think about color in their studios, Eric’s “Color Theory for Dummies” book, book recommendations, and how they each approach color in the classroom.Lauren Whearty is an artist, educator, and curator living and working in Philadelphia, PA. She received her MFA from Ohio State University, and her BFA from Tyler School of Art, Temple University. She has been a Co-Director at Ortega y Gasset Projects, an artist-run curatorial collective and non-profit in Brooklyn, NY since 2017. Lauren has attended residencies such as Yale’s Summer School of Art through the Ellen BattelStoeckel Fellowship, The Vermont Studio Center, Soaring Gardens Artist Retreat, and the Golden Foundation Artist Residency. She has recently received grants from the Elizabeth Greenshields Foundation, and Joseph Roberts Foundation. Lauren also received the President’s Creative Research and Innovation Grant from University of the Arts, to develop work for her first solo exhibit which was recently at Gross McCleaf Gallery in Philadelphia. Lauren currently teaches 2D Design, Color, Painting & Drawing courses at University of the Arts and Tyler School of Art & Architecture in Philadelphia. Eric Hibit (born Rochester, NY) is a visual artist based in New York City. He attended the Corcoran College of Art + Design (BFA,1998) and Yale University School of Art (MFA, 2003). In New York, he has exhibited at Morgan Lehman Gallery, Dinner Gallery, Deanna Evans Projects, My Pet Ram, One River School of Art + Design, Tiger Strikes Asteroid, Underdonk Gallery, Anna Kustera Gallery, Max Protetch Gallery, and elsewhere. He has exhibited nationally at Hexum Gallery in Montpelier, VT, Weatherspoon Art Museum in Greensboro, NC, Wege Center for the Arts at Maharishi University in Fairfield, IA, Geoffrey Young Gallery in Great Barrington, MA, The University of Vermont, Bedford Gallery in Walnut Creek, CA and internationally in Sweden, France and Norway. His work has been covered by the Washington Post, The Village Voice, Hyperallergic, Newsweek, New York Times and New York Post. Hibit has taught studio art at Drexel University, The Cooper Union, Suffolk County Community College, 92NY, Tyler School of Art, NYU and Hunter College. Artist residencies include Terra Foundation in Giverny, France (2003), and Kingsbrae International Residency for the Arts (2019) and Green Olives Arts in Tetouan, Morocco (2019). Publications include Dear Hollywood Writers, with poet Geoffrey Young (Suzy Solidor Editions, 2017) and Paintings and Fables with Wayne Koestenbaum, a limited edition artist’s book (2017), and Color Theory for Dummies, published by Wiley (2022). He is currently Co-Director of Ortega y Gasset Projects, an artist-run gallery based in Brooklyn, where he has curated exhibitions since 2014.
In this podcast, Christina (Chris) Penn-Goetsch and Celia Stahr discuss how Trabian Shorters’s “asset framing” could be used as a model in the college art history classroom, providing numerous examples throughout their conversation. Asset framing is a narrative model that defines people by their gifts and assets instead of the challenges they may face. Shorters’s model for pedagogy may prove useful for the art history classroom, a space where we create narratives on a regular basis that probably affect our students more than the facts and research that we share. Shorters’s observations, based on the work of psychologist Daniel Kahneman, argues that we internalize what we see as part of a narrative before we even employ the conscious mind. This suggests an even more imperative role for how we study the visual arts.
Celia Stahr, who received a BA and MA from San Francisco State University and a PhD from the University of Iowa, has been teaching art history at the University of San Francisco for 18 years. As an adjunct who was named one of the top professors in Fifteen Noteworthy Art Professors in San Francisco, Celia specializes in modern, contemporary, African, and transnational or “traveling” artists with an emphasis upon issues of gender, race, ethnicity, and class. Stahr is particularly interested in artists who cross cultural boundaries and the importance of place. Her book Frida in America: The Creative Awakening of a Great Artist was published in 2020 by St. Martin’s Press and has received many positive reviews in publications such as the New York Times, Art in America, and Publisher’s Weekly. Stahr is also interviewed in the forthcoming BBC three-part docuseries on the life and art of Frida Kahlo.
Christina (Chris) Penn-Goetsch (They/She) finished their BA at the University of Virginia and a PhD at the University of Iowa. This professor has taught at Cornell College for 26 years now and was the recipient of Cornell’s Exemplary Teacher of the Year in 2018. They have had an active career in college service that includes serving as the chair of the college’s Diversity Committee and acting as advisor for Alliance and Gender Safe Space. Their main areas of research focus on early modern Italy and contemporary feminist art. Penn-Goetsch has taught for the Smithsonian Journeys program in Southern Italy and continues to offer college classes about architecture and imperialism in Rome, Italy. Their interest in asset framing stems from teaching classes in African, African American, Native American, Chicana, and Feminist art, as well as a new course last year, “Queer Eye for Art History.”
A two part in-depth dialogue about creating inclusive pedagogical spaces to present and teach women’s history with Jenevieve DeLosSantos, assistant teaching professor of art history and director of special pedagogic projects at Rutgers University and Ashleigh Coren, women’s history content and interpretation curator at the National Portrait Gallery and acting head of education for the Smithsonian’s American women’s history initiative. In part 1 of this conversation, Coren discusses the importance of engaging with the wide spectrum of art practices by women artists and developing critical pedagogical strategies to facilitate culturally responsive teaching, to approach difficult conversations around race, gender and class and support educators attempting to provide more inclusive content. Part 2 expands the conversation to include additional pedagogical strategies to open up teaching women’s histories to broader audiences, set up community norms, manage the approach to difficult traumatic topics that could be triggering, empower communities to help tell broader stories and address the erasure of certain communities.
Ashleigh D. Coren is the acting head of education for the Smithsonian American Women’s History Initiative and the Women’s History Content and Interpretation Curator at the National Portrait Gallery, where she focuses on collections research, student and teacher programs, and public programming. Previously, she was Special Collections Librarian for Teaching and Learning at the University of Maryland, College Park and an adjunct lecturer in the university’s College of Information Studies. She holds a BA in Art and Visual Culture from Bates College, and an MS in Archives Management from Simmons University. She has held previous positions at West Virginia University and Emerson College and in 2018 she was named an ALA Emerging Leader. Her writing has been published in The Journal of American Folklore, Viewfinder: Reflecting Upon Museum Education, and the International Review of African American Art.
Jenevieve DeLosSantos is Associate Teaching Professor of Art History and Director of Special Pedagogic Projects in the Office of Undergraduate Education for the School of Arts and Sciences at Rutgers University–New Brunswick, New Jersey. In her dual role, she teaches art history and manages several programs related to teaching and learning and diversity, equity and inclusion in undergraduate education. Her research focuses on the Scholarship of Teaching and Learning in Art History and explores topics related to trauma-informed pedagogy and equitable, inclusive teaching practices in the art history classroom. Her current projects include, guest editing the series “Hard Lessons: Trauma, Teaching, Art History” for Art Journal Open and the forthcoming book Poetries – Politics: A Celebration of Language, Learning and Art with Rutgers University Press. Her other scholarly interests include nineteenth-century American Orientalism and more broadly, race and imperialism in nineteenth-century visual culture.
A two part in-depth dialogue about creating inclusive pedagogical spaces to present and teach women’s history with Jenevieve DeLosSantos, assistant teaching professor of art history and director of special pedagogic projects at Rutgers University and Ashleigh Coren, women’s history content and interpretation curator at the National Portrait Gallery and acting head of education for the Smithsonian’s American women’s history initiative. In part 1 of this conversation, Coren discusses the importance of engaging with the wide spectrum of art practices by women artists and developing critical pedagogical strategies to facilitate culturally responsive teaching, to approach difficult conversations around race, gender and class and support educators attempting to provide more inclusive content. Part 2 expands the conversation to include additional pedagogical strategies to open up teaching women’s histories to broader audiences, set up community norms, manage the approach to difficult traumatic topics that could be triggering, empower communities to help tell broader stories and address the erasure of certain communities.
Ashleigh D. Coren is the acting head of education for the Smithsonian American Women’s History Initiative and the Women’s History Content and Interpretation Curator at the National Portrait Gallery, where she focuses on collections research, student and teacher programs, and public programming. Previously, she was Special Collections Librarian for Teaching and Learning at the University of Maryland, College Park and an adjunct lecturer in the university’s College of Information Studies. She holds a BA in Art and Visual Culture from Bates College, and an MS in Archives Management from Simmons University. She has held previous positions at West Virginia University and Emerson College and in 2018 she was named an ALA Emerging Leader. Her writing has been published in The Journal of American Folklore, Viewfinder: Reflecting Upon Museum Education, and the International Review of African American Art.
Jenevieve DeLosSantos is Associate Teaching Professor of Art History and Director of Special Pedagogic Projects in the Office of Undergraduate Education for the School of Arts and Sciences at Rutgers University–New Brunswick, New Jersey. In her dual role, she teaches art history and manages several programs related to teaching and learning and diversity, equity and inclusion in undergraduate education. Her research focuses on the Scholarship of Teaching and Learning in Art History and explores topics related to trauma-informed pedagogy and equitable, inclusive teaching practices in the art history classroom. Her current projects include, guest editing the series “Hard Lessons: Trauma, Teaching, Art History” for Art Journal Open and the forthcoming book Poetries – Politics: A Celebration of Language, Learning and Art with Rutgers University Press. Her other scholarly interests include nineteenth-century American Orientalism and more broadly, race and imperialism in nineteenth-century visual culture.
What does it look like to actually exist within graduate school? Most grad and post-doc students spend their degrees carefully balancing their schooling alongside holding full-time jobs, building professional connections, supporting themselves financially and physically, and engaging in their creativity outside of school. This podcast explores the question: what does the world of academia look like while situated within these experiences, and how do graduate programs support their students with community and access to resources? Grace Oller and Hannah Warren are currently receiving their master’s degrees in the Graduate School of Arts & Sciences at New York University. Grace attends the Institute of Fine Arts and is seeking a degree in Art History and Archeology, while Hannah is receiving her MA from the XE: Experimental Humanities and Social Engagement program. In this conversation, Grace and Hannah discuss what brought them to NYU, how they have navigated their first year, and what their hope is for the future of their programs, specifically addressing how community has been fostered in these spaces. This episode hopes to extend empathy to students facing the same battles, while providing a moment of contemplation for those who may exist outside of this specific realm of academia. As creatives and academics, Grace and Hannah explore the integration of art, education, and building connections with others. Grace Oller is a Graduate Student at New York University’s Institute of Fine Arts (IFA) studying Modern and Contemporary Art History and Curatorial Practice. Born and raised in rural Ohio, she attended the Columbus College of Art and Design and received a BFA in Fine Arts with minors in Creative Writing and Art History. She has held positions as an Exhibition Assistant at the Columbus Museum of Art, co-editor in chief of the online publication, IFAcontemporary, and a contributing writer for a forthcoming book published by NYU’s Grey Art Gallery celebrating the Anonymous Was a Woman award. Her work challenges ideas surrounding accessibility and labor in the art world, and you can find her around New York enjoying the delicious sounds of live jazz.Hannah J. Warren (she/her) grew up in Upstate NY but currently resides in Brooklyn, NY, obtaining a Master's degree in Experimental Humanities and Social Engagement from NYU. Hannah received her BA in English with an emphasis in writing, and a minor in Women and Gender Studies from Hartwick College in 2020. Recently Hannah has had poetry published in The Bookend Review, and has helped edit the poetry in her programs magazine Caustic Frolic. Beyond her joy for writing, Hannah enjoys spending her time traveling, reading, buying books, and trying to keep her plants alive. Hjw2170@nyu.edu. *This podcast, Past The Door, was recorded by Grace Oller and Hannah Warren, and edited by Hannah Warren.
Ann Lepore and Jeanne Brasile discuss interdisciplinary engagement in the studio art classroom with an emphasis on student-centered activities in an inclusive environment. What lessons were learned by the professor and her students in this period of pandemic? What roles do community, conversation and social justice contribute to a visual arts curriculum and what is that relationship in the inverse?Ann LePore was raised in the garage under her father’s car. The works she creates are heavily influenced by her experiences as a champion of science, civil society and as a seeker of secret landscapes. Her processes include projection mapping, animation, printmaking, installation, and data visualization. LePore has exhibited with e-Flux and Serpentine Gallery, London, and also shown her work in New York, Paris, Rome, Berlin, Moscow and Art Basel Switzerland. Much of her research has been completed during artist residencies including at the Frank Lloyd Wright Foundation, and aboard the Research Vessel Sea Wolf. Ann received her MFA from the School of Visual Arts. She is currently Associate Professor of 3D Design and Animation at Ramapo College of New Jersey.Jeanne Brasile is the Director of the Walsh Gallery at Seton Hall University. She earned her M.A. in Museum Studies at Seton Hall University and studied art history and studio art as an undergraduate at Ramapo College of New Jersey. Her background in non-profit administration spans over 20 years and she serves on numerous boards and committees within the arts community. Brasile specializes in curating and is primarily interested in developing interdisciplinary exhibitions that challenge visitors to re-think their perceptions about art, art-making and the role of the museum/gallery. Brasile often speaks and writes on issues in contemporary art and art practices.
In this conversation Steve Rossi speaks with Michael Asbill and Amanda Heidel, about Amanda’s Mushroom Shed MFA thesis project, which explored the mushroom lifecycle as a model for community engagement through developing connections between the State University of New York at New Paltz Sculpture Program, the Biology Department, and the surrounding community. Themes relating to interdisciplinary collaborations, faculty mentorship, and individual vs. collaborative authorship are all explored.Steve Rossi is currently an Assistant Professor and Sculpture Program Head at St. Joseph’s University in Philadelphia, where he has been developing interdisciplinary studio art pedagogy connected to the varied fields of environmental ethics and occupational therapy. He received his BFA from Pratt Institute in 2000 and his MFA from the State University of New York at New Paltz in 2006. His work has been exhibited at Dorsky Curatorial Projects, Eco Art Space, NURTUREart, the Open Engagement Conference at the Queens Museum, Bronx Art Space, the Wassaic Project, the John Michael Kohler Art Center, the Jules Collins Smith Museum of Fine Arts, and the public art festival Art in Odd Places among many others. He has participated in artist residencies with the Vermont Studio Center, Lower Manhattan Cultural Council, and Gallery Aferro in Newark, New Jersey. As a part-time faculty member, he has taught in the First Year Program at Parsons School of Design and the Sculpture Program and Art Education Program at the State University of New York at New Paltz.Michael Asbill weaves arts advocacy, community engagement, environmentalism, and curatorial endeavor into his installation and public art practice. His work has been experienced in venues such as Sporobole and Galerie Zybaldone (Sherbrooke, QC), Flux Factory (Long Island City, NY), The Oregon City Elevator, and the Poughkeepsie Train Station. As a core collaborator with Habitat for Artists, Michael contributed to eco and social engagement projects for Smack Mellon (Brooklyn, NY), Arts Brookfield (New York, NY), Washington DC’s Commission on the Arts and Humanities, the Corcoran Museum (Washington, DC), and 601 Tully (Syracuse, NY). He has received numerous grants, awards, commissions, and honors including the New York State/Province of Quebec Artist in Residence Exchange Grant, inclusion in the “Introducing” series at the Roger Smith Hotel, and was honored, at the 2018 Arts Mid-Hudson/Ulster County Executive Arts Awards, with the title of “Artivist” which was invented to acknowledge his community contributions. Michael is the founder and director of CHRCH Project Space (Rosendale, NY), a residency for the development of pioneering, community-based, participatory artworks. Michael is a visiting lecturer, and currently head of the sculpture program, at the State University of New York in New Paltz.Amanda Heidel is an artist and educator living in Ithaca, NY. Her research in life cycles, collaborative structures, and community engagement led to the creation of Mushroom Shed, a community project that looks to the mushroom lifecycle as a model for community engagement. In addition, Amanda teaches outdoor mushroom cultivation and facilitates the Community Mushroom Educator program through Cornell Small Farms Program. She is also the Grants Manager for Choice Words Ithaca, a grant writing and fundraising firm that helps businesses, nonprofits, educational institutions, and municipalities identify and acquire grant funding.
This is a rebroadcast of an episode of This Thing We Call Art, a podcast where the host Kelly Lloyd speaks to people in the arts about their livelihoods. Lloyd originally interviewed artist Gordon Hall on March 1, 2021 and the 43-minute episode featuring portions of the three-hour-long conversation was released on February 17, 2022. The podcast features a conversation about Hall and Lloyd’s experiences in art education at the School of the Art Institute of Chicago, how art institutions handle interdisciplinarity, and the ethical responsibility of art school educators. Hall, currently an Assistant Professor of Sculpture at Vassar College, has included an addition to this rebroadcast to highlight how in the Spring of 2022, the contingent faculty at the School of the Art Institute of Chicago formed a union, Art Institute of Chicago Workers United, (AICWU) which is now certified with the National Labor Relations Board. The union is currently preparing to negotiate their first contract. You can follow their efforts and support them at aicwu.org and on social media at AIC_WU on Instagram, AICWUTweets on Twitter, and AIC Workers on Facebook.
Kelly Lloyd is a transdisciplinary artist who focuses on issues of representation and knowledge production and prioritizes public-facing collaborative research. Lloyd has recently held solo exhibitions at the Royal Academy Schools (London), Crybaby (Berlin), Bill’s Auto (Chicago), Demo Room (Aarhus), and Dirty House (London) for which she won the Art Licks Workweek Prize. Lloyd was the Starr Fellow at the Royal Academy Schools during the 2018/19 school year and is currently studying at The University of Oxford's Ruskin School of Art and Wadham College for her DPhil in Practice-Led Fine Art with support from an All Souls-AHRC Graduate Scholarship and an Open-Oxford-Cambridge Doctoral Training Programme Studentship. In 2021, Lloyd launched This Thing We Call Art, a podcast and online archive featuring excerpts from 50+ interviews with people in the arts she has conducted since 2017.
Gordon Hall is an artist based in New York who makes sculptures and performances. Hall has had solo presentations at the MIT List Visual Arts Center, The Portland Institute for Contemporary Art, The Renaissance Society, EMPAC, and Temple Contemporary, and has been in group exhibitions at The Whitney Museum of American Art, The Brooklyn Museum, The Hessel Museum, Art in General, White Columns, Socrates Sculpture Park, among many other venues. Hall’s writing and interviews have been published widely, including in Art Journal, Artforum, Art in America, and Bomb, as well as in Walker Art Center's Artist Op-Ed Series, What About Power? Inquiries Into Contemporary Sculpture (published by SculptureCenter), and Documents of Contemporary Art: Queer (published by Whitechapel and MIT Press.) A volume of Hall’s collected essays, interviews, and performance scripts was published by Portland Institute for Contemporary Art in 2019. Hall is Assistant Professor of Sculpture at Vassar College.
This is a rebroadcast of an episode of This Thing We Call Art, a podcast where the host Kelly Lloyd speaks to people in the arts about their livelihoods. Lloyd originally interviewed artist Nicole Morris on February 25, 2021 and the 44-minute episode featuring portions of the two and a half-hour-long conversation was released on February 24, 2022. The podcast features a conversation that includes discussion of navigating being a solo artist and an art educator, the limitations of the formats of the solo show and the retrospective, motherhood, reproductive labor and care labor, and incidental interruptions in the creative process.
Kelly Lloyd is a transdisciplinary artist who focuses on issues of representation and knowledge production and prioritizes public-facing collaborative research. Lloyd has recently held solo exhibitions at the Royal Academy Schools (London), Crybaby (Berlin), Bill’s Auto (Chicago), Demo Room (Aarhus), and Dirty House (London) for which she won the Art Licks Workweek Prize. Lloyd was the Starr Fellow at the Royal Academy Schools during the 2018/19 school year and is currently studying at The University of Oxford's Ruskin School of Art and Wadham College for her DPhil in Practice-Led Fine Art with support from an All Souls-AHRC Graduate Scholarship and an Open-Oxford-Cambridge Doctoral Training Programme Studentship. In 2021, Lloyd launched This Thing We Call Art, a podcast and online archive featuring excerpts from 50+ interviews with people in the arts she has conducted since 2017.
Nicole Morris is an artist working across gallery, education and community settings both in a solo and collaborative context. Her work uses textiles and film to explore themes of domesticity and labour and how these are performed or re-presented in new contexts. Her work has recently been included in exhibitions and projects at The Foundling Museum, London; Southwark Park Galleries, London; Royal Museums Greenwich, London; The Drawing Room, London; [SPACE], London; Baltic, Gateshead; South London Gallery; Bluecoat, Liverpool; G39, Cardiff; Jerwood, London and The National Gallery, Prague.
How can authors improve their chances for publication in academic journals? In this podcast, editors Cara Jordan and Robin Veder approach the topic with empathy for all who are navigating what can be an unnecessarily mysterious and intimidating process. We share strategies for how to prepare your manuscript for the best possible outcome, including how to select the right venue for your article; what you can do to ensure that journal editors and peer reviewers focus on your ideas; and what to expect in editorial relationships. Among other resources for pre-submission feedback, we discuss offerings from the Flatpage editorial agency and the Smithsonian American Art Museum’s Toward Equity in Publishing professional development program, which aims to remediate the inequitable conditions that precede and impede publication. Upcoming deadlines are September 15, 2022, and March 15, 2023. To apply, click here: https://americanart.si.edu/research/toward-equity-publishing.
Cara Jordan received her PhD in art history from the Graduate Center, CUNY, and is currently the president and chief editor at Flatpage, an editorial agency and publishing house based in Washington, DC. With a roster of academic editors with PhDs (many in art history) and varying expertise, Flatpage offers manuscript evaluation and editing, as well as job application assistance, book proposal critique, and other forms of writing support for authors of all backgrounds and levels. Cara has seen many sides of the academic journal publishing industry: as an author, a managing editor of a journal, and as a freelance developmental and copy editor.
Robin Veder is the executive editor of American Art, the peer-reviewed journal co-published by the Smithsonian American Art Museum and University of Chicago Press, and founder of the journal’s Toward Equity in Publishing program. Before joining the journal in 2017, Veder was a tenured associate professor of humanities, art history, and visual culture at Penn State Harrisburg. She is a cultural historian whose publications include a study of kinaesthetic modernism in early twentieth-century US art—The Living Line: Modern Art and the Economy of Energy (2015)—and various articles on visual culture, landscape, pastoralized labor, and history of the body. She earned her BA (1991) in interdisciplinary art from San Francisco State University and her MA (1995) and PhD (2000) in American studies from the College of William and Mary.
In this podcast episode, Tamryn McDermott engages in a conversation with Tyson Lewis and Peter Hyland, the authors of the book, Studious Drift: Movements and Protocols for a Postdigital Education, which was published earlier this year by the University of Minnesota Press. Lewis and Hyland engage readers in questions such as, “What kind of university is possible when digital tools are hacked for a more experimental future?”
From the book jacket: “The global pandemic has underscored contemporary reliance on digital environments. This is particularly true among schools and universities which, in response, shifted much of their instruction online. The virtual classroom opens opportunities to move beyond familiar learning practices toward radical digital possibilities for education.
Studious Drift revives the relationship between studying and the generative space of the studio in service of advancing educational experimentation for a world where digital tools have become a permanent part of education. Drawing on Alfred Jarry’s pataphysics, the “science of imaginary solutions,” this book reveals how the studio is a space-time machine capable of traveling beyond the limits of conventional online learning to redefine education as interdisciplinary, experimental, public study.”
Additionally, here are a few of the links that were mentioned within the episode. We invite you to explore Studio D (https://onstead.cvad.unt.edu/studio-d) and the Education as Experimentation 1 video (https://youtu.be/llUj_Qyd5Zo). Studious Drift can be accessed digitally here: https://manifold.umn.edu/projects/studious-drift Lewis, T. and Hyland, P. (2022). Studio Drift: Movements and Protocols for a Postdigital Education. University of Minnesota Press.
Tyson Lewis is a professor of art education in the College of Visual Arts and Design at the University of North Texas where he teaches courses in aesthetics, critical theory, educational philosophy, philosophy for children, and critical phenomenology. Recently, his articles have appeared in journals such as Angelaki, Symploke, Cultural Critique, and Thesis Eleven, and he is the author of the book Walter Benjamin’s Antifascist Education: From Riddles to Radio (SUNY Press, 2021).
Peter Hyland is director of the Jo Ann (Jody) and Charles O. Oustead Institute for Education in the Visual Arts and Design at the University of North Texas. Peter is the author of the poetry collection "Out Loud "(Sheep Meadow Press, 2013). Peter’s poems, book reviews, and articles have also appeared in "American Literary Review," "Conduit," "Green Mountains Review," "New England Review," "Ploughshares," and elsewhere. Peter earned a B.F.A. in Studio Art: Drawing and Painting from the University of North Texas and an M.F.A. in Creative Writing – Poetry from the University of Houston.
Tamryn McDermott is currently a PhD student in the department of Arts Administration, Education and Policy at the Ohio State University. She received a BFA from Tyler School of Art and Architecture, Temple University and an MFA in Fibers and Sculpture from the University of Missouri.
In 1994, CAA’s Committee on Women in the Arts held a panel chaired by Judith Stein that featured speakers Linda Nochlin, Ann Sutherland Harris, and Alessandra Comini. Their individual presentations look at the progress of women artists and art historians over the previous twenty years, since 1974. The talks use the exhibition, Women Artists 1550-1950, curated by Nochlin and Harris, as a benchmark for discussion. This landmark exhibition toured four American museums in 1976-77, such as the Brooklyn Museum in 1977, and raised public awareness of the many gifted women painters, sculptors, and architects.
The talks in this session compare and contrast the attitudes that prevailed when the show was being organized with views in the nineties. Releasing these recordings of the session almost another twenty years later, it is an opportunity to reassess the status of women in the arts once again.
Fifty years ago in 1972, CAA founded its first committees devoted to women in the arts. This year we celebrate the 50th anniversary of this history by sharing historic materials from CAA members and archives that intersect with feminism at the organization, CAA’s Committee on Women in the Arts, and from its Affiliated Societies, the Women’s Caucus for Art (WCA) and The Feminist Art Project (TFAP). CAA established the Committee on the Status of Women (COSW), the first committee to focus on women in CAA’s history, in 1972. The COSW was renamed the Committee on Women in the Arts (CWA) in 1996, and it continues to promote women in the visual arts field.
In 1994, CAA’s Committee on Women in the Arts held a panel chaired by Judith Stein that featured speakers Linda Nochlin, Ann Sutherland Harris, and Alessandra Comini. Their individual presentations look at the progress of women artists and art historians over the previous twenty years, since 1974. The talks use the exhibition, Women Artists 1550-1950, curated by Nochlin and Harris, as a benchmark for discussion. This landmark exhibition toured four American museums in 1976-77, such as the Brooklyn Museum in 1977, and raised public awareness of the many gifted women painters, sculptors, and architects.
The talks in this session compare and contrast the attitudes that prevailed when the show was being organized with views in the nineties. Releasing these recordings of the session almost another twenty years later, it is an opportunity to reassess the status of women in the arts once again.
Fifty years ago in 1972, CAA founded its first committees devoted to women in the arts. This year we celebrate the 50th anniversary of this history by sharing historic materials from CAA members and archives that intersect with feminism at the organization, CAA’s Committee on Women in the Arts, and from its Affiliated Societies, the Women’s Caucus for Art (WCA) and The Feminist Art Project (TFAP). CAA established the Committee on the Status of Women (COSW), the first committee to focus on women in CAA’s history, in 1972. The COSW was renamed the Committee on Women in the Arts (CWA) in 1996, and it continues to promote women in the visual arts field.
In 1994, CAA’s Committee on Women in the Arts held a panel chaired by Judith Stein that featured speakers Linda Nochlin, Ann Sutherland Harris, and Alessandra Comini. Their individual presentations look at the progress of women artists and art historians over the previous twenty years, since 1974. The talks use the exhibition, Women Artists 1550-1950, curated by Nochlin and Harris, as a benchmark for discussion. This landmark exhibition toured four American museums in 1976-77, such as the Brooklyn Museum in 1977, and raised public awareness of the many gifted women painters, sculptors, and architects.
The talks in this session compare and contrast the attitudes that prevailed when the show was being organized with views in the nineties. Releasing these recordings of the session almost another twenty years later, it is an opportunity to reassess the status of women in the arts once again.
Fifty years ago in 1972, CAA founded its first committees devoted to women in the arts. This year we celebrate the 50th anniversary of this history by sharing historic materials from CAA members and archives that intersect with feminism at the organization, CAA’s Committee on Women in the Arts, and from its Affiliated Societies, the Women’s Caucus for Art (WCA) and The Feminist Art Project (TFAP). CAA established the Committee on the Status of Women (COSW), the first committee to focus on women in CAA’s history, in 1972. The COSW was renamed the Committee on Women in the Arts (CWA) in 1996, and it continues to promote women in the visual arts field.
In 1994, CAA’s Committee on Women in the Arts held a panel chaired by Judith Stein that featured speakers Linda Nochlin, Ann Sutherland Harris, and Alessandra Comini. Their individual presentations look at the progress of women artists and art historians over the previous twenty years, since 1974. The talks use the exhibition, Women Artists 1550-1950, curated by Nochlin and Harris, as a benchmark for discussion. This landmark exhibition toured four American museums in 1976-77, such as the Brooklyn Museum in 1977, and raised public awareness of the many gifted women painters, sculptors, and architects.
The talks in this session compare and contrast the attitudes that prevailed when the show was being organized with views in the nineties. Releasing these recordings of the session almost another twenty years later, it is an opportunity to reassess the status of women in the arts once again.
Fifty years ago in 1972, CAA founded its first committees devoted to women in the arts. This year we celebrate the 50th anniversary of this history by sharing historic materials from CAA members and archives that intersect with feminism at the organization, CAA’s Committee on Women in the Arts, and from its Affiliated Societies, the Women’s Caucus for Art (WCA) and The Feminist Art Project (TFAP). CAA established the Committee on the Status of Women (COSW), the first committee to focus on women in CAA’s history, in 1972. The COSW was renamed the Committee on Women in the Arts (CWA) in 1996, and it continues to promote women in the visual arts field.
This podcast is a two-part conversation between Anita Chari (Political Science, University of Oregon) and Kate Mondloch (Art History, University of Oregon). Episode 1 is an introduction to embodied and trauma-informed approaches for pedagogy, including practical resources for students, teachers, and administrators. Episode 2 will explore embodied and trauma-informed approaches as they relate to art historical and liberal arts pedagogy.
Anita Chari, Associate Professor of Political Science, University of Oregon, is a political theorist and somatic educator, and the co-founder of Embodying Your Curriculum, an organization that brings trauma-informed, embodied pedagogies to educators and health care practitioners. She has won multiple teaching awards for her innovative work to bring embodied, trauma-informed, social justice paradigms into higher education. At the University of Oregon she has taught for seven years as a faculty member in the Inside-Out prison education project, where she developed a pedagogical approach that facilitates social-emotional and embodied learning in the context of the unique learning environment of a correctional institution. Her interdisciplinary scholarly research explores the political significance of embodiment and mindfulness practices for our times. She is the author of A Political Economy of the Senses (Columbia University Press, 2015), and her research on embodied practices and political theory has appeared in venues including New Political Science, Philosophy and Social Criticism, Contemporary Political Theory, and Somatic Voices in Performance Research and Beyond (Routledge, 2020).
Kate Mondloch is a professor of contemporary art history and theory in the Department of the History of Art and Architecture at the University of Oregon, where she holds a joint appointment as faculty-in-residence in the Clark Honors College. She writes and teaches about contemporary art spectatorship and embodiment, especially as both relate to new technologies. She is the author of Screens: Viewing Media Installation Art (Minnesota, 2010) and A Capsule Aesthetic: Feminist Materialisms in New Media Art (Minnesota, 2018). Her current book project, tentatively entitled Art of Attention, explores attention and body-mind awareness in art since 1950.
Resourcing and Reconnecting: Thinking Through Trauma-Informed Pedagogy and the Visual Arts
This podcast is a two-part conversation between Anita Chari (Political Science, University of Oregon) and Kate Mondloch (Art History, University of Oregon). Episode 1 is an introduction to embodied and trauma-informed approaches for pedagogy, including practical resources for students, teachers, and administrators. Episode 2 will explore embodied and trauma-informed approaches as they relate to art historical and liberal arts pedagogy.
Anita Chari, Associate Professor of Political Science, University of Oregon, is a political theorist and somatic educator, and the co-founder of Embodying Your Curriculum, an organization that brings trauma-informed, embodied pedagogies to educators and health care practitioners. She has won multiple teaching awards for her innovative work to bring embodied, trauma-informed, social justice paradigms into higher education. At the University of Oregon she has taught for seven years as a faculty member in the Inside-Out prison education project, where she developed a pedagogical approach that facilitates social-emotional and embodied learning in the context of the unique learning environment of a correctional institution. Her interdisciplinary scholarly research explores the political significance of embodiment and mindfulness practices for our times. She is the author of A Political Economy of the Senses (Columbia University Press, 2015), and her research on embodied practices and political theory has appeared in venues including New Political Science, Philosophy and Social Criticism, Contemporary Political Theory, and Somatic Voices in Performance Research and Beyond (Routledge, 2020).
Kate Mondloch is a professor of contemporary art history and theory in the Department of the History of Art and Architecture at the University of Oregon, where she holds a joint appointment as faculty-in-residence in the Clark Honors College. She writes and teaches about contemporary art spectatorship and embodiment, especially as both relate to new technologies. She is the author of Screens: Viewing Media Installation Art (Minnesota, 2010) and A Capsule Aesthetic: Feminist Materialisms in New Media Art (Minnesota, 2018). Her current book project, tentatively entitled Art of Attention, explores attention and body-mind awareness in art since 1950.
Join Rachel Skaggs in conversation with Jennifer Reis and Amy Whitaker as they discuss approaches, successes, and hopes for arts entrepreneurship education. Their conversation covers the What, When, Why, and How of teaching collegiate arts entrepreneurship in hopes as serving as practical guidance for CAA members and other instructors who are interested in incorporating this into students’ program of study in the arts.
Rachel Skaggs is the Lawrence and Isabel Barnett Assistant Professor of Arts Management at The Ohio State University. Rachel is a sociologist of culture and work whose research focuses on relational ecosystems in creative industries. Her recent research can be found in Poetics, Social Psychology Quarterly, and The Journal of Arts Management, Law, and Society. www.rachelskaggs.me
Amy Whitaker is an Assistant Professor of Visual Arts Administration at New York University. A longtime teacher of business to artists, she is an interdisciplinary researcher who publishes in law, sociology, finance, entrepreneurship, and cultural policy. Her work proposing fractional equity in art received the 2021 Edith Penrose Award from the European Academy of Management. Her third book, Economics of Visual Art: Market Practice andMarket Resistance, was published in fall 2021 by Cambridge University Press.
Jennifer A. Reis is a creative entrepreneur, practicing and teaching artist, and former gallery director who has over twenty-five years of experience in arts business, administration, and higher education. Currently Assistant Professor of Arts Administration at UNC-Greensboro, her research and practice focuses on empowering creative entrepreneurs with the mindsets and skills to survive and thrive. A master facilitator for the Kauffman Foundation’s FastTrac Program, she also consults for community development, trade and cultural organizations including the Tamarack Foundation, Tremaine Foundation, ArtsGreensboro, Kentucky Arts Council, Surface Design Association, and Association for Creative Industries.
Dissertations, Schools, Advisers, and Jobs: What the Numbers Tell Us about Art History
In this conversation, Nancy Um, Pepe Karmel, and Aaron Hyman discuss how computational analysis of dissertation topics and job placements casts light on the state of art history. Their discussion summarizes and expands upon caa.review's ongoing series, "What do we know about the future of art history?", including essays by Um (August 18, 2020), Um and Emily Hagen (June 28, 2021), and Karmel (forthcoming). Um and Karmel delve into the merits and difficulties of learning to work with quantitative methods, the potential and pitfalls of data-driven claims, the responsibilities of art history doctoral programs to their students, and the complexities of data management. Referenced: “Just What Is It That Makes Contemporary Art So Different, So Appealing,” in Visual Resources, vol. 27, no. 4 (December 2011), pp. 318-329 (contribution to a special issue on “The Crisis in Art History,” edited by Patricia Mainardi): http://dx.doi.org/10.1080/01973762.2011.622233
Aaron M. Hyman is assistant professor of early modern art in the Department of the History of Art at Johns Hopkins University and author of the recent book Rubens in Repeat: The Logic of the Copy in Colonial Latin America (Getty Research Institute, 2021). He is also an editorial board member at caa.reviews.
Nancy Um is Professor of Art History and Associate Dean for Faculty Development and Inclusion at Harpur College of Arts and Sciences, Binghamton University. She is the author of The Merchant Houses of Mocha: Trade and Architecture in an Indian Ocean Port (Seattle: University of Washington Press, 2009) and Shipped but not Sold: Material Culture and the Social Protocols of Trade during Yemen’s Age of Coffee (Honolulu: University of Hawai’i Press, 2017).
Pepe Karmel teaches in the Department of Art History, New York University. Karmel is the author of two books, Picasso and the Invention of Cubism (2003) and Abstract Art: A Global History (2020), and he has written widely on modern and contemporary art for museum catalogues, as well as the New York Times, Art in America, Brooklyn Rail, and other publications. He has curated or co-curated numerous exhibitions, including Robert Morris: Felt Works (Grey Art Gallery, New York, 1989), Jackson Pollock (MoMA, New York, 1998), and Dialogues with Picasso (Museo Picasso Málaga, 2020).
In this episode, Emily Neumeier is joined by Özlem Yıldız and Nicole Emser Marcel to discuss podcasting in the classroom, reflecting on the unique challenges and benefits of taking on a research project whose final product is geared for a more general audience—the wider public. They also offer some more practical advice and insights for listeners who are interested in using podcasting in their own pedagogy. The podcast series under discussion is forthcoming. The podcast series under discussion, titled Monument Biography, is now available, and you can listen to episodes at STELLA Radio: https://www.stellaonline.art/monument-bio
Emily Neumeier is Assistant Professor of Islamic Art and Architecture at Temple University. She aims to encourage her students to explore emerging technologies in their own research and engage in public scholarship.
Özlem Yıldız is a Ph.D. student in art history at Temple University in Philadelphia, focusing on cross-cultural exchanges in Ottoman and Safavid illustrated manuscripts from the sixteenth and seventeenth centuries. She holds an MA in history of Islamic art from SOAS University of London, an MA in history and a BA in political sciences from Sabancı University in Istanbul.
Nicole Emser Marcel studies modern and contemporary Caribbean art at Temple University in Philadelphia. Her research interests include iconoclasm, geography, feminist theory, and religion. She holds a M.A. in Art History from American University and a B.A. in History from Xavier University. She previously taught at IUPUI in Indianapolis and worked at the National Women’s History Museum in Washington, DC.
Professor T.J. Demos, Professor Laurie Palmer, and artist and curator Martabel Wasserman talk about art, pedagogy, and environmental justice. We discuss the formation of new networks of collaborative learning in and beyond the university. What can academia learn from activist pedagogies? Note: This conversation was recorded in autumn 2020.
Martabel Wasserman is a scholar, artist, writer, and curator who has an interdisciplinary practice at the intersections of art, activism and academic research. She writes on the aesthetics of solidarity and feminist art and environmentalism, and she has curated numerous exhibitions. Her work has been exhibited at the University of California at Santa Cruz, Van Gallery in Los Angeles, and elsewhere.
TJ Demos is Professor and Director of Graduate Studies in the Department of History of Art and Visual Culture at UC Santa Cruz. He is also the director of the Center for Creative Ecologies at UC Santa Cruz. He has published numerous articles and books, and his research focuses on modern and contemporary art and its politics, particularly amid the growing biopolitical conflicts around ecology and climate change. His most recent book is Beyond the World's End: Arts of Living at the Crossing which was just published by Duke last month.
Laurie Palmer is Professor in the Department of Art at UC Santa Cruz. Her sculpture, installation, public art, and writing is often concerned with questions of materiality, collaboration, and social and environmental justice. Among her recent projects are the book In the Aura of a Hole: Exploring Sites of Material Extraction (published in 2014) and her work on the collaborative public project Chicago Torture Justice Memorials.
In this podcast Steve Rossi and Jose DeJesus discuss aspects of interdisciplinary foundational studio art pedagogy in Parson’s first year Space/Materiality course, benefits of limitations in lesson planning, being present for students, aspects of embodied learning, and design efficiency found in nature.
Steve Rossi received his BFA from Pratt Institute in 2000 and his MFA from the State University of New York at New Paltz in 2006. His work has been exhibited at Dorsky Curatorial Projects, Eco Art Space, NURTUREart, the Open Engagement Conference at the Queens Museum, Bronx Art Space, the Wassaic Project, the John Michael Kohler Art Center, and the Jules Collins Smith Museum of Fine Arts among others. As a part-time faculty member, he has taught in the First Year Program at Parsons School of Design, the Sculpture Program and Art Education Program at the State University of New York at New Paltz, and in the Art Department at Westchester Community College. He is currently an Assistant Professor in the Sculpture Program at St. Joseph’s University, in Philadelphia, PA.
Formerly a personal assistant to Jeff Koons, Jose DeJesus Zamora is a sculptor whose practice and teaching methods are rooted in his studies of architecture, geometry, and a deep love for the studio methods and knowledge of the Italian Renaissance. Jose has presented in conferences and Symposia in London, Athens, Ecuador, Paris, Florence and Hong Kong. Jose presently teaches three dimensional courses in Space-Materiality and also Design Drawing at Parsons School of Design in New York City. He has been teaching at Parsons for more than twenty years. He brings the knowledge of his research into his teaching.
"Professors Alex Dika Seggerman (Rutgers University-Newark) and Emily Neumeier (Temple University) discuss their experience incorporating Wikipedia in the classroom, suggesting different types of assignments, the feminist origins of the “edit-a-thon” and how teaching students about the reliability and structure of online knowledge is perhaps one of the most pressing issues of our day. For more information about working with Wiki Edu in your classroom go to: https://wikiedu.org/teach-with-wikipedia/
Emily Neumeier is assistant professor of Art History at Temple University. She specializes in the visual and spatial cultures of the Eastern Mediterranean, with a focus on the Ottoman Empire.
Alex Dika Seggerman is assistant professor of Islamic art history at Rutgers University-Newark. She is author of Modernism on the Nile: Art in Egypt between the Islamic and the Contemporary (UNC Press, 2019) and co-editor of Making Modernity in the Islamic Mediterranean (Indiana University, 2022).
Professor Alan C. Braddock and Dr. Lindsay Garcia discuss art, pedagogy, and environmental justice. How can art history join the posthumanist conversation? How can works of art attune us to our relationships across the lines of species? Note: This conversation was recorded in autumn 2020.
Alan Braddock is the Ralph H. Wark Associate Professor of Art History and American Studies at the College of William & Mary. His teaching and research explores the history of American and global art, ecology, environmental justice, and animal studies. He has authored and edited numerous books, including the landmark 2009 anthology A Keener Perception: Ecocritical Studies in American Art History, which he co-edited with Christoph Irmscher, and the catalogue accompanying the 2018 travelling exhibition Nature’s Nation: American Art and Environment, which he co-curated with Karl Kusserow. Most recently, he was a scholar in residence at the Getty Research Institute, where he was developing a new book entitled Implication: An Ecocritical Dictionary for Art History, under contract from Yale University Press.
Lindsay Garcia (she/her) is the Assistant Dean of the College for Junior/Senior Studies and Recovery/Substance-Free Student Initiatives at Brown University. She is also a socially-engaged artist, scholar, and teacher. She received her PhD in American Studies from William & Mary and her MFA in Visual Art from Purchase College, State University of New York. Her advising, research, and artwork employ a queer, feminist, and critical race approach. She is currently working on her book manuscript Infestation Identities, which explores the metaphors and materialities of the relationship between pest animals and humans in the context of race and sexuality in American visual culture. Garcia has published her research in academic and art world publications and exhibited her artwork internationally at museums, galleries, and film festivals.
Rachel Skaggs // Molly Jo Burke // Erin Hoppe // Measuring Artists’ Challenges in COVID-19 by CAA
Courtney Puckett // Alexis Granwell // Experiences of Contingent Faculty in Teaching Studio Art by CAA
Jay Buchanan, Holly Gabelmann, Caroline Giddis, and Clarissa Chevalier: "Collaboration, finding purpose, occupying intermediate space and making noise together!"
In this conversation, Jay Buchanan and Holly Gabelmann, co-creators of Idiosynchrony, talk to Caroline Giddis and Clarissa Chevalier, founders and co-editors of Tesserae Press. They discuss "Collaboration, finding purpose, occupying intermediate space and making noise together!"
Jay Buchanan is a theorist, poet, and arts orchestrator.
Holly Gabelmann is an artist, writer, and asker of questions. They are the co-creators of Idiosynchrony, a podcast and collective sonic artwork. http://www.idiosynchronypodcast.com
Caroline Giddis is a writer, emerging curator, and art historian of the long nineteenth century focusing on intersectional feminism.
Clarissa Chevalier is an interdisciplinary researcher, writer, and art historian specializing in modern and contemporary ecological art.They are the founders and co-editors of Tesserae Press, an online arts publication for emerging creative voices. http://www.TesseraePress.com
Join us for a conversation with Sean Nash, a visual artist and food fermentation experimentalist, and Stephanie Maroney, a feminist science and food studies scholar, as they discuss “Microbial Teachers and Fermentive Pedagogies.”
Sean Nash is a visual artist and food fermentation experimentalist. His multidisciplinary work integrates fermented foods with sculptures as edible, time-based, and socially engaged components of programs and exhibitions. Sean's work has been shown nationally, with solo shows at the Kniznick Gallery at Brandeis (Krautsourcing, 2019), Plug Projects in Kansas City, MO (Lactobacillus Amongus, 2017), and Black Ball Projects in Brooklyn, NY (They/Them/Their, 2016). His work can be found at senash.com
Stephanie Maroney is a feminist science and food studies scholar creating collaborative projects on fermentation and mycology. She has published on the topics of queer fermentation praxis, the colonial afterlife of microbiome science, and probiotic dietary culture. Stephanie has a Ph.D in Cultural Studies and administers a community-engaged arts and humanities research program at UC Davis.
In this conversation, the pair discuss Schwartz’s new book Walker Evans: No Politics. The first book to take seriously Evans’s refusal to act or work politically, Walker Evans offers a sweeping reassessment of American documentary and its histories. Opening with a discussion of Evans’s place in the canon as well as Schwartz’s efforts to problematise canonical histories of documentary, the podcast covers a range of topics, from the publication of Evans’s short, but punchy, review of photographic books, his 1931 essay “The Reappearance of Photography,” to the 1971 retrospective exhibition of his work at the Museum of Modern Art. At the centre of this conversation is a debate about Evans’s legacy, about how and why it needs to be reimagined today.
Stephanie Schwartz is an Associate Professor of the History of Art at University College, London.
Jorge Ribalta is an independent curator and photographer living and working in Barcelona.
In this conversation, educator, artist, and technologist Chris Carruth and Ph.D. candidate Kristina M. Stamatis discuss pedagogy, empathy, and structural racism in higher ed.
Chris Carruth is an educator, artist, and technologist who is currently splitting teaching/making engagements between Boulder, CO and Vancouver, BC. He is an interdisciplinary creative artist who weaves philosophical inquiry, investigative journalism, and personal narrative together to examine life in the digital age.
Kristina M. Stamatis is a Ph.D. candidate in the School of Education at the University of Colorado Boulder. Her research focuses on the ways that cultural storytelling can support teaching and learning and the disruption of whiteness. Her latest work can be found in the book Compose Our World: Engaging Educators and Students with Project-Based Learning in Secondary English Language Arts.
This podcast explores key concepts of decolonization, settler responsibility, and treaty principles. Join Dr. Julie Hollenbach in conversation with Dr. Carla Taunton in a dynamic dialogue that considers key ideas and concepts of decolonization. Hollenbach and Taunton discuss the potential roles and responsibilities of white-settler scholars in decolonizing and unsettling initiatives within museums, academia, and the classroom to include the movement towards decolonial accomplice focused methodologies.
Dr. Carla Taunton, a white-settler scholar, is an Associate Professor in the Division of Art History and Contemporary Culture at the Nova Scotia College of Art and Design University and an Adjunct Associate Professor in the department of Cultural Studies at Queen’s University. She is the Special Advisor to the VP Academic and Research, Social Justice and Decolonization. Her research contributes to arts-based critiques of settler colonialism, Indigenous arts and methodologies, contemporary Canadian art and activism, museum and curatorial studies, as well as theories of decolonization, anti-colonialism and settler responsibility. Her recent publications include, “Unsettling Canadian Heritage: Decolonial Aesthetics in Canadian Video and Performance Art,” with Sarah E.K Smith in Journal Canadian Studies (2018), “Embodying Sovereignty: Indigenous Women’s Performance Art in Canada,” in Narratives Unfolding (2017), and “Performing Sovereignty: Forces to be Reckoned With” in More Caught in the Act: An Anthology of Performance Art by Canadian Women (2016). She co-edited PUBLIC 54: Indigenous Art, the first special issue on global Indigenous new media and digital arts, and RACAR: Continuities Between Eras: Indigenous Arts (2017). She is an independent curator and was a curatorial team member for Abadakone at the National Gallery of Canada (2019). Taunton’s recent collaborative research projects include: The GLAM Collective, The Pilimmaksarniq/Pijariuqsarniq Project: Inuit Futures in Arts Leadership (2017), and The Archive/Counter-Archive: Activating Canada’s Moving Image Heritage (2017).
Julie Hollenbach is a queer white-settler scholar also at NSCAD University where she is an Assistant Professor of Craft History and Material Culture. Her work addresses craft practices and craft cultures at the intersections of history and location, tradition and ritual, contact and connection, meaning and use. Julie’s curatorial and academic research is influenced by queer, feminist, anti-racist and decolonial methodologies. If you’d like to learn more about her work, check out an article she published online with Studio magazine entitled, “Moving Beyond a Modern Craft: Thoughts on White Entitlement and Cultural Appropriation in Professional Craft in Canada,” or check out her recent curatorial project Unpacking the Living Room at Mount St. Vincent University Art Gallery. A website chronicling and documenting the exhibition can be found at: www.unpackingthelivingroommsvu.ca.
Join us for a conversation between Thanavi Chotpradit, a modern and contemporary Thai art historian, and Chanon Kenji Praepipatomongkol, curator at Singapore Art Museum, as they discuss “The Iconography of Protest in Bangkok."
Thanavi Chotpradit is a lecturer in modern and contemporary Thai art history at Silpakorn University in Bangkok, Thailand and a member of the editorial collective of Southeast of Now: Directions in Contemporary and Modern Art in Asia. Her areas of interest include modern and Thai contemporary art in relation to memory studies, war commemoration, Thai politics and archival practices.
Chanon Kenji Praepipatmongkol is a Curator at Singapore Art Museum. He holds a PhD in art history from the University of Michigan, with a focus on postwar art in the Philippines and Thailand. His latest research project explores technical dimensions of design as the basis for understanding new media ecologies of form, experience, and image in 21st century Thailand.
Lorne M. Buchman, President of ArtCenter College of Design and host of Change Lab podcast, speaks with Beyond the Studio co-hosts Nicole Mueller and Amanda Adams about the shifts happening in higher education, how art and design colleges are responding to the financial challenges of the pandemic, rethinking the model in order to increase sustainability, access, and affordability, what organizations can learn from adopting a mindset similar to that of individual artists, and key questions we should all be asking within the arts at large.
About Beyond the Studio: Beyond the Studio is a podcast that focuses on the behind the scenes work of visual artists— how they're supporting and sustaining themselves and their creative work. Co-hosted by artists Nicole Mueller (San Francisco, CA) and Amanda Adams (Baltimore, MD), Beyond the Studio features candid conversations with contemporary artists, makers, and art world professionals about their business practices, time management, financial planning, and how they're navigating the unique challenges of making a living, creatively. Artists are inherently resourceful, resilient, and ambitious, with a unique and diverse set of skills. Beyond the Studio wants to know how they're connecting the dots in their own life, and demystify the process. It's founded on the belief that by sharing these stories openly and honestly, artists will feel more empowered and become better equipped to live out their own creative life's work. The podcast can be found on Apple Podcasts, Spotify, Stitcher, and on their website www.beyondthe.studio
About Lorne M. Buchman: Lorne M. Buchman is the fifth president of ArtCenter College of Design in Pasadena, California, an international leader in art and design education. During Buchman’s presidency, the College increased the undergraduate and graduate degree programs and realized record enrollments. Buchman previously served as president of both Saybrook University and California College of the Arts (CCA). Buchman holds a PhD from Stanford University and a BA from the University of Toronto. He founded Buchman Associates, a consulting firm focused on facility development projects for nonprofit organizations. A trained theater director and scholar, Buchman is the author of Still in Movement: Shakespeare on Screen and has taught and served as an administrative leader at the University of California, Berkeley.
About ArtCenter: Founded in 1930 and located in Pasadena, California, ArtCenter College of Design is a global leader in art and design education. ArtCenter offers 11 undergraduate and seven graduate degrees in a wide variety of industrial design disciplines as well as visual and applied arts. In addition to its top-ranked academic programs, the College also serves members of the Greater Los Angeles region through a highly regarded series of year-round continuing education programs for all ages and levels of experience. Renowned for both its ties to industry and its social impact initiatives, ArtCenter is the first design school to receive the United Nations’ Non-Governmental Organization (NGO) status. Throughout the College’s long and storied history, ArtCenter alumni have had a profound impact on popular culture, the way we live and important issues in our society.
Beyond the Studio beyondthe.studio
Join us for a live CAA podcast recording made for the CAA 2021 Conference! Rachel Beth Egenhoefer and Peter Dean discuss Sustainable Design: Beyond the Stuff, Towards the System
Rachel Beth Egenhoefer, Professor, Design, University of San Francisco Peter Dean, Senior Critic, Department of Furniture Design, Nature-Culture-Sustainability Studies Concentration, Rhode Island School of Design
Mattie Schloetzer and Jason Vrooman come together to discuss trials and triumphs of remote and virtual museum internships during the COVID era.
Mattie Schloetzer is the administrator of internships and museum fellowships at the National Gallery of Art and a member of the CAA professional practices committee. She is co-chairing the session, "Best Practices and Lessons Learned from the Digital Shift to Prepare Students for Professional Success," at the 2021 CAA Annual Conference, February 10–13.
Jason Vrooman is a curator and educator at the Middlebury College Museum of Art. He especially enjoys letting conversations with museum-goers of all ages inform acquisitions and talking about ethics and equity with the next generation of museum professionals.
Warren Cariou is a photographer, filmmaker, writer, and interdisciplinary scholar whose work often explores links between environment, culture, and storytelling, with a particular focus on Indigenous communities in western Canada. He directs the Centre for Creative Writing and Oral Culture at the University of Manitoba, where he teaches in the Department of English, Theatre, Film and Media. His petrographs can be viewed at: http://www.warrencariou.com
Siobhan Angus is a Banting Postdoctoral Fellow in the Department of History of Art at Yale University and a visiting scholar at the Yale Center for British Art. Her research, informed by a commitment to social and environmental justice, explores the visual culture of resource extraction in Canada, with a focus on photography and visual archives.
Alicia Grullón is an artist, author, curator, and activist based in New York City. She is an organizer of the People’s Cultural Plan and the legislative art project Percent for Green. She is an adjunct professor at the School of Visual Arts and Queens College, City University of New York.
Chloë Bass is an artist and public practitioner based in New York City. She is an assistant professor of art at Queens College, where she co-runs Social Practice Queens, an experimental pedagogical platform that seeks to integrate studio art with research, community collaboration, and environmental justice. Her project "Wayfinding" closed in September 2020, and the audioguide is available to listen at: https://www.chloebass.com/wayfinding
Roland Betancourt is a Professor of Art History at the University of California, Irvine, whose forthcoming book with Princeton University Press is entitled, Byzantine Intersectionality: Sexuality, Gender, and Race in the Middle Ages.
Bryan C. Keene is assistant professor of art history at Riverside City College and formerly associate curator of manuscripts at the Getty Museum; his 2019 edited volume is Toward a Global Middle Ages: Encountering the World through Illuminated Manuscripts.
Naomi J. Falk’s work considers our relationships with manufactured and natural landscapes, exploring the current climate, socially, environmentally, and politically. Facing swiftly changing classroom environments, this spring, she and Stacy Isenbarger began a new project share platform for art educators called, www.WhatDoWeDoNow.art. Falk is an Assistant Professor of Studio Art in 3D Studies at the University of South Carolina. She lives and works in Columbia, SC.
Susan Altman is a Professor and Assistant Chair of the Visual, Performing and Media Arts Department at Middlesex County College in Edison, NJ. In addition to teaching studio courses, she is also the Director of the Center for the Enrichment of Learning and Teaching. Her studio practice is in drawing and printmaking, and she lives and works in New York City.
In this special summer podcast, our guests discuss preparing to teach quality online art history courses.
Parme Giuntini has a PhD from UCLA. Her initial focus on 18th century through modern domestic ideology has broadened to include fashion and design history. After 20 years at Otis College of Art and Design where she was the Director of Art History and Assistant Chair of Liberal Arts and Sciences, she moved to North Carolina four years ago and has continued to teach in both asynchronous and synchronous models. She has a strong focus on pedagogy and has been a Contributing Editor to Art History Teaching Resources.org for the past seven years.
Mary Frances Zawadzki holds a PhD from The Graduate Center, City University of New York, in 19th century American Art history and visual culture. Her scholarship focuses on non-institutional methods of art and aesthetic education, specifically within the domestic interior and in the popular press. She is currently an Adjunct Assistant Professor at New York City College of Technology and was an Instructional Assistant Professor at Texas A&M University where she taught large, asynchronous online courses. She is a Contributing Editor to Art History Teaching Resources and is the Secretary and Coordinator of Social Media for the Association of Historians of Nineteenth-Century Art.
Joni Boyd Acuff, PhD is an Associate Professor at The Ohio State University, whose work centers the intersections of race and gender in arts education research, pedagogy, and practice.
Amelia Kraehe, who more often goes by Amy, is currently an Associate Professor with tenure at the University of Arizona. Her research, teaching and community engagement focus on how the arts and arts education can challenge as well as reinforce systems of inequality. She co-edited The Palgrave Handbook on Race and the Arts in Education (2018) and is working on a new book with Joni Acuff, titled Race and Art Education.
This week, our guests discuss art and community engagement.
Melanie La Rosa is a professor of media production at Pace University in Pleasantville, New York. She is also an award winning independent filmmaker and her latest film, “How To Power A City” is currently in post production, with short excerpts screening at festivals worldwide.
Jules Rochielle Sievert is an artist and the Creative Director at NuLawLab, at Northeastern University School of Law. She has developed key cross-disciplinary institutional projects, community based partnerships and creative programs for the lab.
Anne Schaper Englot is a Professor of Practice in Architecture and Humanities in the Arts, Culture and Media Department at Rutgers University –Newark and co-directs Express Newark, a 50,000 square foot university art community center.
Victor Davson is a visual artist and founding director of Aljira, a Center for Contemporary Art, in Newark, New Jersey and has served as its director for 33 years.
After a short hiatus, we're happy to share a new episode on decolonizing college art curriculum with Shylah Pacheco Hamilton and Vreni Michelini-Castillo.
Shylah Pacheco Hamilton is an Afro-Surrealist filmmaker whose creative research interests meet at the crossroads of experimental video, Black and Chicana feminist theory, and ritual performance. Her most recent work consists of experimental video and installation that explores social justice, memory, dreams, and ritual performance of the sacred. She is Chair of Diversity Studies at California College of the Arts, and teaches in the First Year Program.
Vreni Michelini-Castillo a/k/a Chhoti Maa is a multidisciplinary cultural producer with 11 years of experience working through art, cultural organizing, music, red medicine and traditional Mexican danza. She teaches at 67 Sueños, California College of the Arts, and San Francisco State University.
Amber C. Coleman is a doctoral student in Art and Visual Culture Education at the University of Arizona and Graduate Assistant at the Tucson Museum of Art.
Amber Delgado recently completed her undergraduate studies at East Carolina University where she double majored in film and art history, and currently serves as exhibitions intern and documentary diversity project program associate at The Center for Documentary Studies at Duke University.
Carmen Neely is currently a Visiting Assistant Professor of Drawing & Painting at Oklahoma State University. She maintains an ongoing practice of exploring identity and memory through abstraction. Her work is represented by Jane Lombard Gallery in New York.
Jovonna Jones is a writer and teacher of race, gender, and cultural production. She is currently working on her PhD in African & African American Studies at Harvard University. She is the founder and facilitator of the Black Studies Reading Room, a monthly conversation on black literature, art, and ideas, hosted in collaboration with Boston-area bookstores and cultural institutions.
Ariana Chaivaranon is an artist and an interpretive planner at The Nelson-Atkins Museum of Art, Kansas City. Her art investigates the interface between humans and the digital, examining the consequences of virtual representation for human bodies.
Elizabeth Keto is currently a Marshall Scholar studying art history and curating at the Courtauld Institute of Art in London. Her research focuses on American photography, museums and public art, and the connections between art and citizenship.
Susanna Crum is an artist and educator in Louisville, Kentucky, where she teaches printmaking as an Assistant Professor at Indiana University Southeast and at Calliope Arts, a shared print media workspace she cofounded in 2015. She is President of the Mid America Print Council, and just spent a month fishing and conducting a research-based mapping project in the small town of Alvik, Norway.
Julia Lillie is a PhD Candidate at the Bard Graduate Center in New York, where she studies early modern European print culture. She is currently based in Auburn, Alabama, and is at work on her dissertation, which investigates a network of exiled Protestant engravers active in the Catholic city of Cologne in the late sixteenth century. She was previously a Collections Manager in the Department of Drawings and Prints at the Metropolitan Museum of Art.
Sarah G. Sharp is an artist and curator whose interests include alternative social histories, language, place, technology, and craft. She is an Assistant Professor and Foundations Area Coordinator in the Visual Arts Department at the University of Maryland, Baltimore County and teaches in the MFA in Art Practice program at SVA in New York. She lives and works in Brooklyn and Baltimore.
Meredith Starr’s artwork is based on data she observes in her personal life and an investigation of social issues. She fuses science with artifacts of our humanity, exploring themes such as desire, memory, identity politics, and ecology. She is an Assistant Professor of Visual Arts at SUNY Suffolk County Community College and is a regional coordinator for the FATE organization. She lives and works in New York.
Beth Balliro and Lyssa Palu-ay, both at Massachusetts College of Art and Design, discuss the challenges and triumphs in their institution's efforts to diversify its student body.
Beth Balliro, Ph.D is an artist and scholar whose work is grounded in over twenty years of teaching in urban public schools, community settings, and museums. Her studio practice investigates the poetics and materialism of social debris while her video work seeks to uncover the many ways that social exchange is mired in concerns of race, class, gender and power. Her scholarship draws from critical pedagogy to investigate public schooling and its import for artists. She is an Associate Professor of Art Education at the Massachusetts College of Art & Design.
Lyssa Palu-ay is the Dean of the Office of Justice, Equity and Transformation (JET). JET is focused on achieving systemic equity related to access, opportunity and dignity at MassArt through the areas of transformative learning and teaching, pathways to art and design education, and retention and mentoring. Lyssa is an alumna of MassArt and a well-established member of the campus community. She is a full Professor and has served on the Studio Foundation faculty since 2001, and in 2001 assumed leadership of the Boston Public Schools mentoring program, which later became the Academic Compass Mentoring Program. Her scholarship and research interests include the history of institutes of art and design, critical race theory, and experiences of students of color in art and design education.
On this week's podcast, Canadian contemporary visual artist Meera Sethi and Arti Sandhu, Associate Professor of Fashion Design at the University of Cincinnati, engage in a rich conversation around a 2019 ad campaign by well-known Indian fashion label Raw Mango.
Raw Mango featured a Kashmiri bride to promote their winter festive collection, while at the same time the state of Kashmir was under political lockdown. Meera and Arti speak about issues around politics, privilege, and the use of craft within Indian high-fashion.
On this week's podcast, two young high-profile designers talk about how they use research and create meaning in Fashion and Graphic Design. They also describe concepts for experimental studio projects that could be used in a design curriculum.
Maggie Paxton is a multi-category designer with a focus in footwear, currently working for Marc Jacobs on his runway and contemporary shoe collections. Maggie is a resident of Brooklyn, but travels often to Venehtsia, Italy for shoemaking purposes. Aside from shoes of all kinds, Maggie’s other interests include antiques and oddities, folk art and Americana, mycology, counterculture art and fashion, and logos of all varieties.
Jesse Reed previously worked as an associate partner under Michael Bierut at the New York office of Pentagram. While at Pentagram, his clients included New York University, Hillary for America, Wildlife Conservation Society, Bobby Flay, Syracuse University, and Saks Fifth Avenue, among others. In 2017, Jesse co-founded Order, a design office in Brooklyn, along with fellow partner, Hamish Smyth. He and Hamish are also the co-founders of Standards Manual, an independent publishing imprint focusing on the preservation of graphic design history, such as the NYCTA Graphics Standards Manual, and the NASA Graphics Standards Manual reissues, among others. Jesse has taught at the University of Cincinnati and Parsons New School for Design. His courses covered icon/symbol systems and branding development.
Betsy Alwin teaches in the Sculpture Department at the Minneapolis College of Art and Design teaching Foundations 3D, Installation and Sculpture. This summer she finished an outdoor public commission which was unveiled at the end of September at Franconia Sculpture Park in Shafer, Minnesota.
Kate Casanova is an assistant professor of Sculpture at the University of Denver. She uses a wide range of materials such as fungi, silicone and video to explore the subject of the Posthuman body.
Jan Wurm is an artist, educator, and curator engaged in expanding the community forum for contemporary art dialogue.
Terri Cohn is a writer, curator, art historian, and fine art consultant. She has contributed to numerous publications including Art Practical, Performa, Public Art Review, and Art in America. Her curatorial work has included exhibitions for museums and galleries in the Bay Area.
Juan Carlos Rodriguez Rivera and Allison Yasukawa discuss international and multilingual students at art/design schools.
Juan Carlos Rodríguez Rivera is a queer boricua visual communicator and educator, passionate about food, lover of gradients, and anything with glitter. Juan was born and raised in Cataño, the smallest town of Puerto Rico, but relocated to San Francisco, California in 2017. Juan’s work focuses on challenging colonial perspectives in design from the point of view of a boricua diaspora. Juan Carlos is an Assistant Professor in the Design Department at California College of the Arts, and holds an MFA in Communications Design from Pratt Institute in NY.
Allison Yasukawa is a visual artist and educator. She holds an MFA in Studio Arts and an MA in TESOL and Applied Linguistics. In her studio practice, she explores asymmetries of power and imagined geographies in interactional spaces ranging from the personal to the global. Yasukawa’s pedagogy focuses on studio and academic classes in English for Art and Design. She is the Director of English Language Learning at the California Institute of the Arts and has presented nationally and internationally on art-language overlaps in critique instruction, student autonomy, and multilingualism as a creative resource.
Drawing from conceptual art, experimental music and computer science, Andrew Demirjian scrapes and remixes Internet culture to create dense rhythmic collages of sound and language. He teaches theory and production courses in emerging media in the Film and Media Department and the Integrated Media Arts MFA program at Hunter College, he is currently a Fellow at the MIT Open Documentary Lab.
Claudia Hart has been active as an artist, curator and critic since 1988. Her art consists of virtual simulations of all kinds: 3d imagery integrated into photography, multi-channel animation installations, performances, and sculptures using advanced production techniques such as Rapid Prototyping, CNC routing and augmented-reality custom apps. Her works deals with issues of representation, the role of the computer in shifting contemporary values about identity and the real, and ideas about what is usually called the “natural.” Her project is to feminize the masculinist culture of technology by interjecting emotional subjectivity into the overly-determined Cartesian world of digital design.
On this week's podcast, a medievalist stumbles into an Africanist and they decide to invite undergraduates to curate a feminist show.
Correction: Ashton Cooper’s article first appeared as part of a Barnard College exhibition, not Bryn Mawr. For more information: https://hyperallergic.com/173963/the-problem-of-the-overlooked-female-artist-an-argument-for-enlivening-a-stale-model-of-discussion/
Kevin Tervala is Associate Curator of African Art and Department Head for the Arts of Africa, the Americas, Asia, and the Pacific Islands at The Baltimore Museum of Art.
Jennifer Kingsley is the Director of the interdisciplinary undergraduate Programs in Museums and Society at the Johns Hopkins University.
This week, Pete Schulte and Rubens Ghenov discuss the syncretism that exists between representation and non-objectivity in their current work, the fallacy of binary critiques of art in relation to form and content, as well as the manner in which these interests influence their approach to pedagogy.
Pete Schulte is an artist who lives and works in Birmingham, Alabama. He is Associate Professor of Art and chair of the drawing area at The University of Alabama in Tuscaloosa. Schulte is also co-founder, with artist Amy Pleasant, of The Fuel and Lumber Company curatorial initiative. He recently completed a summer long residency at The Chinati Foundation in Marfa, Texas and will present a solo exhibition of his work at McKenzie Fine Art in New York City later this fall.
Rubens Ghenov was born in São Paulo, Brazil and immigrated to the US in 1989. He lives and works in Knoxville, Tennessee where he is an Assistant Professor of Painting and Drawing at the University of Tennessee. He recently concluded an Affiliated Fellowship at the American Academy in Rome whose works will be in two upcoming group shows, Symbols and Archetypes at Vanderbilt Fine Arts Gallery in Nashville, Tennessee and a yet to be titled show at Mindy Solomon in Miami.
Kristen Lowe is a studio artist, filmmaker, and professor of art and art history at Gustavus Adolphus College. Her studio is located southwest of Minneapolis, Minnesota.
Professor Andrew Wykes teaches at Hamline University in Saint Paul, Minnesota. His teaching career spans 36 years. Andrew is a landscape painter who moved to the United States from the UK in 1995.
Kerry Hustwit is a filmmaker and assistant professor of Communication and Digital Media at Neumann University.
Megan Griffiths is an award-winning writer/director working in film and television. She has directed shows for HBO, EPIX, TNT, and Netflix. Additionally, Megan has directed six feature films, among them Eden, which won the Emergent Narrative Director Award and the Audience Award for Narrative Feature at SXSW 2012.
Chalice Mitchell is an independent scholar, figurative painter, and occasional video artist who has just relocated back to the United States after living in Japan and the UK.
Charlotte Brisland is an associate lecturer in drawing and painting at University of the Creative Arts in the UK, and an artist borrowing painting’s language and playing with everyday landscape using light and space.
Chalice and Charlotte first met in Japan at a residency.
Brian Harper is the founder and executive director of Artaxis, a non-profit arts organization, and associate professor and Head of Ceramics at Indiana University Southeast.
Samuel Johnson is a visual artist working in ceramics and oil. He’s on the Advisory Board of Artaxis, is a professor of art at the College of St. Benedict and St. John’s University, and is a great admirer of a Brian Harper, who is the real brains behind the organization.
Danielle Wyckoff is an assistant professor at the Kendall College for Art and Design at Ferris State University in Grand Rapids, Michigan.
AnnieLaurie Erickson is an associate professor of photography and co-director of Studio Art Graduate Studies at Tulane University.
Krista Svalbonas (b. 1977, USA) holds a BFA Photography (Syracuse University) and an MFA Interdisciplinary(SUNY New Paltz). Her work has been exhibited in a number of exhibitions including at the Utah Museum of Contemporary Art, Howard Yezerski Gallery in Boston, Klompching Gallery, and ISE Cultural Foundation in New York. Her work has been collected in a number of private collections, as well as the Cesis Art Museum in Latvia. Recent awards include the Rhonda Wilson Award (2017), Puffin Foundation Grant (2016), and a Bemis Fellowship (2015), among others. In 2015 Svalbonas exhibited a solo installation at the Spartanburg Art Museum in South Carolina. She is an assistant professor of photography at St. Joseph’s University. She lives and works in Philadelphia.
Greta Pratt is a photographer concerned with issues of national identity and American myth. Pratt is the author of three monographs, The Wavers (Blue Sky Books, 2014), Using History (Steidl, 2005), and In Search of the Corn Queen (National Museum of American Art, 1994). Pratt’s work is included in major public and private collections and has been shown in Art in America, New York Times Sunday Magazine and The New Yorker, along with numerous books and catalogs nationally as well as internationally. She was nominated for a Pulitzer Prize and is a recipient of a New Jersey State Arts Council Grant. Pratt is a professor of photography at Old Dominion University in Norfolk, Virginia where she heads the photography department.
Shana Kaplow is a Twin Cities artist and professor in the Art Department at St. Cloud State University, Minnesota.
Kenneth Steinbach is an artist, writer, and Professor of Art at Bethel University in Minneapolis, Minnesota.
Carlos Rene Pacheco is a photographer and new media artist and he currently resides in Fargo, North Dakota where he has taught courses in Photography, Contemporary Art Theory, and Professional Practices in the Arts as an Assistant Professor of Art at Minnesota State University Moorhead.
Anh-Thuy Nguyen is a Tucson-based multi-media/transdisciplinary artist, whose work spans from photography, video, and installation to performance art, and she is the head of the photography program at Pima Community College, Tucson, Arizona.
David Guinn is an artist based in Philadelphia, working primarily in public space. A graduate of Columbia University in New York City, he was originally trained as an architect.
Joe Boruchow is a Philadelphia-based muralist and paper cutout artist whose site-specific work is designed to fit into architectural niches and public spaces.
Rita MacDonald is a New York-based artist who makes very large temporary wall drawings and very small pencil drawings on paper. She holds a BFA in Printmaking from Rhode Island School of Design and an MFA from School of Visual Arts.
Christina Tenaglia holds a BA from Vassar College and an MFA from Yale University School of Art. She is currently a Visiting Assistant Professor at Vassar College in Poughkeepsie, New York, teaching sculpture, drawing and printmaking. She lives and works in the Hudson Valley.
Lyz Wendland is an assistant professor of Art at Augsburg University in Minneapolis, Minnesota. Her mixed-media work explores the relationship between architecture and nature.
Ann E. Lawton is a mixed media artist, registered art therapist, and an art educator at the University of Wisconsin-River Falls.
Anthony Faris is an artist, curator, and instructor at North Dakota State University in Fargo.
Nick Nelson is the director of the Springfield Art Museum in Springfield, Missouri.
Annette Cyr is a bi-coastal painter, filmmaker, and Professor at National University, San Diego, CA where she is Lead Faculty of Art & Music, and develops online studio and art history courses.
Amy Sands is Assistant Professor of Studio Art at Metropolitan State University in Saint Paul, MN. Amy has been teaching online drawing courses for over 15 years.
Dawn Holder is Associate Professor of Art at the University of the Ozarks, where he teaches Ceramics, Sculpture, and Art History. She has received numerous accolades for her work, and has exhibited in galleries and museums across the country, including the National Museum for Women in the Arts, where she was invited to participate in the Organic Matters: Women to Watch exhibition. She received an MFA in Ceramics from RISD and a BFA in Ceramics from the University of Georgia.
Stephanie Lanter is currently the Assistant Professor of Ceramics at Emporia State University in Kansas, where she teaches all levels of Ceramics, 3-Dimensional Design, and Fibers. She makes clay and mixed media sculpture, drawings, and texts and has been teaching for 15 years.
Dr. David Rifkind is Associate Professor of Architecture and Interim Chair of Landscape Architecture + Environmental and Urban Design at Florida International University.
Dr. Carmenita Higginbotham is Associate Professor and Chair of the McIntire Department of Art at the University of Virginia.
David R. Modler is an associate professor of Art Education in the Department of Contemporary Art at Shepherd University in Shepherdstown, West Virginia.
Sam Peck currently works and studies at the University of Minnesota as a PhD student, resident artist, art educator, and researcher.
Maggie Guggenheimer is Director of External Relations for Virginia Humanities (University of Virginia).
Ellen Oh is Director of Programs in the Office of the Vice President for the Arts at Stanford University.
Alan Crockett is professor emeritus at Ohio State University.
Alan Crockett, Jr., is director at Klamath/Siskiyou Art Center, and an instructor at College of the Siskiyous.
Dr. Anja Foerschner is a curator, scholar, and professor at the Node Center for Curatorial Studies in Berlin.
Marta Jovanovic is an artist and founder of PerformanceHUB in Belgrade.
Ashley Gardini and Cheyanne Cortez are both adjunct instructors at several community colleges in northern California.
Mitchell Blessing is an assistant professor in the Department of Technology, Art, and Design at Bemedji State University.
Kristi Oliver is an assistant professor of art education at the University of Massachussetts - Dartmouth.
Jason Grunebaum is a lecturer in Hindi in the Department of South Asian Languages and Civilizations at the University of Chicago.
Dr. Sarita Heer is an instructor of Art History in the Fine and Performing Arts Department at Loyola University Chicago.
This week, Christian Benefiel and Meg Mitchell ask: "Do we owe it to our students to teach practical skills?"
Christian Benefiel is an assistant professor of Art - Sculpture at Shepherd University in Shepherdstown, West Virginia.
Meg Mitchell is an assistant professor of Art at University of Wisconsin–Madison.
Monica Zandi is a writer, educator, and graduate art student at Hunter College.
Stephanie Cortazzo is a multimedia artist who recently had a show entitled "Cosmic Crisis" and is in the Brooklyn Collage Collective (http://www.brooklyncollagecollective.com/).
Rose Liljenquist is an Open Educational Resources (OER) librarian at Gerald Sherratt Library, Southern Utah University. Anne Diekema is also a librarian at Gerald Sherratt Library and an assistant professor at Southern Utah University.
Emil Robinson and Squeak Carnwath discuss trust and voice in the studio, and how they approach teaching painting.
Emil Robinson is Assistant Professor in the School of Design at the University of Cincinnati.
Squeak Carnwath is an artist who maintains a studio in Oakland, California, and is a Professor Emerita from UC Berkeley.
Rachel Clarke is professor of New Media Art at California State University, Sacramento. Her work intertwines themes of nature, culture, and technology; combining physical and virtual modes of making.
Peter Williams is a new media artist specializing in interactive installation, and an assistant professor at California State University, Sacramento.
Dr. Barbara Bergstrom is an assistant professor of art education at Bowling Green State University. Dr. Darden Bradshaw is an assistant professor of art education at the University of Dayton.
Kirk Maynard is a mixed media artist born in Brooklyn, New York in 1993. He received his BS in Visual Arts Education from Andrews University in 2014 and is currently an MFA student at New Jersey City University. A second generation Guyanese-American, Maynard's work focuses on the political undercurrents of culture and identity in America.
Alexandra M. Thomas is a PhD student at Yale for History of Art and African American Studies with a certificate in Women’s, Gender & Sexuality Studies. Her current research interests include global modern and contemporary art, Black atlantic visual culture, African art, queer theory, performance studies, and Black feminist thought.
Chelsea Farrar is Curator of Community Engagement at the University of Arizona Museum of Art. Heidi Herboldsheimer has been teaching middle school in Arizona for seven years.
Red for Ed is a grassroots movement started by parents and teachers as a way to stand up for public education.
Denise Burge is an instructor of Drawing and Animation at the University of Cincinnati. Lisa Siders is a fiber and installation artist living on Whidbey Island, Washington. Jenny Ustick is the Interim Director of the Masters of Fine Arts Program, Foundations Coordinator, and Instructor of Drawing at the University of Cincinnati.
Sherry Muyuan He is an assistant professor of Graphic Design at the University of South Dakota. She is also an interdisciplinary designer engaging in the community with food-themed activities.
Jonathan Aller is an adjunct faculty member at Minneapolis College of Art and Design, and contemporary portraiture artist exploring community and identity in the physical and digital realm.
A Mississippi native, Jennifer Drinkwater is an assistant professor with a joint appointment between the department of art and visual culture at Iowa State University extension and outreach.
Karen Gergely is a West Virginia native and an assistant professor of Art at Graceland University in Lamoni, Iowa.
Sissel Tolaas is an artist and founder of the SMELL RE_searchLab in Berlin. Yelena McLane is Assistant Professor of Interior Architecture & Design, Florida State University. Meredith Lynn is Assistant Curator & Director of Galleries, Florida State University.
Elaine Bezold (Stephen F. Austin State University) is a photographer and educator living in Dover, New Hampshire. She makes work about human-animal interactions, rebirth, loss, and instinct.
Sidney Stretz (University of North Carolina Greensboro) is an artist and educator living and working in Greensboro, North Carolina. She makes work about everyday life and its challenges, strange social situations, and failure.
Natasha Hovey is currently an assistant professor at Texas A&M International University in Laredo, Texas, where she teaches: Ceramics 1, Intermediate and Advanced Ceramics, Sculpture 1, Intermediate and Advanced Sculpture, and Practicum Course for Seniors. She never thought she would miss it, but she longs for the Midwest's subzero temps and feet of snow.
Steve Hilton is a professor of art at the Lamar D. Fain College of Fine Arts at Midwestern State University in Wichita Falls, Texas, teaching both Ceramics and Art Education. He just found out that the current MSU ceramics resident has been offered a full-time position, which means the MSU residency program is 6 for 6 in placing residents.
Paul Catanese is an associate professor at Columbia College Chicago where he directs the graduate program for the Art and Art History Department; he’s been known to fly kites, launch rockets, pilot drones, and lately a blimp as part of his art practice.
Greg Pond is professor of art at Sewanee: The University of the South in Tennessee. Originally from Portland, Oregon, Pond is one of the founder's of Nashville's Fugitive Projects and a sculptor who incorporates sound, video, and digital media into his practice and also makes documentaries about social justice issues in inner city Kingston, Jamaica.
Elizabeth Guffey, Matt Ferranto, and Rebecca Mushtare discuss "Bringing Access to Design Practice: Teaching Inclusion in the 21st Century."
Elizabeth Guffey is Professor of Art & Design History, State University of New York at Purchase.
Matt Ferranto is Associate Professor of Design, Westchester Community College.
Rebecca Mushtare is Associate Professor of Graphic Design, State University of New York at Oswego.
Sarah Berkeley is an artist who works across media questioning cultural norms such as the 9:00 to 5:00 work day, the office environment, indoor living, gender stereotypes, and the voluntary sharing of personal data.
Steve Snell is an assistant professor in the Foundation Department at the Kansas City Art Institute whose work is inspired by American history, mythology, and the image (and experience) of adventure.
Martha Hollander is a professor of art history at Hofstra University. Tyler Rockey is an adjunct professor of art history at Neumann University.
Janis Chakars is associate professor of communication and digital media, Neumann University. Martha Lucy is deputy director for research, interpretation and education at the Barnes Foundation.
Amy K. Hamlin is Associate Professor of Art History at St. Catherine University. Karen J. Leader is Associate Professor of Art History at Florida Atlantic University. They are the co-founders of Art History That, and are co-authoring the book Art History That: Initiatives for the Future of a Discipline. https://sites.google.com/site/arthistorythat/
Elaine Grogan Luttrull outlines five basics steps to help individual artists with managing their finances. Feel free to download and use the example budget as you listen to the podcast: http://www.collegeart.org/pdf/ExampleBudgetforArtists.pdf
Elaine Grogan Luttrull is a certified public accountant and the founding owner of Minerva Financial Arts, a company devoted to improving financial literacy among artists and arts organizations through tax services, budgeting support, business planning, and education. She teaches at Columbus College of Art and Design in Columbus, Ohio.
This podcast explores various issues artists may consider when pondering and operating within administrative roles, including how administrative assignments can both borrow from and complement one’s studio activity.
Thomas Berding is associate professor of studio art at Michigan State University in East Lansing, where he is currently in his eighth year as chair of the Department of Art, Art History, and Design. A practicing artist, Berding has exhibited his paintings widely and been recognized with awards from the National Endowment for the Arts and the Pollock-Krasner Foundation.
This podcast offers a condensed set of mentorship strategies that will help arts professionals, especially those in academe, to become more effective and confident advocates for their students and colleagues, as well as for the practices and disciplines that they represent.
Amy Broderick uses the processes of drawing and paper construction to explore the methods we humans use to locate ourselves relative to our physical and information environments. She is associate professor of drawing and painting at Florida Atlantic University in Fort Lauderdale.
A traveling exhibition is an excellent way to get more out of your promotional efforts. Based on her experience as an artist and curator, Reni Gower offers a six-point checklist for taking your show on the road.
Reni Gower is a painter, curator, and professor in the Painting and Printmaking Department at Virginia Commonwealth University in Richmond, where she teaches painting, drawing, and professional practices. Her current curatorial project is called Papercuts.
Many working artists today define a creative path by not just limiting it to what gets made in a studio. Dahlia Elsayed discusses enlarging the scope of your practice and how your day job makes you a more expansive artist.
Dahlia Elsayed is a visual artist and assistant professor of humanities at LaGuardia Community College, City University of New York. Her work is exhibited widely and was the subject of recent solo shows at Aljira, a Center for Contemporary Art, in Newark, New Jersey, and at the 12th International Cairo Biennale in Egypt (both 2010–11).
Michael Aurbach provides practical tips and reminders to visual artists seeking jobs in higher education. This podcast can be followed by a second clip, “Researching the Job,” below.
Michael Aurbach is a sculptor, professor of art at Vanderbilt University in Nashville, Tennessee, and former president of the CAA Board of Directors. The Wichita Art Museum in Kansas hosted a recent exhibition, The Secrecy Series: Selected Works by Michael Aurbach, in 2010.
In a second podcast on the academic job search, Michael Aurbach offers helpful information on how to investigate institutions and learn more about their context.
Michael Aurbach is a sculptor, professor of art at Vanderbilt University in Nashville, Tennessee, and former president of the CAA Board of Directors. The Wichita Art Museum in Kansas hosted a recent exhibition, The Secrecy Series: Selected Works by Michael Aurbach, in 2010.
Your artist statement represents a vital line of communication between you and the rest of the world. Jackie Battenfield offers tips to help you write a concise and insightful statement about your work.
Jackie Battenfield is a painter, printmaker, and the author of The Artist’s Guide: How to Make a Living Doing What You Love (Philadelphia: Da Capo, 2009). She teaches professional practices in the School of the Arts at Columbia University in New York and for the Creative Capital Foundation.
Melissa Potter discusses the art of researching and writing successful grants to fund your art practice.
Melissa Potter is a multimedia artist and assistant professor in the Interdisciplinary Arts Department at Columbia College Chicago in Illinois. Her most recent solo exhibition was held at Zvono Gallery in Belgrade, Serbia, in 2010.
Amber Hawk Swanson outlines the necessary steps for artists to successfully market themselves and their work in a competitive environment. She includes excerpts from four interviews with artists who market themselves successfully: Sean Fader, Dorothy (Dotty) Fitzgerald, Leslie Parke, and Jules Rosskam.
Amber Hawk Swanson is a Brooklyn-based video and performance artist and a consultant for professional development and grant writing. Formerly a program officer at the New York Foundation for the Arts, she now works one-on-one with individual artists through Hawk Supporting Artists. Hawk Swanson’s work is included in the permanent collection of the Museum of Contemporary Photography in Chicago.
Kelly Murdoch-Kitt is an assistant professor at University of Michigan's Stamps School of Art and Design.
Denielle Emans is an assistant professor at Virginia Commonwealth University's campus in Qatar
Eileen MacAvery Kane is a full-time instructor in the Art Dept. at Rockland Community College in Suffern, NY as well as the author of "Ethics: A Graphic Designer's Field Guide" and blog ethicsingraphicdesign.org Herman Botes serves as Head of the Department of Visual Communication at Tshwane University of Technology (TUT) in Pretoria, South Africa. He has a forthcoming co-authored book “Educating Citizen Designers in South Africa,” due out in 2018.
Paul Soulellis is an assistant professor at the Rhode Island School of Design, where he teaches experimental publishing, typography, and graphic design. He is the founder of Library of the Printed Web, which was recently acquired by MoMA Library. http://printedweb.org/ Joe Potts is a graphic designer, educator, artist, and writer working with found and synthesized images, sound, typography, and language. He teaches typography and graphic design at Otis College of Art and Design and the University of Southern California, and is the founding director of the Southland Institute (for critical, durational, and typographic post-studio practices). http://southland.institute/
Kevin Curry is an Associate Teaching Professor at Florida State University where he teaches digital foundations and sculpture. He's currently in London teaching a photo for non-majors class. Christopher McNulty is Professor of Art in the Department of Art & Art History at Auburn University in Alabama and teaches sculpture to undergraduates at all levels. He is a dual citizen of France and the United States.
Justin Lincoln is Associate Professor in New Genres and Digital Art at Whitman College in Walla Walla Washington where he is bringing the Indie/DIY ethos to get his students involved with new media. Amy Alexander is an Associate Professor in Visual Arts at UC San Diego. Her teaching bounces around the overlaps of tech art, public art, expanded cinema, and performance and is sprinkled with occasional bursts of unabashed geekery.
Robert Howsare is an Assistant Professor of Art teaching printmaking and foundation courses at West Virginia Wesleyan College. Zach Fitchner is a printmaking artist and Assistant Professor of Art at West Virginia State University.
Meg Mitchell is an Associate Professor of Digital Media/Foundations at University of Wisconsin-Madison teaching courses on digital foundations, interactive art, code based art and digital fabrication. Joelle Dietrick is a MacDowell fellow and Fulbright scholar who makes large temporary paintings, animations and games about global trade and human logistics. She's an Assistant Professor of Art and Digital Studies at Davidson College outside of Charlotte, North Carolina.
Rebecca Easby is program chair of Fine Arts and Associate Professor of Art History at Trinity Washington University in Washington DC. Colleen Denney is Professor of Art History/Gender and Women’s Studies, in the Gender and Women’s Studies Program at the University of Wyoming.
Elizabeth Moran is an artist and lecturer in the Art, Media, and Technology program at Parsons School of Design. Her work investigates how varying belief systems that inform our understanding of recorded evidence. Erica Molesworth is an artist and lecturer in photography at California College of the Arts and at San Francisco Art Institute; she is interested in the expanded field of photography and its intersection with moving images and digital media.
Sarah G. Sharp is an Assistant Professor at University of Maryland, Baltimore County where she coordinates the foundations program and teaches graduate courses. She is also regular faculty in the Art Practice MFA Program at SVA in New York where she teaches time-based media courses. Kara Hearn is the Assistant Chair of Film and Video at Pratt Institute. She is a video artist, who often performs in her work. For better or for worse, she is probably best known for a video from 2005 in which I reenact a scene from E.T. alone in my apartment.
Amanda (Mandy) Horton is an associate professor at the University of Central Oklahoma whose specialty is in design history, she has developed multiple courses on this subject, including an award-winning History of Graphic Design online course and is director of the new Design History minor at UCO. Breuna Baine is an Associate Professor of graphic design at Auburn University Montgomery.
Jolene Powell is McCoy Professor of Art and Director of Gallery 310 at Marietta College teaching courses in all levels studio art in drawing, painting, printmaking, and occasional special topics classes. Her favorite learning opportunities happen when she can take students to actual artwork and add an experiential components to her classes. Richard Danford is Vice-President for Student Life at Marietta College, where he previously served as associate professor of Spanish and Portuguese. He spent two years living in Madrid, where he taught English and pursued doctoral coursework in Spanish linguistics. He has led multiple short-term study abroad courses to both Spain and Brazil, focusing on everything from language to civilization and culture to human geography to the Masters of Spanish Painting.
Kelly Boehmer lives in Pooler, GA and teaches as a Lecturer at Georgia Southern University. She makes large-scale, soft sculpture installations (often depicting unicorns) and is a member of the performance art band, Glitter Chariot. Matt Toole lives in Savannah, GA and was a professor at the Savannah College of Art and Design from 2006 to 2016. He is a sculptor who works with a variety of materials and processes including performance works focusing on rituals associated with making.
Ray Yeager is an Associate Professor of Art at the University of Charleston in Charleston, West Virginia. He teaches traditional art courses such as Drawing, Painting, Design, and several innovative courses that infuse art-based practices and creativity into disciplines such as Business and the STEM subjects. Currently, Katherine’s weeks are filled with teaching Art Appreciation, Art History I & II, and 2D Design at various Columbia College campuses as an adjunct professor and on the weekends she enjoys exploring new places by taking spontaneous road trips.
Kirsten Olds is an Associate Professor of Art History at University of Tulsa teaching courses on art and visual culture from the late 18th century to the present. Her favorite assignment was curating the exhibition Dennis Oppenheim: Architecture/Not Architecture, Landscape/Not Landscape with students in my Art of the 1960s and ‘70s course. Heather Vinson is a Visiting Professor of Art History at Kalamazoo College, where she teaches courses on nineteenth and twentieth century art, as well as contemporary art and critical theory. Until this year at Kalamazoo College, I had never attended or taught at a school on the quarter system. It's finally June and we're finally done!!
Jen Proctor is a filmmaker and Associate Professor in Journalism and Screen Studies at the University of Michigan-Dearborn, where she teaches courses in video production film media studies. Her pedagogical research focuses on strategies of inclusion in media production classrooms. Jonathan Rattner is a filmmaker and Assistant Professor in the Cinema & Media Arts Program and the Art Department at Vanderbilt University. In addition to teaching the introductory and senior capstone film and video production courses, he currently teaches 16mm Film Production, Documentary, and The Cinematic Essay.
Alessandra is a graduate of the Maryland Institute College of Art and Indiana University, and this fall is beginning her 7th year of teaching drawing and painting at her new job at Winona State University. Danielle Head received her BA in Film, Photography and Video from Hampshire College in 2007, and her MFA in Photography from Indiana University in 2011. She is currently Assistant Professor of Photography at Washburn University in Topeka, Kansas. Her teaching focuses on bridging together analog and digital media in the photography classroom and emphasizes photography as a conceptual and fine art medium.
Jonathan Johnson is an Associate Professor of Photography and Integrated Digital Media at Otterbein University in Ohio and as worked in public affairs and the music industry prior to academia.
Takeshi Moro is an Assistant Professor at Santa Clara University, teaching digital and analog photography. Interesting fact: he is a former corporate finance banker and sushi chef.
Sarah Krupp is an Assistant Professor of Sculpture at Wayne State College in Wayne, Nebraska. She teaches 2D & 3D Design, all levels of Sculpture, and sometimes Art Appreciation. Sarah can generally be found coated in a mixture of wood, plaster and metal dust.
Since 2007, Meghan has been teaching a combination of foundations and printmaking courses; currently at Wayne State College, one of Meghan's biggest challenges is removing all the cat hair before discussing craftsmanship with her students.
Andrew Casto is Head of Ceramics at The University of Iowa, where he teaches graduate and advanced undergraduate level Ceramics courses. Casto has participated in over sixty exhibitions in nine countries, and is a member of the University of Iowa Public Digital Arts Faculty Cluster initiative. Bobby Tso, is an Assistant Professor of Fine Art at Northwest Missouri State University. He teaches all level of ceramics classes, and still is not getting over the culture shock he had when he moved from Hong Kong, where there are 8 million people, to a Northern Iowa town of 300.
Jessie Van der Laan is an instructor of art at Walters State Community College, in Morristown, TN, teaching Art Appreciation (in person and online), drawing, and printmaking. She is a practicing artist, mom, and is currently expecting her 2nd baby. Melissa Haviland is an artist and professor living in Athens, OH where she teaches printmaking, papermaking, and online art appreciation course.
Molly Sherman is an Assistant Professor in Communication Design at Texas State University. Her practice operates within the overlapping fields of graphic design and socially-engaged art. She is based in San Antonio, Texas. Kate Bingaman-Burt is an illustrator and educator. She lives in Portland, Oregon where she operates her studio and event space Outlet. Along with drawing for herself and other people, she is also an Associate Professor of Graphic Design at Portland State University.
Elizabeth "Libby" McFalls, Professor of Art and Foundations Coordinator at Columbus State University, uses storytelling as a central theme in her mixed media prints, which examine issues of loss and family, she also serves as an Associate VP of Programming of Integrative Teaching International. Rae Goodwin, Associate Professor in Art Studio at the University of Kentucky, works in an expanded studio practice that examines aspects of maternal ancestry as it influences the construction of identity, along with gender-based assumptions about freedom, the unknown and communication. Dr. Jane Jensen, Associate Professor at the University of Kentucky, holds a Ph.D. in Anthropology and Higher Education from Indiana University, Bloomington, and conducts research on post-secondary educational aspirations and impacts.
Chris is an associate professor of art during the school year, and art appreciation instructor during the summer at Tarleton State University in Texas. When Chris was in grad school, he and Charles were often thought to be brothers due to our doppeganger looks, so much so that their department head never could get our names straight. Charles Siegfried is an adjunct professor at Clackamas Community College & Portland State University where he teaches Art Appreciation online, Basic Design and all levels of Drawing Courses. Fun fact: When he graduated with his MFA, he saved/took the garbage from his grad studio and made some artwork out of it.
Joe Lupo received his BFA from Bradley University and MFA from the University of Georgia. He's now an Associate Professor and Graduate Coordinator at West Virginia University. Carmon was the Director of the Lamar Dod School of Art at the University of Georgia when he was a graduate student. Carmon Colangelo is Canadian and he started his career in the same printmaking position as Joe at WVU in 1984. He is currently the dean of the Sam Fox School of Design and Visual Arts at Washington University at St. Louis.
Jason Bernagozzi is an Assistant Professor of Art in Electronic Arts at Colorado State University starting this fall. He is also the co-founder of the experimental media arts residency program Signal Culture. Victoria Bradbury is a new media artist, a researcher @CRUMB and Assistant Professor of New Media at University of North Carolina Asheville.
Sophia Brueckner is an assistant professor the University of Michigan at the Stamps School of Art & Design where her ongoing goal is to combine design and engineering with the perspective of an artist to create new technologies in the service of mental well-being. Byron Rich was born in Calgary Alberta, and currently serves as assistant professor of Art at Allegheny College in Pennsylvania.
Elliott King is an Assistant Professor of Art History at Washington and Lee University, where he teaches modern and contemporary American and European art. His research focuses on Salvador Dali's work after the Second World War. Abigail Susik is an Associate Professor of Art History at Willamette University in Oregon, where she teaches Modern and Contemporary Art History in Europe and America. She has a radio show called "Studio Visit" on KFFP-LP 90.3 FM Freeform Portland, and local artists join her in the station for every episode.
Valerie Powell is an Assistant Professor of Art & the Foundations Coordinator at Sam Houston State University, she serves as the President of FATE [Foundations in art theory and education] & also likes to make art using Shrinky Dinks. Jeffie Brewer is an Assistant Professor of Sculpture at Stephen F. Austin State University, and he loves cheese but is lactose intolerant.