Programs
CAA Podcasts
CAA provides a series of podcasts devoted to professional development topics. The podcasts are produced by CAA committees and staff and are a resource for professionals across the spectrum in the visual arts.
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.
Judith SteinArtistic Budgeting
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.
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.
The Artist as Administrator
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.
The Importance of Mentorship and Advocacy
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.
Taking Your Show on the Road
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.
Hybrid Careers: The Work of Balancing Your Work
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).
How to Begin a Job Search
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.
Researching the Job
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.
Developing Your Artist Statement
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.
Grant Writing, Research, Finding the Money
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.
Marketing and Strategies for Artists to Market Themselves
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.
Each presenter retains the copyright of his or her podcast. You may download the audio for personal use only. Commercial or unauthorized distribution is prohibited; you may not alter, transform, or build on the podcasts.
1. Teaching Color Theory // Lauren Whearty // Eric Hibit
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.
2. Racism Untaught // Lisa Elzey Mercer // Terresa Moses // Cheryl Miller
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.
3. Professional Practices Pedagogy // Steve Rossi // Lauren Whearty // Emma Wilcox
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.
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.
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 Battel Stoeckel 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.
Emma Wilcox is an artist and writer. As a photographer working with view camera and helicopter, she is concerned with environmental justice, land usage, eminent domain, and the role of individual memory in the creation of local history. Emma Wilcox is interested in the various ways that land is marked, be it chemically, visually or textually. Taken primarily within a 5-mile radius of Newark, NJ, her haunting, enigmatic images suggest multiple narratives, hinting at crime, destruction, and violence. Artist and critic Tim Maul writes: “progress” has rendered these landscapes ancient, and Wilcox is both a cartographer and guerrilla, staging interventions embedded within photographs that like maps themselves, never succeed as precise conveyors of “truth”. The images bear no obvious time stamp; they serve as a subjective document and challenge the notion of evidence. Though often dark, both visually and conceptually, the work has an underlying note of resilience and perseverance. She is co-founder, with Evonne M. Davis, of alternative space Gallery Aferro. Over the past two decades, she has worked to develop hundreds of exhibitions, residencies, education programs, public art initiatives, as well as numerous publications. Many of these efforts have been highly collaborative in nature, involving other nonprofits and collectives. She has been interviewed or reviewed in Art in America, Women in Photography, the New Yorker, American Suburb X, Lolife and Black and White magazines, and has written for Bomb magazine and Roxanne Gay's Emerging Writers Essay series amongst other contexts. A current project is writing about the archives of Newark’s ark-builder Kea Tawana.
4. Benefits and Challenges of Teaching Studio Art to Non-Majors // Susan Altman // Erika Mahr // Steve Rossi
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.
5. Part I: How innovative approaches to assessment help to decolonize the arts classroom // Anne Drew Potter // Brendan Lee Satish Tang // Tasha Lewis
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.
6. Part II: How innovative approaches to assessment help to decolonize the arts classroom // Anne Drew Potter // Brendan Lee Satish Tang // Tasha Lewis
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.
7. Learning from Pedagogical Art // Noni Brynjolson // Izabel Galliera // Jessica Santone
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.
8. The Museum Worker // Lisa Abia-Smith // Erica Hubbard // Nenette Luarca-Shoaf // Erica Warren
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.
9. Design for Healing: Considering Form, Light, and Space from a Healthcare Perspective
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.
Related Links
10. Getting Outside: Site Responsive Practices Expanding Studio Art Pedagogy
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.
Related Links
Alison McNulty | Anne Street Gallery
Steve Rossi | Class in Session: Sculpture and the Environment
11. Interdisciplinary Pedagogy: Place, Partnership, and Practicalities
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.
1. Cara Jordan // Robin Veder // Preparing Your Journal Article for Submission
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: americanart.si.edu/research/toward…uity-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.
2. Peter Hyland // Tyson Lewis // Tamryn McDermott // Studious Drift
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 (onstead.cvad.unt.edu/studio-d) and the Education as Experimentation 1 video (youtu.be/llUj_Qyd5Zo). Studious Drift can be accessed digitally here: 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.
3. This Thing We Call Art: Artist Interview with Gordon Hall
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.
4. This Thing We Call Art: Artist Interview with Nicole Morris
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.
5. Interdisciplinary Studio Art Pedagogy // Jeanne Brasille, Ann LePore
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.
6. Social Practice and Interdisciplinary Collaboration // Michael Asbill, Amanda Heidel, Steve Rossi
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.
7. Past the Door: A Podcast on Community, Accessibility, and Engagement in Graduate School
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.
8. Pedagogical Spaces for Women's 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.
9. Asset Framing: Engaging Students in the Art History Classroom
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.”
1. A Broader Sense of Community
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.
2. Measuring Artists’ Challenges and Resilience in the First Year of COVID-19
Join Dr. Rachel Skaggs in conversation with Erin J. Hoppe and Molly Jo Burke about their ongoing collaborative research into the impact of the COVID-19 pandemic on artists. They discuss their research findings from interviews with 66 US-based artists and expand the discussion to talking about the value of research experiences for graduate students in the arts, the benefits of interdisciplinary teams, and the experience of conducting research during the pandemic. Initial findings from their research is available on the Strategic National Arts Alumni Project (SNAAP) website at snaaparts.org
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. https://www.rachelskaggs.me/
Erin J. Hoppe is a lifelong learner, maker, educator. She is a PhD Student at The Ohio State University, researching embodiment in arts administration and cultural policy. She is Chair of Columbus Arts Marketing Association, hosts the podcast, Arts Admins, Who?, and was executive director at VSA Ohio for 11+ years. https://u.osu.edu/hoppe.19/
Molly Jo Burke is an artist, educator, and PhD student. Burke’s academic research focuses on artists and their careers. She has taught at The Ohio State University, Columbus College of Art & Design, and Corning Museum of Glass. Her artwork has been featured at Toledo Museum of Art, Columbus Museum of Art, and Centre Pompidou in Paris, France. Website: https://mollyjburke.com/ Instagram: @mollyjoburke
3. Experiences of Contingent Faculty in Teaching Studio Art
Topics covered include: working through the pandemic, limitations for students and teachers posed by the current heavy reliance on contingent labor, shared experiences of resilience, and specific advantages and disadvantages of working simultaneously within multiple higher ed. institutions.
Courtney Puckett is currently a Hudson Valley artist and educator. Her human-scale, found object and repurposed textile assemblages integrate sculpture and craft practices. She currently teaches at Parsons School of Design and the Fashion Institute of Technology. In 2019, she was a Faculty Artist at Haystack Mountain School of Crafts. She runs the backyard art space White Rock Center for the Arts and is currently an Artist-in-Residence in Community Research with River Valley Arts Collective.
Alexis Granwell is a Philadelphia-based artist. In her sculptures and works on paper, she investigates the potential of pulp to record touch and create intimacy, exploring the psychological and bodily characteristics of our built and natural environments. Granwell is a Professor of Sculpture, Drawing, and Graduate Studies. She currently teaches at The University of Pennsylvania and the Pennsylvania Academy of the Fine Arts. From 2014-2019, she was co-director of Tiger Strikes Asteroid Philadelphia; she has been a member since its founding in 2009.
4. Using Wikipedia in the Art History Classroom
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).
5. Interdisciplinary Foundational Studio Art Pedagogy
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.
6. Being Together in Radical Ways
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.
7. Podcasting in the Classroom
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.
8. 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): 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).
9. Teaching Arts Entrepreneurship
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.
10. 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.