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California State University Long Beach (Art History)
University of Southern Califonria (USC) (Master's)
Long Ridge Writer's Group (Graduate Coursework)
I am proud to be an art geek and I am not afraid to tell a joke. With experience writing both fiction and non-fiction, I understand the need to provide provocative yet easily digestible material that leaves the reader asking for more.
As a teacher, I strive to present complicated material in a manner that is organized, and easy to understand. I aspire to be an engaging teacher to art history majors, as well as, a diverse group of scholars.
I've had considerable practice researching, writing, and teaching. At California Design College, I taught both Art History and Contemporary Visual Culture to trade college students. As an undergraduate student, I taught Art to students grades K through five. As a reading tutor for the Pasadena Public Library, I've had the privilege of tutoring reading to illiterate adults.
I've studied Art History with special emphasis on Western Art and Art Theory. My qualifying research focused on sixteenth century Dutch Art, French Revolutionary Art and the iconoclasm that hinted at modes of thinking during those respective time periods. Also, I've studied Modern and Contemporary movements as well as Art Theory in some depth. My experience also includes a general understanding of Liberal Arts, including Anthropology, Literature, History, and Criticism. I am adequately fluent in French.
As a practiced writer, I can provide you with tools for polishing up essential writing skills. Long Ridge Writer's Group's courses "Breaking into Print" and "Shape, Write and Sell Your Novel" prepared me to write marketable non-fiction and fiction. Art Times magazine has offered to publish one of my articles. I firmly believe that good writing opens up fascinating doors.
Fine Arts Magazine has also published one of my articles. I am proud to be an art geek and I am not afraid to tell a joke. With experience writing both fiction and non-fiction, I understand the need to provide provocative yet easily digestible material that leaves the reader asking for more.
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As an undergrad at California State Long Beach, I studied upper division American History with Prof. Lazorwitz, a distinguished scholar of the Cold War. Professor Lazorwitz was an engaging lecturer who demanded a thorough proficiency of understanding of her students. Her impassioned lectures in combination with a myriad of lengthy reading assignments approaching American History from numerous points of view provided me with a solid understanding of American History. It includes: the Constitution, Reconstruction, World War I and II, The New Deal, The Progressive Movement, and so on. History continues to actively engage my interest to date.
As an undergraduate student at California State University Long Beach, I traveled through a series of anthropological topics on my journey towards a BFA in Art History. Here, I discovered that Art History and Anthropology share a contested interest in objects, often symbol rich, from "other" societies.
The object has often been appropriated by Western societies and labelled as "Art" without due consideration for the purpose that it served within the society that created it. In other words, "Art" status was artificially conferred upon the object because it conformed to Western notions of aesthetics. Art museums have perpetuated the illusion. They have further complicated the issues at stake by deciding which objects were of interest according to modern aesthetic guidelines and then displaying them with little or no reference to the context. Museums provided institutional backing to what was usually a falsehood. More often than not we have discovered that these items were made for other purposes.
Anthropologists have pointed to the cavalier manner in which the art community has treated these objects made for any number of reasons: sacred, profane, or otherwise. By placing them within the context of the cultures that produced them, Anthropology has provided Art History with an invaluable tool for unpacking myths that have been embedded in the discipline for centuries. Furthermore, they have pointed to the real consequences of appropriation within commercial culture by highlighting the manner in which "other" markets have learned to make goods, not for creative purposes, but rather to feed market appetites. False Western stereotypes have been reinforced as a result. Art History has realized with genuine dismay that creative activity was alive and well within these other cultures. Unfortunately "other" forms of creativity have been disregarded by Western audiences because they have not conformed to their own expectations.
If Art History and Anthropology have often locked horns, each discipline has learned from the other. Visual readings and comparisons have provided Anthropology with a tool for considering the object in yet another light for a fuller understanding. The art object viewed through the prism of Anthropology, for the purpose that it served its own people, has afforded Art History with a far richer understanding of the object of interest as well as the culture that produced it. The two disciplines, at best, have learned to cooperate in the interest of respecting other cultures.
I have a BFA and an MA in Art History with emphasis on Western Art and Art Theory. My qualifying graduate research focused on sixteenth century Dutch Art, French Revolutionary Art and the iconoclasm that hinted at modes of thinking during those respective time periods. Also, I've studied Modern and Contemporary movements in some depth.
As an undergrad at California State University Long Beach, I was introduced to a diversity of topics. The University's three track program familiarized me with Western Art, Eastern Art and Art Theory. Western Art at CSULB included provocative inquiries into art making from Antiquity to Contemporary culture. Eastern Art offered a fine survey of art objects from Asian cultures often for religious purposes. Art Theory was particularly rigorous navigating Historiography, Art Criticism, Anthropology as well as contemporary movements and canons ranging from Modernism, Post-Modernism, Deconstruction, Post-Colonialism and so on.
Art History is my primary passion. I stay current with contemporary modes of thinking, the art community and take particular pleasure in museum collections. I have visited museums both in North America and Europe, including Los Angeles, New York, Paris, London, Dublin, Florence and Venice.
As a teacher and as a student, Art Theory has provided me with an especially good slant for discussing and critically thinking about Art and Art History. As an undergraduate student at California State University, Long Beach, I followed a three track curriculum that included: Eastern Art, Western Art and Art Theory.
Art Theory became a special interest of mine. The heavy dose of Historiography, Anthropology, Criticism, and so on shaped my view of Art History. It revealed itself as a contemporary discipline of ideas. It was here that I was introduced to specific categories of thinking about Art. These points of view include: Formalism, Marxism, Contextualism, Deconstruction, Post-Colonialism and so on.
As a graduate student at the University of Southern California, I continued to consider my topics under the prism of Art Theory. Here, I spent considerable time researching the notion of "response." I considered it specifically in relation to the Netherlandish Iconoclasm of 1566, and post-Revolutionary France. Generally, I learned to consider the power of the image in a wide range of settings. I have had considerable experience researching and writing about this particular topic both as a grad student and as a freelance writer.
Additionally, I had the opportunity to research Picture Theory, and the critical notion of agency, in some depth while I was at USC.
In general terms, I've found that Art Theory serves to differentiate the art object from the non-art object. Quality becomes a central theme in this process asking whether the object meets the standard of high art. Formal, conceptual, and numerous other forms of criteria are called upon in considering whether the object meets this all-important threshold. The consensus of the art community, often in the discursive space, becomes key in defining "art."
At the same time, Art Theory provides a space for questioning our assumptions about art, the artist, and art history. It provides an important tool for unpacking myths related to each. At its best, it leads to a clearer, though sometimes brain-rattling, understanding of the topic under discussion.
The notion of "Art Theory" is not without falsehood. Past discussions of art technique, aesthetics, and so on, have fallen under this broader heading. In reality, the people who innovated such ideas did so for other reasons. They were never meant to serve modern notions of "theory."
It's necessary to recognize that Art Theory is not a cohesive discipline. It includes diverse, often complicated, points of view. Ideally, it is used as a tool for thinking critically about any number of art topics.
Importantly, it provides an avenue for research. It's many points of view provide a space for exploration, for studying a diverse range of material, often crossing into rich interdisciplinary areas of understanding that respect difference.
As a practiced writer, I can provide your learner with tools for polishing up essential writing skills. Long Ridge Writer's Group's courses: "Breaking into Print" as well as "Shape, Write and Sell Your Novel," prepared me to write both marketable non-fiction and fiction. "Art Times" magazine offered to publish one of my articles. I firmly believe that good writing opens fascinating doors and take pride in helping a learner sharpen his or her writing skills.