I believe, like Joseph Beuys, in an “oscillating system of teaching and learning”. “It is after all”, Beuys says, “not always the case that the student only learns from his teacher. The teacher can often learn a great deal from his student.

Courses taught at CU:

Fall Semester 2015:

ARTH 6939-002: Graduate Seminar: The Role of the Curator in Constructing Art History

ARTH 4909-002: Capstone Seminar: Contemporary Art from the Middle East

Spring 2015: on parental leave

Fall Semester 2014:

ARTH 3539-001: Contemporary Art Survey

ARTH 6939-002: Graduate Seminar: In Response to War. Strategies of Contemporary Artists

Spring Semester 2014:

ARTH 4929-002: Formalisms and Minimalisms

ARTH 4919: Contemporary Art in the Middle East (Me.Na.Sa), Capstone Seminar

Fall Semester 2013:

ARTH 6939-003: Graduate Seminar
The Role of Contemporary Exhibitions in the Construction of Art History

ARTH 3539-001: Contemporary Art Survey

Spring Semester 2013:

ARTH 4819: Art and War

ARTH 4929/5929: Installation Art

Spring Semester 2012:

ARTH 4919: Art and War

ARTH 3929: Contemporary Art Survey

Fall Semester 2011:

ARTH 6929: Critical Issues in Contemporary Exhibitions

ARTH 4929: Formalisms and Minimalisms

Spring Semester 2011:

ARTH 4929: Installation Art

ARTH 6939: War in Contemporary Art

On Teaching Leave in the Fall Semester 2010

Spring Semester 2010:

ARTH 4929-002: Formalisms and Minimalisms

ARTH 3929-001: Contemporary Art Survey

Fall Semester 2009:

ARTH 4929-003 Installation Art

ARTH 5929-001 The Institution of Exhibition

Spring semester 2009:

ARTH 4919: War in Contemporary Art (Seminar)

ARTH 4929: Joseph Beuys and and contemporary socially committed art

Fall Semester 2008:

ARTH 4539: Lecture Contemporary Art Survey

ARTH 6929-004: Graduate Seminar Contemporary Art

Masters Theses / Main advisor:

Katherine Marie Morrison, Beyond Twelfth Street: Visual narratives and realities in Detroit, Michigan, 2014

Amanda Renee Saracho, Identity and authenticity: A study of the contemporary Native American experience through the works of Fritz Scholder and James Luna, 2014

Mack Sjogren, The Spectrum of Response: Postdemocratic Literacy at Thomas Hirschhorn’s “Gramsci Monument,” 2014

Stefani Schulte, “The Surrealistic Art of Phyllis Hutchinson Montrose: Modern Art, Minor History and Gender in the American West,” 2013

Lindsey O’Connor, “Close Quarters: Creative Re-appropriations of Space in Rio de Janeiro,” 2012

Lori Goldstein, “Counteractions: Resisting and Embracing Globalization in Contemporary Public Art,” 2011

Ariel Hagan, “Public Duty and Private Pursuits: Reconciling 21st Century Relationships between Art Museums and Collectors,” 2011

Tricia Robson, “From MERZ to Metabolism: Viewer Response in the Artwork of Kurt Schwitters and Jonathan Meese,” 2010

Lindsey Mikash, “Nature, culture, spirituality: Land Art as an embodiment of sacred space,” 2009

Honors Theses / Main advisor:

Megan Elizabeth Miller, Momentary Memorials: Political Posters of the Lebanese Civil War and Hezbollah, 2014

Sam Lane, To Exalt a Collection: Redefining Spectacle Pedagogy in Contemporary Fashion, 2014

Alison Dernbach, “The Effect of Theosophy and Science on the Art and Theories of Vassily Kandinsky,” to be completed in spring 2012

Valerie Amend, ‘The Personification of Memory in the Artwork of Louise Bourgeois,” to be completed in spring 2012

Nicole Meyer, “Object(s) of Argument: Exhibition Rhetoric, Art Historical Narratives, and Artist Editions,” 2010

Tasia Kastanek, “Menacing Machines and Sublime Cities: Hedda Sterne and Abstract Expressionism,” 2011

Gwyndolyn Davis, When confronted with Death. Art that Forces Viewers to Face Their Mortality by Creating a Threatening Experience,” 2009

Mardee Goff, “Peggy Guggenheim. An American Gallerist,” 2008

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