Teaching
Below is a selection of original courses I have developed and taught in a variety of institutional contexts.
Syllabi available upon request.
Black Mountain Experimentalism
Black Mountain College was an experimental educational institution that exerted a profound influence on American art and culture. Founded in 1933 in the midst of the Great Depression, it perpetually suffered from scarce resources and low enrollments. In order to survive, the community adopted a democratic ethos in which faculty and students alike were responsible for maintaining day-to-day operations, from the construction and maintenance of the grounds to ... (read more)
Waiting to Be Seen: Voyeurism, Surveillance, Cinema
Big Brother is watching, but so are we. From CCTV to reality TV, Google Earth to Facebook, surveillance and self-surveillance are increasingly pervasive features of everyday life that structures how we communicate, consume, travel, socialize, learn, and perhaps most importantly, view the world, and ourselves. This course will examine how surveillance, voyeurism, and scopophilia, or “the love of looking,” operate across a wide range of works in film and media, ... (read more.)
Sunshine/Noir: Minor Histories of California Art [Travel Seminar]
What would the history of American art look like if we turned west instead of east, and focused on artists living in Los Angeles and San Francisco instead of New York? This seminar asks students to examine art since WWII as it developed under the Southern California sun and the Northern California fog. Moving away from a traditional auteur-driven narrative focused on individual artists, curators, critics, or works, this seminar will also focus attention on pivotal exhibitions, events, performances, and catalytic encounters that happened on the peripheries of, and often, in opposition to, traditional institutional contexts like the gallery and museum.
Utilizing the immense archive assembled by the Getty’s Pacific Standard Time initiative as both a foundation and a point of departure, this seminar aims to evaluate and question the relevance of established taxonomies, categories, and criteria emerging from New York-centric narratives—for instance, the modernist preoccupation with medium-specificity—for the study of West Coast art. Topics covered will include: Bay Area figurative painting, California assemblage; craft hierarchies in fine arts production; Finish Fetish and Light and Space; art & technology; art & political activism; the role of art schools and collectives; experimental film, video and music; and the emergence of post-studio practice.… (read more)
TEACHING EXPERIENCE
University of Idaho, Program in Art & Design, College of Art & Architecture
Assistant Professor of Art History & Visual Culture, 2018-present
ART 205: Ways of Seeing – Introduction to Visual Culture
ART 302: Modern Art: Art on the Front Lines, 1800-1950
ART 303: Systems of Contemporary Art
ART 495: Critical Arts Writing Seminar
ART 407: New Media
ART 409: Peeping Toms and Big Brothers: Visual Cultures of Surveillance
ART 409: Art & Visual Culture of the Anthropocene
ART 507: Graduate Curatorial Seminar
ART 508: Readings in Art & Design: Black Mountain Experimentalism
University of Colorado, Boulder, Dept. of Art & Art History
Visiting Assistant Professor and Scholar-in-Residence, 2017-18
Graduate Seminar: Black Mountain Experimentalism
Graduate Seminar: Waiting to Be Seen: Voyeurism, Surveillance, Cinema
Columbia University, Dept. of Art History & Archaeology
Mellon Postdoctoral Teaching Fellow and Lecturer, 2015-17
Core Curriculum: Art Humanities: Masterpieces of Western Art (3 sections)
Travel Seminar: Sunshine/Noir: Minor Histories of California Art
Franklin & Marshall College, Dept. of Theatre, Dance and Film
Adjunct Assistant Professor of Film & Media Studies, fall 2012
Seminar: Peeping Toms and Big Brothers: Surveillance, Voyeurism, and Cinema
Bryn Mawr College, Program in Film Studies
Teaching Assistant, 2010-2011
Intro: Identification in the Cinema
Survey: History of Narrative Cinema, 1945-Present
Survey: History of Silent Film: From the U.S. to Soviet Russia and Beyond