Teaching Philosophy

My teaching practice is guided by a firm belief in the power of stories. I remember the first time I heard about Giotto’s freehand drawing of a perfect circle and the impression it made upon me as an undergraduate art and English major. Now that, I thought, was quite an accomplishment! When I teach, I try to convey the same enthusiasm for the unfolding stories of art’s creation, its relationship to specific times and places, and the mythological, historical, or personal stories woven into paintings, sculptures, prints, photographs, and films, among other media. The darkness of the art history classroom and the soothing hum of projectors have always seemed to me to provide the perfect theater for the story of art, with a myriad of stunning images, quirky details, and creative experiments to define the terms of the stories.

When I teach, I frequently change my teaching mode. I move from lecture to conversation, from a dark room to a lit one, from group collaboration to individual presentations, and from the classroom to the museum or to other campus buildings. I find that my students are more responsive and think more critically when they are encouraged to be active participants in a dynamic, always-changing classroom.

I believe that communication and collaboration are key: I often have students write short response papers and share them with their peers for discussion before turning them in or presenting them. I work with my students to develop vocabulary and practice formal analysis skills, and I have them articulate their observations about art and visual culture with written assignments, examinations, quizzes, and active, kinesthetic learning. For example, I have my students mimic the contrapposto they see in Greek sculpture by standing in similar poses and discussing which poses are realistic, which are impossible, and why. I encourage students to consider the practical applications of art history’s unique skill set in their daily lives; in class, we might discuss how ancient models of patronage compare to those used by major corporations, or how architects use specific building strategies to direct a viewer’s movements, thoughts, and even emotions.

In my classes, I frequently use hands-on activities to help students actively understand the processes of making art. I alternate exams and written assignments with visual projects, so students can engage with the materials of art, express themselves creatively, and practice resolving the challenges posed by a specific visual style or artistic technique. I find that by encouraging students to link art history’s narratives with a firm knowledge of art-making, they retain more of the material, understand its connections to their own lives, and feel deeply connected to the images I discuss in my lectures.

These approaches to teaching provide students with practice articulating their ideas through spoken, written, and visual means. Ultimately, I believe that the art history classroom is a place that can teach students to engage with the world around them thoughtfully, critically, creatively, and with sensitivity. I see my work as part of a process of providing them a wide range of tools to tell their own stories long after they leave the classroom.

Teaching Experience

Post-Conquest Art of Latin America, Southwestern University, instructor.

Modern Latin American Art, Southwestern University, instructor.

Art History Survey: Renaissance to Modern Art, UT-Austin, instructor.

Art History Survey, Caves to Cathedrals, UT-Austin, teaching assistant.

Introduction to Visual Culture, UT-Austin, teaching assistant.

Introduction to the Visual Arts, UT-Austin, teaching assistant.

Introduction to Women & Gender Studies in the Fine Arts, UT-Austin, teaching assistant.

African-American Art of the 20th Century, UT-Austin, grader.

Medieval Islamic Art and Architecture, UT-Austin, grader.

Special Topics in Medieval Art: Art, Architecture, and Identity in the Ottoman Empire, UT-Austin, grader.

Sculpture as Model, UT-Austin, grader.

Chicanas in the Visual Arts, UT-Austin, grader.

Selected Guest Lectures

“Feeling Connected: Documentary Photography and The Family of Man exhibition”

“Seeing the Disconnect: Susan Sontag reads Diane Arbus”

“Latino Art in America: Looking at La Virgen de Guadalupe in U.S. Visual Culture”

“Revolution! Mexican Muralism and Post-War Politics”

“Grad School or Bust: What to Consider When You’re Considering”

Intellectual Entrepreneurship Mentor

This program pairs graduate students in one-on-one mentoring relationships with undergraduate students. The student with whom I worked was the first in her family to attend college. Our collaboration was focused on future career and graduate school opportunities in art history, job interviewing skills, and resume development. UT-Austin, 2008.