Statement of Teaching Philosophy
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I strive to present the study of art as both a vital and a dynamic discipline. In the introductory art survey, for example, a series of discussion days entitled 'perspective days' are incorporated into the syllabus that invite students to step away from the lecture format of a general survey class and achieve some perspective on the discipline of art history. Topics have included the history of art history, art history as archaeology, the use of primary source material, art and gender and art and race. Through reading and class discussion students are reminded that art is not something preserved only in slides, but something they encounter every day and that art making is not something abstract or unrelated to the world around them. Our experience with and knowledge of art shapes who we are, what we know and what we think we want. I am continually surprised at the value these discussion days bring to the students, especially as many of them will list this class as their only academic experience with art.

For those students who will continue their study of art history at the college level and beyond, I introduce a variety of types of academic writing through current and often conflicting scholarly publications on specific works of art. Treating the study of these specific works of art as case studies during class discussion helps to guide the students through their own art historical research and writing. In these upper level classes, unique and independent research is emphasized, as are effective writing processees and solid and persuasive writing skills. I am always willing to meet outside of the classroom to develop these skills and see them as the most practical goals for the student. Consistently positive student evaluations from the University of North Carolina and Furman University as well as near capacity course enrollments, suggest that while challenging, students find my approach engaging. I attempt to keep up with the latest technologies for teaching and use digital images, quick-time videos and power-point presentations to enhance my teaching. Additionally, I develop and maintain a website for each of my classes, through which I provide an interactive syllabus, internet links, copies of class handouts, study guides, a forum for out-of-class discussion, and when possible, an image library.

While I enjoy teaching topics related to my own scholarly research on medieval manuscripts and liturgical objects, my teaching interests extend beyond Medieval art. I am interested in the authority of images and the function of artistic patronage as markers of spiritual and secular ideals, as well as makers of an individual or a cultural group. For example, I spent nine months as the Kress Intern for the North Carolina Museum of Art researching the provenance of the museum’s Kress collection, paying particular attention to the years during and after World War II. This experience sparked a professional interest in the difficult issue of Nazi-era provenance research as well as the terrible historical example of the power of art and the art market when merged with iniquitous political ambition. My professional activities have also include dacting as co-curator for an exhibition held in conjunction with the Women’s/Gender Studies Symposium sponsored by the Associated Colleges of the South held at Furman University in March 2004. Gender Acts!, included the work of three artists, each exploring the stereotypes, symbols and mythologies of gender though installation, photography, painting and graphic media.

Finally, I am interested in the relevant issue of teching art history to the studio artist. A double undergraduate degree in studio art and art history has facilitated my teaching in studio-focused departments. In past appointments, I have participated in student critiques as well as enjoyed close professional contact with my studio colleagues. These experiences allowed me to introduce an historical perspective into the creative process. I encourage art students to seek mentors for their work, to generate a dialogue with their creative predecessors, and ultimately challenge or enhance the models suggested by their art historical past. I am interested in developing a course that combines the educational goals of the studio major with those of the art history major using contemporary and historically significant theoretical texts to spur the creative process as well as ground the art history student in the methods and practices of art making.