Classroom Teaching
I teach survey courses in drawing and sculpture as well as “The Figure
3-D: Modeling and Molding”, “Artcar”, “Public Art”, and ”Glass and Metal Casting”.
I am currently involved in researching 3-D scanning and printing in order to create a new studio practice for both graduate and undergraduate students.
All classes are taught in a rotation over three years, except Glass and Metal Casting, which I teach every semester. In the glass and metal casting class, the curriculum is equally weighted between developing stronger conceptual models for art making and expressing those concepts through effective studio practice. The studio practice is organized around teaching a wide variety of casting and finishing processes for both metal and glass sculpture. This includes multiple mold and pattern making techniques, beginning with ancient packed clay/sand processes and ending with ceramic shell-the most sophisticated casting system in existence. Conceptually, the course again convers a wide range of issues facing young studio artists. Assignments are structured around such issues as originality of vision, sampling and reforming objects from popular culture, chance versus control in form creation, and
Identifying non-traditional voids to be used as a mold for casting. The last concept is technically challenging but provides a rich learning experience. For example, students have cast metal into invasive fire ant nests to create tree like forms.
My teaching system always covers issues of sustainability- both in terms of minimizing waste in art creation as well as strategies for sustaining casting as a creative practice following graduation.
My teaching style always includes a “looping” of experiences. Each new assignment builds on but also requires a revisiting of previous sculptural practices. At the start of each assignment I do a demonstration showing the students the techniques they are to employ. I then say, “You create following what I just did and you get a C. If you try some of the possibilities I mentioned during demonstrations, you get a B. If you took notes while I was showing you this technique and you clearly bring in your own personal conceptual thinking in the art you create, you could get an A.”
Once students realize their own insights and experiences are a valued part of an “A” they step up to the challenge of exploring unknown creative territory. At the end of each assignment, I have students write a critique of the project and a self-assessment of their outcomes. These assessments, coupled with the writing on the back of end of semester evaluations, have helped me be a more effective teacher. It has helped me track the changing attitudes and goals of student cohorts so that fundamental principles of metal casting continue to be effectively integrated into
contemporary art practice.
Though all my teaching begins in the KU classroom, eventually it moves into more expansive environments. Even metal casting classes, which rely on extensive studio equipment for effective learning, also include important educational experiences in community, national and international activities. My students have lead metal casting activities in Wales, England, Germany, China, as well as many venues in the United States. They are able to do this due to the extensive range of techniques I expect all to know before graduation.
Undergraduate Advising
All my advising is centered on asking each student, at the start of each session,
“What do you want to do when you get out of the big house?” I find this question
to be the most effective way of keeping students on track in developing a successful career plan. I remind them that most of their lives have been in school, but soon
most learning experiences will be self-directed. I urge students to seek a broad range of educational experiences in order to find knowledge and skills that resonate and inspire. By the spring of their junior year, I help students narrow their focus to course work more likely to help them succeed in their chosen post baccalaureate life.
I continue to remind them that their lives will change and new opportunities will arise following graduation and that it is important to practice the types of creative thinking they used in the studio. These same ways of thinking and problem solving will transfer into future life and professional choices.
Each semester, in every class, I take students on field trips to visit successful artists and art organizations. Prior to these trips, I discuss with students what the focus of the trip will be. One priority I always emphasize is to use these and other off campus experiences to develop professional contacts and connections. Those connections always help students make strong transitions from educational institutions to professional practice.
When students are advised and mentored in ways that emphasize the transition to professional practice, they become more confident and flexible in making career choices. Of course, not all will teach, though it is important for them to be prepared to do so. Some of my former students have joined the academic ranks. In fact, one is now Dean of Arts and Sciences. Several teach in community colleges and universities, while others are successful studio artists, including one who directs bronze casting at a Buddhist Center in the Sonoma Valley. Mentoring all of them seems to be a life long commitment. We continue to talk and I continue to learn from them how to be a better advisor.
Graduate Advising and Mentoring
When first meeting with new graduate students I comment on three things.
1. This is a Research 1 University and we take research seriously.
2. The work that brought them here was great, but will not carry them to a successful thesis.
3. In the first year, they should practice getting out of their comfort zone when it comes to studio work.
I urge them to try new techniques and seriously investigate the psychology of creativity. I also let them know that they will feel a bit lost for a time and this
Is part of the adventure. By the middle of the semester, I give them a list of galleries and art venues in the metro area and urge them to visit the places and make contact with the directors. They are also encouraged to start showing their art as soon as possible. If time and work schedules allow, I also put them in touch with local organizations in need of volunteers. I think this is an important step in helping then build community and also develop confidence in what they do.
On a fairly regular basis, I have been fortunate to find outside paid art experiences for grad students. Some involve making art, others art restoration projects, while still others have worked in art programs for disadvantaged children.
I also remind grad students that they are role models for undergrads and as such
should present a professional demeanor while initiating conversations on conceptual considerations well as practical studio techniques.
There is a balance to this. It is important to help keep grads energized, but to not let them become reliant on faculty for aesthetic decision making or for momentum. Our mentoring should always be honest, supportive, but maintain the expectation that the grad student carries the load and matures through self-direction and reliance.
I teach survey courses in drawing and sculpture as well as “The Figure
3-D: Modeling and Molding”, “Artcar”, “Public Art”, and ”Glass and Metal Casting”.
I am currently involved in researching 3-D scanning and printing in order to create a new studio practice for both graduate and undergraduate students.
All classes are taught in a rotation over three years, except Glass and Metal Casting, which I teach every semester. In the glass and metal casting class, the curriculum is equally weighted between developing stronger conceptual models for art making and expressing those concepts through effective studio practice. The studio practice is organized around teaching a wide variety of casting and finishing processes for both metal and glass sculpture. This includes multiple mold and pattern making techniques, beginning with ancient packed clay/sand processes and ending with ceramic shell-the most sophisticated casting system in existence. Conceptually, the course again convers a wide range of issues facing young studio artists. Assignments are structured around such issues as originality of vision, sampling and reforming objects from popular culture, chance versus control in form creation, and
Identifying non-traditional voids to be used as a mold for casting. The last concept is technically challenging but provides a rich learning experience. For example, students have cast metal into invasive fire ant nests to create tree like forms.
My teaching system always covers issues of sustainability- both in terms of minimizing waste in art creation as well as strategies for sustaining casting as a creative practice following graduation.
My teaching style always includes a “looping” of experiences. Each new assignment builds on but also requires a revisiting of previous sculptural practices. At the start of each assignment I do a demonstration showing the students the techniques they are to employ. I then say, “You create following what I just did and you get a C. If you try some of the possibilities I mentioned during demonstrations, you get a B. If you took notes while I was showing you this technique and you clearly bring in your own personal conceptual thinking in the art you create, you could get an A.”
Once students realize their own insights and experiences are a valued part of an “A” they step up to the challenge of exploring unknown creative territory. At the end of each assignment, I have students write a critique of the project and a self-assessment of their outcomes. These assessments, coupled with the writing on the back of end of semester evaluations, have helped me be a more effective teacher. It has helped me track the changing attitudes and goals of student cohorts so that fundamental principles of metal casting continue to be effectively integrated into
contemporary art practice.
Though all my teaching begins in the KU classroom, eventually it moves into more expansive environments. Even metal casting classes, which rely on extensive studio equipment for effective learning, also include important educational experiences in community, national and international activities. My students have lead metal casting activities in Wales, England, Germany, China, as well as many venues in the United States. They are able to do this due to the extensive range of techniques I expect all to know before graduation.
Undergraduate Advising
All my advising is centered on asking each student, at the start of each session,
“What do you want to do when you get out of the big house?” I find this question
to be the most effective way of keeping students on track in developing a successful career plan. I remind them that most of their lives have been in school, but soon
most learning experiences will be self-directed. I urge students to seek a broad range of educational experiences in order to find knowledge and skills that resonate and inspire. By the spring of their junior year, I help students narrow their focus to course work more likely to help them succeed in their chosen post baccalaureate life.
I continue to remind them that their lives will change and new opportunities will arise following graduation and that it is important to practice the types of creative thinking they used in the studio. These same ways of thinking and problem solving will transfer into future life and professional choices.
Each semester, in every class, I take students on field trips to visit successful artists and art organizations. Prior to these trips, I discuss with students what the focus of the trip will be. One priority I always emphasize is to use these and other off campus experiences to develop professional contacts and connections. Those connections always help students make strong transitions from educational institutions to professional practice.
When students are advised and mentored in ways that emphasize the transition to professional practice, they become more confident and flexible in making career choices. Of course, not all will teach, though it is important for them to be prepared to do so. Some of my former students have joined the academic ranks. In fact, one is now Dean of Arts and Sciences. Several teach in community colleges and universities, while others are successful studio artists, including one who directs bronze casting at a Buddhist Center in the Sonoma Valley. Mentoring all of them seems to be a life long commitment. We continue to talk and I continue to learn from them how to be a better advisor.
Graduate Advising and Mentoring
When first meeting with new graduate students I comment on three things.
1. This is a Research 1 University and we take research seriously.
2. The work that brought them here was great, but will not carry them to a successful thesis.
3. In the first year, they should practice getting out of their comfort zone when it comes to studio work.
I urge them to try new techniques and seriously investigate the psychology of creativity. I also let them know that they will feel a bit lost for a time and this
Is part of the adventure. By the middle of the semester, I give them a list of galleries and art venues in the metro area and urge them to visit the places and make contact with the directors. They are also encouraged to start showing their art as soon as possible. If time and work schedules allow, I also put them in touch with local organizations in need of volunteers. I think this is an important step in helping then build community and also develop confidence in what they do.
On a fairly regular basis, I have been fortunate to find outside paid art experiences for grad students. Some involve making art, others art restoration projects, while still others have worked in art programs for disadvantaged children.
I also remind grad students that they are role models for undergrads and as such
should present a professional demeanor while initiating conversations on conceptual considerations well as practical studio techniques.
There is a balance to this. It is important to help keep grads energized, but to not let them become reliant on faculty for aesthetic decision making or for momentum. Our mentoring should always be honest, supportive, but maintain the expectation that the grad student carries the load and matures through self-direction and reliance.