WOMEN AND PUBLIC ART
(undergraduate seminar, New York University)
Monuments are generally coded masculine and created by men. Yet, “The State,” “Victory,” and “Justice,” for instance, have often been visualized as a female body. In this class, we will examine the patronage, viewing practices, legacies and absences of monuments, memorials, and art to or by women in public spaces.Over the course of the semester, we will take a comparative approach, looking to examples from both the past and the present to interrogate the different ways in which these monuments engage gender’s relationship with power, as well as intersections with race, ethnicity, and status. Our case studies include the iconoclasm of monuments to or by ancient queens such as Cleopatra and Artemisia II; the presence of nude female bodies in public spaces; the absence of women in American political monuments; the (imperial) politics of monuments in East Asia as in the Monuments of Peace to so-called “comfort women”; and women as artists and patrons of public art, from the Roman empress Livia to the contemporary artist Sharon Hayes. We will make use of objects, museums, and monuments throughout New York City.
THE ARTS AND ARCHAEOLOGY OF ROYAL WOMEN IN THE ANCIENT MEDITERRANEAN
(for advanced undergraduate students; New York University)
What is the visual, material, and textual evidence for queens and royal women in the ancient world? What were the contours and limitations of their political power, and how did they exercise it? How did their representations model expectations for beauty, femininity, and dynastic continuity? How have ancient queens shaped modern imaginations of women and political power? This seminar addresses these questions by focusing on royal women in ancient Egypt, the Near East, Greece, and Rome, including Hatshepsut, Puabi of Ur, Artemisia II, Cleopatra VII, and Livia. Throughout the semester, we will practice close-looking at images and will engage with modern theories of gender and sexuality to try to understand ancient constructs of gender and power. Moreover, we will grapple with how to analyze patchy archaeological records, fragments, and decontextualized monuments in reconstructive histories and art histories. We will make use of the objects, museums, and monuments throughout New York City.
WHAT IS VISUAL STUDIES?
(for advanced undergraduate students; University of Pennsylvania)
This seminar challenges students to develop independent ideas about how the eye, mind, and image work together to inform our conception of the world. By asking “What is visual studies?”, we will examine various approaches to the myriad, and sometimes opposing, ways that human beings understand sight, the concept of visuality, and visual technologies. We will also discuss the politics of vision, of looking, and of not being seen by considering ways that race, gender, sexuality, ability, and class impact vision and its study.
Through a synthetic approach to the problem of vision, we will examine various aspects of the interplay among art, visual perception, cognition, theories of vision and their history, and the history of visual practices. Students will discuss and write about various approaches to vision, bridging together far-flung and near-neighbor disciplines—including cognitive science, psychology, philosophy, art history. Key authors include Descartes, James Elkins, Jonathan Crary, Laura Mulvey, bell hooks, Jack Halberstam, Harun Farocki, and Nguyen Tan Hoang.
INTRODUCTION TO WESTERN ART: PREHISTORY TO RENAISSANCE
(introductory course for undergraduate students; University of Pennsylvania)
How does art of the past impact us today? What can images tell us about cultures of different times and places? This course offers a survey of major developments in painting, sculpture, and architecture from across the Middle East, Mediterranean, and Europe from prehistory (ca. 15,000 BCE) through the late Middle Ages/Early Renaissance (ca. 1450 CE).
Lectures and hands-on activities will allow students to work directly with collections at the Penn Museum, Philadelphia Museum of Art, and the Schoenberg Manuscript Collection.
2017 Teaching Assistant, “Introduction to Film Theory” with Dr. Meta Mazaj. Survey course. Spring 2017. University of Pennsylvania
2015 Teaching Assistant, “Introduction to the Visual Arts from 1400 to the present” with Dr. Gwendolyn Dubois Shaw and Dr. David Y. Kim. Survey course. Spring term. University of Pennsylvania.
2014 Teaching Assistant, “Introduction to Visual Culture of the Islamic World” with Dr. Renata Holod. Survey course. Fall term. University of Pennsylvania.
2014 Teaching Assistant, “Eye, Mind, and Image” with Dr. Gary Hatfield and Dr. Michael Leja. Survey course. Spring term. University of Pennsylvania
2013 Teaching Assistant, “Art and Civilization before 1400” with Dr. Robert Ousterhout. Survey course. Fall term. University of Pennsylvania.