Teaching Philosophy It is my belief that the teaching of painting/drawing/art within the current cultural context of the post-medium age is a complex process involving more than the teaching of the traditional skills of painting.  The boundaries of the practice are completely open. Within the flotsam and jetsam of competing metaphors, trends, and past traditions a solid foothold or direction is hard to find. Though a multidimensional approach I encourage and motivate students to build a complex, depthful and reflective relationship to the questions they ask of themselves and their studio practice. It is my motto as well as e.e. cumming’s that, “Always the more beautiful answer who asks a more beautiful question.”   To aid in the asking of questions I assist my students in finding and increasing the skills and understandings needed to develop their own unique relationships to the materials/craft of painting, other mediums, the creative process, contemporary theory, and the genealogy of painting. For me the practice of contemporary painting is viable, exciting, and flexible. I bring this same excitement and flexibility to the classroom. This flexibility is enacted on multiple levels.  Philosophically I believe in multiple methodologies, especially ones that are sometimes considered incompatible, such as the differing aesthetic positions of formalism, mimeticism, and expressionism. It is in the synthesis of multiple approaches that one can begin to understand that the art world is a complex weave of differing interpretations, understandings, and motivations. My interest in exploring other disciplines such as gender, literary, scientific, philosophical and psychological studies brings a broad base to the classroom environment.  Through these engagements I hope my students gain a situated knowledge of self as well as social expressions, attitudes and limitations. It is through multiple perspectives and methodologies that I find supplementary and complementary relationships, and this synthesized approach allows for a more open attitude. This openness is mirrored in my relationship with my students, without which I would not be able to recognize the different learning approaches, and unique qualities each student possesses.   My goal is to connect with students on their various different levels and artistic motivations, and to challenge them to learn how to learn in a variety of ways. As a teacher, I believe strongly in the power of passion. The level of excitement, engagement, and sense of wonder I bring to the classroom has the ability to overcome the anticipated disconnects between teaching and learning approaches, and can overwhelm boredom, fear, or disinterest in the classroom.   This passion fosters and yields inspired, empowered, and well-educated students. This approach and the tone of my class lets students know that I am accessible, and that we both have the common goal of success in mind.  This balance builds a mutually constructed, safe environment for the rigors of the classroom. I like to teach for same reason that I like to learn. I work toward increased awareness for both my students and myself.  The excitement of teaching keeps me in touch with my own learning experiences, and reminds me that there is always more to learn. Below are some examples of how I implement my teaching philosophy: •    slide presentations addressing a wide variety of contemporary painting practices              including the use and visual influence of computers •    the use of journals to increase the ability to reflect and build in roads to creative           concerns •    the use of journals to increase the ability to analyze, articulate, and understand the           interrelationship of form, content, and context in contemporary paintings •    encouraging student attendance of local and visiting guest speakers-artists, historians,          theoreticians, performers etc. •    complementing my teaching with the example of my own research and production •    exposing students to art museums, galleries, performance spaces, and other relevant          collections around campus and in the surrounding community •    featuring a multicultural perspective that includes minority and underrepresented          artists •    multiple critique formats to keep the process fresh and developmentally varied •    encouraging students to experiment and push beyond their initial captivations •    class discussion of the machinations of creativity, semiotics, and the cultural          production of meaning •    valuing student and collegial feedback inside and outside the classroom in individual          or small group discussions and meetings