Three CCC, DVC, or LMC
courses you propose to teach in addition to the Life & Culture course:
DVC-ARTHS196 History of
Medieval and Renaissance Art (3 units)
Description:
A history of Western art from the Early Christian Period through the
Renaissance. Stylistic changes are related to significant social and cultural
changes. Consideration is given to the changing role of the artist, socially,
culturally, and within patronage systems.
CSU, UC. CSUGE Area C1; IGETC Area 3A. Recommended eligibility for ENGL116/118
or equivalent.
Paris contains many treasures relevant to
this course. First and foremost, the Musée du Louvre is one of the world’s best
museums, as well as the most visited museum in the world. It contains
substantial collections from the time periods covered by this course. The most
famous work is the Mona Lisa, but we would go far beyond her! The collection of
High Renaissance Italian artists is particularly good, and I would want to make
use of the Raphael and Titian works in particular. Really, almost the entire
class could be taught actually in the Louvre, moving from gallery to gallery.
We would need to leave the museum long
enough to see the amazing churches of Paris in person. The Gothic style was
invented and perfected in this region of France, from the first example of the
new style in nearby St. Denis to the incredible fusion of architecture,
sculpture, and color that is Notre-Dame de Paris, and culminating with the
delicacy and jewel-box richness of Sainte-Chapelle, made in the Late Gothic
Rayonnant style. Earlier periods of church architecture are represented in the
Romanesque Église de Saint-Germain-des Prés in Paris. Many pilgrimage roads
wind through France, and a field trip to some other well-known Romanesque
churches such as Conques and Moissac would be well worth the trouble. Chartres,
Amiens, Reims, and Rouen cathedrals are also nearby examples of Gothic
architecture.
Other Paris resources for the course are
the Petit Palais, which has a collection of medieval manuscripts and Northern
European painting. The National Museum
of Medieval Art in the Baths of Cluny contains the tapestry cycle of The Lady and
the Unicorn and a good collection of medieval sculpture, strong on carved
altarpieces. The building itself is a rare example of secular Gothic
architecture. The Musée des Arts et Métiers might be a nice addition to show
the scientific and technological developments that took place in each age.
DVC-ARTHS197 History of
Baroque to Early 20th Century Art (3 units)
Description:
A history of Western art from the 17th century to early 20th century. Stylistic
changes are related to significant social and cultural changes. Consideration
is given to the changing role of the artist. CSU,
UC. CSUGE Area C1; IGETC Area 3A. Recommended eligibility for ENGL116/118 or
equivalent.
This is the course that is best suited
for being taught in Paris—so much of the history covered has happened in Paris.
There is an immense wealth of art and resources that apply to the course
material. The only problem will be fitting in enough lecture time with all of
the field trips that are possible!
The Louvre will be an important source
for the Baroque section of the class. There are excellent collections covering
this time period, most notably the enormous 24 painting cycle of the life of
Marie de Medici painted by Rubens, and works by important artists of the French
Royal Academy, such as Nicholas Poussin. The Louvre’s collections are also very
strong in 18th and 19th century art, and the large
history paintings by Jacques-Louis David, Jean-Baptiste-Dominique Ingres, and Antoine-Jean Gros will also be
invaluable. Romanticism is well represented, with major works by Theodore
Gericault and Eugene Delacroix.
The architectural resources of the city of Paris will also be a
major resource. The Palace of Versailles is located a short train ride from the
city, and as the seat of French government for nearly a century and a living
illustration of the politics of Royalist Absolutism, is a valuable experience
for students. Private residences of the 18th century are still
common in Paris, and were the prime example of Rococo architecture and interior
design, for example, the Hôtel de Soubise, which is now a museum housing the
National Archives. Soufflot’s Panthéon in the Quartier Latin is an excellent
example of Neoclassical design, amidst narrow streets and cafés in the student
quarter. Garnier’s Opéra and the city of Paris itself are monuments to new
ideas of urban design in the latter half of the 19th century. Baron
von Haussmann’s redesign of Paris to include broad boulevards is immediately
apparent. I would take the students on a walking tour, and take them up to the
top of the Arc du Triomphe to look at the cityscape, and of course, the
Marseillaise sculpture by Francois Rude. We would also imitate the flâneurs of
the 19th century such as Baudelaire by walking through the city and
observing the people, culture, and life of Paris, as did the Impressionists. A
survey of great architecture in the city would not be complete without a
mention of the Eiffel Tower.
The Louvre’s collection ends around 1848, but the rest of the 19th
and early 20th centuries are amply represented in a plethora of
other museums. The most important of these is the Musée D’Orsay, which has
excellent collections of Realism by Courbet and Manet, and covers the rest of
the 19th century. The collection of Art Nouveau objects, furniture,
and design is particularly stunning, and will be complimented by further
walking tours to see Hector Guimard’s famous Metro designs and several Art
Nouveau buildings near the Eiffel Tower. Monet’s paintings have been enshrined
in the Orangerie and the Musée Marmottan Monet, and the Jeu de Paume also has
collections that apply to this course. Other notable sites in Paris are the
museums devoted to Rodin, Delacroix, the Romantic Life, Brancusi, Picasso, and
Dalí. The major movements of the 20th century can be seen at the
Centre Pompidou and the Musée d’Art Moderne de la Ville de Paris. We could also
go to the cafés frequented by the Impressionists, Surrealists and Cubists, to
see how artists were impacted by the city itself.
As I said above, the concern is far more that there is not enough
time to do justice to the resources of Paris that pertain to this course!
DVC-ARTHS199 Contemporary
Art History (3 units)
Description:
A survey of contemporary art in the United States and Europe from 1945 to the
present. Recent global tendencies in art will also be considered. Emphasis is
placed on identifying and understanding important contemporary art movements
and images, as well as social and political issues that shape the character of
art produced during this time. CSU, UC.
CSUGE Area C1; IGETC Area 3A. Recommended eligibility for ENGL122 or
equivalent.
The Centre Pompidou is the most important
resource for this class. It has a world-class collection of contemporary art,
and includes temporary exhibits as well. There are two floors devoted to
permanent exhibits, and they are organized both chronologically and
thematically, which would make teaching from the collections easy and
facilitate discussions about the connections between the works. The building
itself is a masterpiece of postmodern architecture by Renzo Piano and Richard
Rogers.
The Musée d’Art Moderne de la Ville de
Paris and the Palais de Tokyo are other great resources. Beyond these
resources, Paris is also a city with a wealth of galleries, many of them near
the Centre Pompidou along the Rue Vieille du Temple in the Marais. Fondation
Cartier pour l’art contemporain also offers exhibits of cutting-edge
contemporary art. The contemporary art course would depend much more on what is
current in the temporary exhibitions in these resources, as all of these
facilities are either substantially or entirely dedicated to rotating exhibits.
Adapting the class to the current shows would be exciting, and students would
truly feel that they have taken part in a once in a lifetime experience.
Teaching this course in Paris would be similar to the Seminar in the Arts
course I taught at FIDM (see supplementary information), which was predicated
on current exhibits and events in San Francisco. Teaching this way is challenging
and stimulating, and I always felt like I was able to cover all of the
necessary material but from new angles.
Three alternate courses:
DVC-ARTHS195 History of
Prehistoric to Ancient Art (3 units)
Description: A history of
Western art from the Paleolithic through the end of the Roman period and the
beginning of early Christian art. Archeological and anthropological problems
are discussed in relation to the study of art styles. The social and cultural
background of ancient civilizations and role of the artist will be considered. CSU, UC.
CSUGE Area C1; IGETC Area 3A. Recommended eligibility for ENGL116/118 or
equivalent.
Paris would be a very good place to teach the history of Ancient
art. Not only does the city contain a major collection of ancient art in the
Louvre, there are other resources that would supplement the vast stores of art
and artifacts that the Louvre contains. Highlights of the collection include Egyptian,
Mesopotamian, and classical art. From Egypt, a reconstructed funerary chapel from
the New Kingdom, several tomb figures from the Old Kingdom, and a good
collection of mummies and sarcophagi from all representative periods of
Egyptian art, with a particularly strong collection in the Roman period of
Egypt. Mesopotamian holdings include the Babylonian Code of Hammurabi, Assyrian
reliefs and a reconstructed door with lamassu, or guardian figures. The
classical collections are strong in the Archaic and Classical periods of Greek
art, but truly excel in the Hellenistic period, including the Winged Nike of
Samothrace and the Venus de Milo.
Paris contains the National Archaeology
Museum, which has a very respectable collection of prehistoric artifacts, most
notably extensive holdings of Magdalenian and Aurignacian cultures. In
addition, most of the famous prehistoric locations are in the southwest of
France, in the Vézere and Lot valleys. The National Museum of Prehistory,
located in Les Eyzies des Tayac in the Dordogne has an incredible collection.
Many of the caves in the southwest are closed to visitors due to the delicate
nature of the art inside them, but there is a replica of Lascaux cave that
would be easily accessible on a weekend field trip, if possible.
The archaeological crypt beneath Notre Dame is a truly excellent
resource. It really gives the feeling of what a Roman settlement would have
looked like, and the didactic information is also well produced and
informative. The Baths of Cluny in Paris are also a valuable archaeological
resource. Further afield, Provence is a hotbed of Roman ruins, and easy to
access by TGV. The Pont du Gard, Maison Carrée, ruins at Glanum near St-Remy,
and arena in Arles are the standout sites.
DVC-ART105 Introduction to
Drawing, Color, and 2-Dimensional Design (3 units)
Description: Presentation of drawing concepts and techniques,
perspective, as well as color theory fundamentals, with emphasis on design
principles and composition. CSU, UC.
Recommended eligibility for ENGL116/118 or equivalent.
Part of this class deals with the history
of drawing techniques, and for that purpose, the Louvre would be an invaluable
resource. I could send students on scavenger hunt trips to find examples of
different styles and techniques, and then create individualized assignments
around the exploration of those techniques.
The city of Paris, with all of the
boulevards and places would be a marvelous subject for perspective studies (and
students would be following in the footsteps of the Impressionists!) The city
also offers incredible public gardens, from the Jardin Luxembourg to the Bois
de Boulogne and the Jardin des Plantes that would be perfect for students to do
studies of value, contrast, and volume. Still life subjects abound in the many
markets: Marché aux Puce St. Ouen for the brocantes, or antiques, and the Marché
aux Oiseaux et Fleurs on the Ile de la Cité showcases birds and flowers on
Sundays—both are excellent for developing skills in composition and design.
Walking tours of the city would provide students with ample sketching material,
and it might be fun to take them to one of the major cemeteries such as
Père-Lachaise to find more unusual subjects. The cemeteries would be
particularly good for value studies, as most of the sculpture in them is not
painted.
Color studies would bring the class back
to the Louvre, but a potential side trip might be to Giverny, where Monet spent
many years immersing himself in color. If Giverny is not possible, we could go
to the Orangerie to see his paintings instead, where students could learn from
the close-up riot of colors in the reflections of the Water Lilies. Complementary,
analogous, and warm and cool compositions will all be illustrated.
Finally, Paris is very rich in small
museums made from artists’ studios and homes: Eugene Delacroix, Antoine
Bourdelle, and Gustave Moreau have all had their studios and homes preserved as
museums. Visiting these locations would give aspiring artists a better
understanding of how artists live and work.
DVC-ARTHS193 History of
Asian Art (3 units)
An introduction to major
art forms and traditions in Asia from prehistory to the present. Artists,
patrons, cultures, religions, and their intersections will be covered.
Comparisons will be drawn between the course material and other artistic
traditions, especially Western societies. CSU, UC. CSUGE Area C1; IGETC Area 3A.
Recommended eligibility for ENGL116/118 or equivalent.
Paris is also a world-class city for Asian art. The Musée Guimet,
Musée Cernuschi, Institut du Monde Arabe, and Musée du Quai Branly are all
devoted to non-western art.
The Musée Guimet is the primary resource. It contains major
collections of all of the cultures covered in the course, and includes a
Buddhist temple in its grounds. Second on the list of resources is the
Cernuschi, which also contains a strong collection in Chinese and Japanese art.
The Branly’s architectural design is almost as spectacular as the
objects it holds, including a living wall of plants and lush gardens. The
museum also contains ethnographic objects. It is the repository of the Louvre’s
collections of non-western art.
What have you done that
demonstrates your ability to organize or initiate programs or activities?
I taught a course called Seminar in the Arts for several semesters
at FIDM (the Fashion Institute of Design and Merchandising). This course was
based around field trips to different cultural activities including plays,
concerts, museums, and galleries. This provided experience in organizing and
coordinating outings and group visits, and in researching the current events of
a city. It also gave me experience in adapting a set curriculum to a constantly
changing range of activities. I currently organize multiple field trips every
semester.
I am very experienced in curriculum creation and review. I have
served on the DVC Curriculum Committee for two years, and I have developed
experimental and topics courses including History of Photography and Visual
Culture in Painting and Professional Practices. I currently review courses for
the C-ID statewide articulation board.
As the current Art Department Chair, I am experienced in
organizing and assisting events, fundraisers, and exhibitions, as well as
reviewing, writing, and editing courses, program review, and Student Learning
Outcome assessments.
I am interested in interdisciplinary teaching and learning, and am
a Teacher-Consultant at the Bay Area Writing Project. I have participated in
several local conferences and workshops on writing across the curriculum. This
has made my approach to assignment and course design flexible, and focused on
critical thinking skills.
Recruitment:
Research polls conducted by the University of Illinois
suggest that most students who participate in a study abroad program receive
information about the program (in order of most to least often) through a website,
through information from other students who have participated in the past, from
Study Abroad Fairs and/or informational meetings, and through Faculty members.
I would try to tailor my recruiting to this research to make
it as effective as possible. First, I would produce a brief YouTube video about
the program to embed in the Study Abroad website and which teachers could show
in class, or embed in their course learning systems for students to
access. I know of several of my current
and former students who plan to participate in Study Abroad in Florence in
SP13, and I would ask them to participate in some recruiting efforts upon their
return to provide students with a personal perspective.
I would use social media and networking techniques to
maintain and capture student interest, including Facebook, Twitter, and
blogging and would create a mailing list of all interested students with
periodic contact to provide exciting information about their destination and
keep interest level high.
I would be happy to work at a Study Abroad table in the
common area of the colleges, to provide information and brochures. I will visit
classes and conduct informational meetings. To summarize, I am very committed to putting
time and energy into recruiting to ensure that the program is successful.
Informal
advising/Support:
I am already exploring alternative methods of student
contact, including Google Voice, which allows students to text me for support
and information. I would like to continue this practice, and perhaps add
additional methods of communication such as Skype.
I have an excellent rapport with students, many of whom feel
comfortable in asking me for assistance. I have conferred with students on
college applications and internship opportunities, and my student evaluations
always focus on my openness, helpfulness, and engagement with students.
Comments have included: “She’s very open to assist students; she’s very
patient, and good at answering questions” and “I love Ms Koblik’s enthusiasm
and spirit for what she teaches. She has never talked down to a student and is
always welcoming interpretations and constant comments or questions.”
I have also spent several years coaching water polo at both
the high school and collegiate levels, including travelling with the teams.
This provides relevant experience in advising and supporting students outside a
school context, and taught me that this is a role I enjoy and feel effective
in.
Travel:
I participated in a Study Abroad program while I was in high
school. I lived in Germany for a month, and hosted a German student for a
month. My host family were Turkish immigrants to Germany, and were Muslim, so
the experience was multicultural on several levels. I had a great relationship
with my exchange partner, and we still keep in occasional contact.
I have also travelled internationally with my collegiate,
Junior National, and most recently club water polo teams. I have visited Cuba,
Italy, Greece, Germany, and the Netherlands on training and competitive trips,
so have extensive experience in travelling with a group of people with diverse
interests, and in negotiating and mediating various goals and needs.
I have lived in both Hawaii and New York—very diverse
environments! I enjoyed both experiences, and I know that I am a quickly
adaptive traveler who enjoys new experiences and settles in to new places and
customs quickly and easily.
Lastly, I have travelled on my own and with friends and
family on several European trips, including to Paris, London, and Florence. My
husband also travels extensively and is supportive of my travel. I planned,
researched, and organized large parts of these trips in consultation with my
travelling partners.
Foreign Languages:
Spoken and written German at a conversational level—has
gotten rather rusty! 4 years of German instruction at the high school level.
Spoken and written Italian also at a rusty conversational
level—4 quarters of Italian at the college level.
Basic French phrases and conversation—I have been wanting to
take French for the past few years, and would certainly make this a priority if
selected for the Paris study Abroad program.
Personal Statement:
I am an energetic, enthusiastic person who loves to teach and
learn. I am very excited about providing students with the priceless
opportunity to experience another culture through study abroad, and feel that
Art History is a particularly good fit for a study abroad program. One amazing
thing about teaching art history at the community college is the students who
return after travelling abroad and write to me or drop by my office to tell me
what a difference my class made to their travel; how they found their
experience was enriched by knowing something about the art and cultures they
studied in my classes. Hearing from former students is one of my favorite parts
of the job! I would love to have the opportunity to guide students while they
experience another culture, and see amazing artifacts, architecture, and artworks
in person.
Special
qualifications:
Art History is a particularly good fit for the study abroad
curriculum. Students have a natural interest in the art and culture of a
location. I have visited Paris and have extensive knowledge of the art,
architecture, and culture that will be covered in my courses, and I have the
energy and enthusiasm that a study abroad teacher needs. I have diverse travel
experiences, and am an empathetic, pragmatic person, which I believe would also
be an asset to the program.
Personal/financial
arrangements:
Yes, I would be able to make the necessary arrangements. My
husband is supportive of my desire to teach study abroad, and his job as a
photographer is flexible to the degree that he would consider coming along with
me. Whether I travel alone or with him, financial arrangements will not be an
issue.
