Jennifer Stoneking-Stewart

ADDENDUM: TEACHING EXPERIENCE

My teaching experience at the college level consists of approximately five years (nine semesters, two summer sessions).  I take every opportunity to combine traditional media with new technologies in my studio classes, such as the use of design and graphics programs like Adobe Photoshop, to develop 2-D and 3-D compositions. I also employ Blackboard in all my courses to provide my students with course information via the internet.  In addition to carrying out assignments in the printmaking, sculpture, or drawing studio, I present frequent slide lectures in order to familiarize my classes with art historical and contemporary examples of artwork relevant to each project and assignment.  Usually, slide lectures focus on clarifying project criteria, showing examples of processes, materials, or content, and introducing traditional and contemporary themes and technical approaches.  Slide lectures are often accompanied by in-class demonstrations and discussions, which serve to reinforce understanding of techniques and concepts.  The assigned projects work on furthering the students’ composition skills, incorporating elements and design principles in the guidelines, as well as pushing their conceptual development and own artistic expression.

I am currently a full-time instructor and overseer of the Printmaking facilities at Belmont University.  For the spring of 2010, I am teaching Printmaking I, Printmaking II, Special Topics in Silkscreen, and two sections of 2D Principles of Design.  I was recruited to join the department at Belmont in the spring of 2009 due to my interdisciplinary experience, skills as an instructor, artist, motivator, organizer, my willingness and ability to run the printmaking studio, and convert it to a non-toxic space.  I am continuing the process of reorganization and restructuring, ensuring a safe space that meets EPA requirements and that is conducive to learning and creating exceptional works.  I have also been expanding the printmaking processes available to students, such as the introduction of silkscreen and other photomechanical techniques.  My classes also concentrate on monotype, collagraph, relief (linoleum and woodcut), and intaglio on plexiglass, providing a well-rounded knowledge of process, tradition, and contemporary approaches.  I will be introducing lithography as soon as I possibly can!

In the fall of 2008, I was a full-time Instructor of Art at Walters State Community College, temporarily replacing the Art Department Chairman and Professor of Art.  I taught Sculpture I and Sculpture II, Art Appreciation (3 sections), and Art History I Survey (2 sections).  Some of my responsibilities included maintaining the Sculpture studio, acting as co-advisor for the Art Club, advising students, working on the Academic Audit Committee for the Art Department and the Cultural Promotions Committee for the Humanities Division.  My experience teaching at Walters State challenged me as a teacher to provide my students with the fullest studio experience possible while working with very limited supplies and budget.  I was able to introduce projects that required the students to transform the free, or extremely inexpensive materials, into a completely different surface, such as the project that consisted of “recycle-box” cardboard, latex paint, and tape.  These large-scale sculptures, many over five feet in height, became the talk of the community when they were put on display in the campus library, generating great interest in the art department and a wonderful dialogue between students.

Prior to teaching at Walters State, I was the year-long Art Historian replacement at Carson-Newman College.  Besides teaching Art History survey and Art Appreciation courses, I was given the opportunity to revitalize the neglected printmaking studio and teach the Introduction to Printmaking which had not been taught in seven years.  I transformed the studio into a safe environment, adding a flammable materials cabinet and removing highly toxic supplies, plus stressed the importance of safety to Art majors.  I oversaw two work-study students during this time, having them assist me with the restructuring of the studio and reorganization of materials.  I introduced the class to various non-traditional and non-toxic techniques, such as plexi-glass intaglio and aquatints created by the use of matte medium and carborundum grit.  I also brought in a book-artist John Hilton to do a workshop, which was open to the entire college, demonstrating the Coptic stitch, as well as show other types of stitches and experimental covers that he had done.  I took every opportunity possible to expose my students to contemporary themes and artists in printmaking, experimental approaches, and demonstrate ways to incorporate print processes in their chosen media.

BELMONT UNIVERSITY

Full-Time Instructor of Art

SPRING 2010
ART 1090 Printmaking I (relief, intaglio, silkscreen)
ART 2090 Printmaking II (relief, intaglio, silkscreen, monotype)
ART 3099 Special Topics: Silkscreen
ART 1010 2-D Principles of Design (2 sections)

FALL 2009
ART 1090 Printmaking I (relief, intaglio, silkscreen)
ART 2090 Printmaking II (relief, intaglio, silkscreen, monotype)
ART 3090 Printmaking III (relief, intaglio, silkscreen, monotype, alternative process)
ART 1010 2-D Principles of Design (2 sections)
ART 1020 3-D Design

Adjunct Professor

SPRING 2009
ART 1090 Printmaking I (relief, intaglio, silkscreen)
ART 2090 Printmaking II (relief, intaglio, monotype)

WALTERS STATE COMMUNITY COLLEGE

Full-Time Instructor of Art

FALL 2008
ART 2610 Sculpture I
ART 2620 Sculpture II
ART 2040 Art History I (2 sections)
ART 1030 Art Appreciation (3 sections)

Adjunct Professor

SUMMER 2009
ART 2040 Art History Survey I (hybrid course)

SUMMER 2008
ART 2040 Art History Survey I (hybrid course)

SPRING 2008
ART 2040 Art History Survey I
ART 2050 Art History Survey II (2 sections)
ART 1030 Art Appreciation

CARSON-NEWMAN COLLEGE

Adjunct Professor

SPRING 2008
ART 229 Introduction to Printmaking (relief, silkscreen, intaglio, monotype)
ART 317 Art History Survey II

FALL 2007
ART 210 Art Appreciation (2 sections)
ART 316 Art History Survey I

CLEMSON UNIVERSITY

Instructor of Record

FALL 2006
ART 211 Beginning Printmaking (lithography and silkscreen)

Graduate Teaching Assistant

SPRING 2007
ART 152 Foundations in 3-D Art

FALL 2005
ART 151 Foundations in 2-D Art

COURSES I AM CAPABLE OF TEACHING

Printmaking – All levels and processes; undergraduate and graduate

Drawing – All levels

Ceramics I, Ceramics II

Painting I

Color Theory

Design with Computers

Art for Non-Art Majors

ADDENDUM: EDUCATION

During my undergraduate and graduate career, I have concentrated largely in printmaking, mixed media, and art history, though I do have extensive experience in ceramics, both academic and commercial.  Although my current work predominately utilizes a printmaking vocabulary, there have been many moments in my artistic journey where interdisciplinary approaches to problem solving have been particularly helpful.  Because of the nature of my work and its scientific influences, I worked with the Clemson University Electron Microscope Lab to further explore the nature and structure of cellular forms.  I was also encouraged to examine my work in a variety of media; I am competent in traditional as well as experimental and non-toxic techniques in printmaking, mixed media collage, drawing media and approaches, 2D instillation in a 3D environment, and digital image construction.  I am very confident with the use of Adobe Photoshop and Illustrator and am comfortable introducing this method of digital image-manipulation in the classroom for both 2D and 3D conceptions.

I have involved myself in numerous activities and organizations on campus, including Phi Eta Sigma National Honor Society at the University of Tennessee, volunteering time and participating in campus meetings.  I served as Treasurer of the University of Tennessee Print Club from 2002-2003, assisting in hosting the annual Open House for the Printmaking Department and aiding fundraising events for trips to Boston, MA and Rutgers, NJ to the annual Southern Graphics Council conference.  During my studies at Clemson University, I assisted with the annual Clemson Soup and Salad Bowl Sale where proceeds benefitted the Ceramics Department and the departmental attendance of the annual National Council on Education for the Ceramic Arts (NCECA).  I took part in the collaborative firings of Clemson’s anagama kiln, “Vatagama”, working with students, teachers, and regional ceramicists.  Additionally, I participated in the Fine Arts Student Association (FASA), helping with fundraising events to make trips to Atlanta, Georgia to tour the High Museum and attend theatrical performances. 

Throughout my education, my work has centered on the relationship between humankind and nature.  My own independent research and directed study courses in art history have been targeted at examining the use of a scientific visual language by historical and contemporary artists.  In addition to the exploration of the interrelationship between man and the need to control nature and science, I have also explored the relationship between printmaking processes and my conceptual base, all of which I addressed in my written thesis document, Inevitable Forces: Deciphering the Environment.  For this reason, I am particularly knowledgeable about topics associated with this subject including the sublime, chimera, iconography, representation of genetic engineering in art, process and its relationship to concept, and environmentally based works.  As an artist and educator, I firmly believe in being well versed in contemporary as well as historical art theories, practices, and trends.  In conjunction with my own studio practice, I am constantly consulting a variety of recent and historical publications to improve my knowledge of art theory, practice, and education.

ADDENDUM: RELATED EXPERIENCE

I have a variety of work experiences that are relevant to my desire to continue my career as an educator and studio artist.  For example, I am currently working as the Technical Studio Assistant at Belmont University, in addition to my responsibilities teaching printmaking and foundation courses.  My main responsibilities, though there are numerous other duties, are assisting with the technical needs of studios and labs in 2D and 3D areas, serving as the coordinator of health and safety rules, updating all Material Safety Data Sheets, ensuring compliance with EPA health and safety standards in all studios, creating and maintaining an inventory of equipment and supplies for all media, and working closely with the Department Chairman and the Office Manager of the Department of Art.  I received EPA/Hazmat certification in order to perform these duties to the upmost of my abilities and knowledge, lending myself as an invaluable resource to the department. This position caters to my some of my greatest strengths, including communication skills, since I am working and interacting with a diverse group of students, faculty, and staff, my excellent organizational skills, and my broad knowledge in a wide variety of disciplines, both 2D and 3D.  Recently, I was appointment to the university’s Environmental Management Systems team (one of four members) as the Department of Art’s representative.  This team is responsible for ensuring compliance with EPA regulations across campus, setting goals for areas that generate waste and/or use hazardous materials, and creating and enacting plans to reduce and/or remove those environmental concerns. 

In the past, I have worked as an Exhibitions Coordinator and Gallery Assistant in the Rudolph E. Lee Gallery at Clemson University during the spring of 2006.  My experiences in the gallery included preparing condition reports, unpacking, installing, taking down, repacking and shipping visiting shows, such as the James Van Der Zee photography exhibition, Portrait of the Harlem Renaissance, which was part of the Langston Hughes Project.  I collaborated with the Provost’s Office in the re-framing and remounting a collection of drawings and prints on loan from Clemson University’s collection for the Provost’s Office, preparing condition reports for all of them.  I served as the Exhibitions Coordinator for the Southeastern Printmaking Invitational exhibition, designing postcards, advertisements, and announcements, writing a review for The Tiger, serving as contact for all 49 artists, and giving gallery talks to small groups and Lee Gallery patrons, one about process and technique which included a tour of Clemson’s printmaking facilities and the other touching on history, concepts of certain pieces, and technique.  In addition, I coordinated with the four other participating universities, besides Clemson, the pick-up and removal of the show at the end of the exhibition after securely packing the show.  In the spring of 2007, I was one of the hosts for internationally recognized artist Alexis Rockman upon his visit to Clemson University.  I also planned and served at special gallery events and fundraisers, such as the Celebration of the Center for Visual Arts, where I assisted with the auction and sales. 

During my senior year in undergrad, I worked as an Intern at Yee Haw Industries in Knoxville, Tennessee under owners Kevin Bradley and Julie Belcher.  Yee Haw is a letterpress shop that has played a crucial role in the recent revival of hand-printed posters and other sundry items, bringing the historic art form mainstream.  I quickly learned how to operate and maintain both automatic and manual letter presses, along with type-setting and graphic design skills required for the layout of posters and other orders of customers world-wide.  The experience at Yee Haw provided me with invaluable design knowledge and application of skills. 

From 2006-2008, I worked as a Production Potter for Robert Alewine, the owner of Alewine Pottery, in Gatlinburg, Tennessee.  The shop is a member of the Arts and Crafts Community, which embraces the unique cultural and artistic heritage of the Appalachian Mountains in Tennessee and North Carolina.  At the shop, my skills as a potter were on display to visitors who watched me work and asked questions about my craft and construction of various forms, all of which were for sale in the shop.  Being able to concentrate on my job and demonstrations, as well as answer questions, prepped me for similar situations within the classroom where I must analyze all of the motions I do and effectively explain them to students so that they can duplicate the process on their own.

ADDENDUM: EDUCATIONAL TRAVEL

As an artist who seeks inspiration and a person who has an insatiable thirst for knowledge, I devote a portion of my year to educational travel, whether regional or international, and strongly encourage my students to do the same.  This past summer, I spent nine days in France and England, acting as the Art and Architectural History guide for a group of adults and students from Rhea County High School.  On this trip, we traveled from London to Paris, making stops at key sites along the way, such as Stonehenge, Salisbury, Caen, Normandy, Mont-Saint-Michel, Tours, Chenonceau, Chartres, and Versailles.  I made a previous visit to both France and England with my family when I was in high school, visiting many of these locations, and even then the impact, prior to the knowledge I now have about the art, architecture, and importance of these places, unthinkably awed and impressed me.  This trip was a great opportunity to reunite me with monumental works in art and architecture, as well as improve upon my French .

I am fortunate that my parents deemed it necessary to expose my brother and myself to cultural and historical experiences from a young age, a tradition that I have continued.  As a result, I have amassed a number of memorable and educational experiences.  Some of these include a cross-country journey with my family following the Louis and Clark trail to our final destination of Rapid City, South Dakota.  Along the way, we explored Mandan villages, the cities of Chicago, St. Louis, and Cincinnati, various state and national parks, and the cultural and historic heritage that is unique to the American Midwest.  In addition to a prior visit to Mexico with my family, I was able to go on a school-sponsored trip to Mexico to explore Mayan ruins at Chitchinitza, Tulum, Uxmal, and other sites, immersing ourselves in the culture of the Yucatan region for two weeks.  I’ve also spent time in Belize on an environmentally-based visit, focusing on lessening the impact of our carbon footprint through the use of recycling, conservation, and use of locally available resources.

Besides trips that are focused on history and various cultures, I’ve also taken numerous trips that are centered on exploration of art and architecture.  I’ve visited the New York City twice and the numerous museums, like MoMA, MET, Guggenheim, and Whitney, as well as taken a Soho gallery district tour and experienced performances like the Blue Man Group.  I’ve made three separate, week-long trips to the west coast and Los Angeles, CA to visit family, but also immerse myself in emerging traits in art through exposure to exhibitions at small galleries and large museums, like Museum of Contemporary Art, and view historically crucial works at both the Getty and the LA County Museum of Art.  I devoted a week in Washington, DC to touring all the galleries and museums that I could possibly attend.   I’ve spent a few days in Boston, MA, Baltimore, MD, San Francisco, CA, and Memphis, TN where I visited a couple museums and galleries, as well as took in the sites of the cities’ historic pasts.  And of course I have explored my more local museums and galleries, such as the High Museum in Atlanta, GA, the Frist in Nashville, TN, and the Hunter Museum in Chattanooga, TN, to name a few.

The exposure to contemporary and historical works is crucial to my role as an educator and artist.  Placing myself and my work within the context of art history through continuous exposure to past and present artists and movements is imperative to my ability to effectively teach students of their own role and position within the realm of art history.  These journeys keep me current on contemporary themes in art, as well as in my own field of printmaking, plus they further my research of my concepts relating to man’s desire to control science and nature.  Besides using travel to keep current and view historically invaluable works, travel is a great way to explore the similarities and differences between foreign cultures and our own American lifestyle.  Experiencing the vibrant civilizations, cuisine, and ethnicity of different countries expands my world-view and knowledge, further lending me as an invaluable resource for students and colleagues.