Braysmith C.V.

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HILARY A. BRAYSMITH
1041 Taylor Ave. Evansville IN 47714: 812.760.8215 – hbraysmith@gmail.com
Professional Goals
 To chair an art department with majors in studio, design, art education, and art history and
which offers the BFA, as well as BA and BS degrees.
 To continue my work in public and community art
 To collaborate on developing and delivering innovative curricula that prepare students to
become engaged citizens
Contents
Highlights of my Curriculum Vitae1—page 2
 Professional Profile
 Innovations
 Promoting Diversity and Working with Diverse Populations
Curriculum Vitae—pages 3-20
 Education
 Employment
 Scholarship
- Peer Reviewed Articles, Book Chapters, and Exhibition Catalogues
- Peer Reviewed Exhibitions
- Grants Awarded and Research Disseminated
- Peer Reviewed Conference Panels and Presentations
- Other Kinds of Scholarship
- Scholarship in Progress
 Fellowships
 Awards
 Service to the Discipline/Professional Activity
 Teaching
- List of Courses Taught at the University of Southern Indiana
- List of Courses Developed and Taught at the University of Southern Indiana
- Mentoring Student Research and Professional Development
 Service
- to the College and University
- to the Art Department
- to the Community
 Descriptions of Courses Developed and Taught
1
This curriculum vitae covers the years 2000-present.

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Highlights of my Curriculum Vitae
Professional Profile
 Ph.D., Art History, The Ohio State University: Columbus, Ohio, 1991
 Interim-chair, Art Department, University of Southern Indiana, June 2014 to present.
 Member, City of Evansville Bicentennial Planning Executive Committee, 2011-2012.
 Co-chair, City of Evansville Bicentennial Subcommittee on Arts and Culture, 2011-2012.
 Member, Education Committee, the College Art Association of North America, 2008-11
 Recipient of $191,874.90 in funded research, 2000-present.
 Founding Commissioner, Mayor’s Public Art Commission, 2004-present.
 Member, Editorial Board, Journal of Culture, Art, and Education, Palacky University Press,
Palacky University, Olomouc, Czech Republic, May 2015 to present.
 Partner with diverse populations (see “Promoting Diversity and Working with Diverse
Populations”)
 Winner, Art Educator of the Year, Arts Council of Southwestern Indiana (nine counties), 2014.
 Winner, Faculty Recognition Award, University of Southern Indiana Alumni Association, 2014.
Innovations:
 Project designer, director, and curator, new public art paradigm designed for distressed
neighborhoods (see “Sculpt EVV,” in Scholarship—Peer Reviewed Exhibitions and Research
Activities document) 2012-2015
 “From the Ground Up,” intellectual property application for public art design and production
process to Center for Applied Research and Economic Development, University of Southern
Indiana, 2015.
 “Game Design,” intellectual property application to Center for Applied Research and Economic
Development, University of Southern Indiana, 2014.
 “App” Design,” intellectual property application to Center for Applied Research and Economic
Development, University of Southern Indiana,2014.
 Founder and Director, The University of Southern Indiana Honors Research Conference
Founded and directed all aspects of the first Honors research conference in our region which
was also the University’s first interdisciplinary undergraduate research conference, 2001-2003.
- The conference morphed into RISC (Research, Innovation, Scholarship and
Creativity) Showcase the University of Southern Indiana’s umbrella interdisciplinary
undergraduate conference which included Honors students.
- The legacy continues in Endeavor! (formerly RISC Showcase) the University of
Southern Indiana’s renamed umbrella interdisciplinary undergraduate conference
which includes Honors students.
Promoting Diversity and Working with Diverse Populations:
 Curriculum of Diversity, developed courses (see pages 15-20) devoted to diversity and others
which include it, 2000-present.
 Author and presenter, book chapters, articles, exhibitions, panel presentations addressing
constructions of gender and ethnicity, 2000-present.

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 Project designer, director, Sculpt EVV parallel projects with inner-city neighborhood residents,
especially youths, (see “Sculpt EVV,” in Scholarship—Peer Reviewed Exhibitions) 2012-2015.
 Initiator and Organizer, Rhythm and Blues band concert featuring “Perfect Mix” for Black
History Month, 2015.
 Member, Planning Committee, Boom Squad (local drum line) fund raiser, helped to bring a
carnival, May 26-31, to Bayard Park, Evansville, 2013-2014.
 Co-chair., Judy Chicago Lecture and Museum Liaison Committee
Worked with the Evansville Museum of Arts, History and Science to bring Judy Chicago to
campus for a public lecture in conjunction with the Museum’s exhibition of her work, summer
and fall, 2012.
 NEH Fellow, Institute on Infusing South Asia into the Undergraduate Curriculum, East-West
Center, Hawaii, July, 2010.
 City Tour escort, at request of Mayor Jonathan Weinzapfel’s office, for official visit from
Evansville’s Sister City of Maestro Yanami Sakahashi, Conductor, Tochigi City Wind Orchestra,
2009.
 Member, Board of Directors, Evansville African American Museum, 2005-2007.
 Initiator and Organizer, speaker for Black History Month, “Running Man: the Art of Raymond
Johnson” by local African American artist, Raymond Johnson, 2005.
 Initiator and Organizer, Walls of Hope, keynote address by Chicana muralist Judy Baca,
University of Southern Indiana Honors Research Conference/ RISC (Research, Innovation,
Scholarship and Creativity) Showcase (undergraduate conference), 2002.
 Initiator and Organizer, Nuke, the Chicano muralist, Nuke, spoke via video conferencing, about
his work in the East Los Angeles barrio and with the revolutionaries in Chiapas, Mexico,
University of Southern Indiana Honors Research Conference, 2002.
- presented, with students, “Community Art: The Transforming Power of Chicano/a
Murals.”
 NEH Fellow, Workshop on “The Authoritative in South and East Asian Art and Literature”,
Nashville, TN, April, 2002.
 Chair, Sydney Berger Lecture, "Art, Diversity, or Censorship: Who Decides
- Selected Dr. Charles Nelms, Vice President for Student Development and Diversity for
the Indiana University system, to address the controversy about the image of a KKK
cross burning in one of Thomas Hart Benton’s mural on Indiana history, displayed in a
lecture hall at Indiana University, Bloomington.
- Attracted over 300 attendees, including members of the American Indian and African
American communities, 2001.
Curriculum Vitae
Education
 The Ohio State University: Columbus, Ohio: awarded Presidential Fellowship to complete
graduate work; M.A. degree by-pass, 1984, A.B.D., 1986, Ph.D., 1991.
- Major area of concentration: Modern European Art (1780-1945).
- Minor areas of concentration: 18th century, Colonial and US American, and Video Art.
 Freie Universität, Berlin, Germany, Fulbright and Germanistic Society of America Fellow,
1987-88.

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 Eberhard-Karls Universität, Tübingen, Germany: awarded Rotary Fellowship to study
Romanticism and German Expressionism, 1980-81.
 University of Redlands, Redlands, California: B.A. in Foreign Language: German, Spanish, and
Latin, 1977.
Employment
 Interim-chair, Art Department, University of Southern Indiana, Evansville IN, 2014-present.
Oversee twelve fulltime faculty, including the assistant chair, (approximately) thirteen part-time
faculty, two members of staff, and (approximately) 250 majors art majors and 20 art education
majors.
 Associate Professor, University of Southern Indiana, Evansville IN, 2000-present.
 Assistant Professor, University of Southern Indiana, Evansville IN, 1991-97. 2
Scholarship—Peer Reviewed Articles, Book Chapters, and Exhibition Catalogues 3
 “Divine Nature, Sacred Ruins, and National Redemption—Examining Ecclesiastical Spaces in
the Paintings of Caspar David Friedrich,” in Entdecken – Erforschen – Bewahren: Beiträge zur
Kunstgeschichte und Denkmalpflege. Edmund Kizik, ed. Berlin: Lukas Verlag, ISBN 978-3-86732-
213-3, 2015.
 “C.D. Friedrich’s Ruine Eldena im Riesengebirge: a Fatherland United by Science and Art,” in
Useful Symbiosis Reloaded. Petra Šobáňová, ed. Olomouc, at press, Czech Republic: Palacký
University press, ISBN 978-80-244-4853-4, 2015.
 Slavkin, Braysmith, Faust, “Process of Engagement: Developing Civic Literacy via School –
University Partnerships,” The Journal of the National Association for Professional Development,
pp. 65-77, 2011.
 “Constructing Athletic Agents in the Chicano/a Culture of Los Angeles,” International Journal of
the History of Sport, Vol. 22, No. 2, 177-195, 2005.
- Reprinted as a book chapter in: Sporting Cultures: Hispanic Perspectives on Sport, Text
and the Body (Sport in the Global Society series), Johnson, Louise and Donald Wood,
eds. London and New York: Routledge, pp. 39-57,ISBN-13:978-0415574600, 2008.
 “Motifs with Meanings or the Lessons of Imitatio Christi and Imitatio Naturae in the Work of
Caspar David Friedrich,” in Preussen: Die Kunst und das Individuum, Dickel, Hans and Christoph
Martin Vogtherr, eds. Berlin: Akademie Verlag, pp. 97-107, ISBN 3-05-003789-X, 2003.
 “Caspar David Friedrich: A Pomeranian Cultural Portraitist,” Zeitschrift des Deutschen Vereins
für Kunstwissenschaft, Sonderdruck aus Band 56/57, pp. 263-270, 2002-2003.
 “Beyond the Wall: Ten Artists from Berlin,” exhibition catalogue co-author (with Sybille
Badstübner-Groeger), Philip and Muriel Berman Museum, Collegeville, PA: Philip and Muriel
Berman, Museum, 1 ISBN 1-889136-10-7, 2001.
Scholarship—Peer Reviewed Exhibitions
2
At that time, those earning tenure at the University of Southern Indiana waited to go up for promotion to associate professor.
3
In like manner to peers reviewing journals and book chapters, peers at art museums adjudicate art history scholarship for the
exhibition and catalogue formats.

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 Sculpt EVV project designer, director, and curator: Sculpt EVV [airport abbreviation for
Evansville, Indiana] is a four-year project with the City of Evansville which I developed and
continue to direct. I was able to supplement the $140,000.00 in grant money I received from the
City with $44,780.00 in other grants (see grants). Sculpt EVV brings the “museum” to the
community, providing annual art exhibitions to the Haynie’s Corner Arts District.
- Established practice: Cities strategically place public art in their economic centers to
generate a social vibrancy that benefits existing businesses and encourages the
establishment of new businesses.
- New paradigm: Sculpt EVV bestows the cultural, social and economic benefits on some
of the City’s most distressed neighborhoods.
- Established practice: museums and sculpture parks try to lure inner-city populations to
cultural spaces where they are not comfortable.
- New paradigm: Sculpt EVV delivers public sculpture exhibitions to the neighborhoods
where the target populations and provides them with annual exhibitions of
contemporary (and mostly) abstract and non-objective art, accompanied by festival-like
openings, and parallel projects that involve them in the project.
- Student involvement: Students help implement Sculpt EVV, especially assisting artists
and realizing the parallel projects. They also help organize the opening, train local
youths to staff the docent tours and to help run opening day activities. 2012-2015
 “Selections from the Through The Flower Collection,” exhibition curator of the works of Judy
Chicago and Donald Woodman, Through the Flower Gallery, Belen, NM, June-July, 2005.
- Peer reviewer: Judy Chicago
 “Beyond the Wall: Ten Artists from Berlin,” exhibition co-curator (with Sybille Badstübner-
Groeger),Goethe Institute, Washington D.C., February-April, 2002
- “Then and Now: The Art of Berlin”, presentation for “Beyond the Wall: Ten Artists
from Berlin,” exhibition co-curator (with Sybille Badstübner-Groeger), Goethe Institute,
Washington D.C., (February-April, 2002), March 2002
 “Beyond the Wall: Ten Artists from Berlin,” exhibition co-curator (with Sybille Badstübner-
Groeger), Goethe Institute), Berman Museum, Collegeville, PA, January-April 2001.
Scholarship—Grants Awarded4 (total: $191,874.90) and Research Disseminated
 City of Evansville, for “Sculpt EVV Project,” $5,000.00, 2015.
- Adjudication:
 Project and funding adjudicated by the Department of Metropolitan
Development and Mayor Lloyd Winnecke’s office.
 Project adjudicated by the Board of Directors, Evansville Brownfields Corp., on
whose properties the artworks are displayed and events take place.
- Dissemination
 “Sculpt EVV Community Art and Music Festival”
 Embracing the Elements, mural, lead artist, Eric D. Braysmith
 University of Southern Indiana Foundation, for “Sculpt EVV Project,” $30,000.00, 2015.
- Adjudication:
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All grants are adjudicated. The research they support is disseminated and the researcher submits final reports. In this section, I
elaborate on these processes for the most competitive of the grants listed and for which the final report is part of the
dissemination process.

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 Project and funding adjudicated by David Bower, President, University of
Southern Indiana Foundation
 Permanent installation of Gateway, sculpture, by Scott Ross, 2015, adjudicated
by: DMD, Parks Department, Assembly of Stakeholders, Haynie’s Corner Arts
District Advisory Committee, and the Evansville Redevelopment Commission
- Dissemination
 “Sculpt EVV Community Art and Music Festival”
 Gateway, sculpture, by Scott Ross, 2015
 Project Final Report to the University of Southern Indiana Foundation
 City of Evansville, for “Sculpt EVV Project,” $10,000.00, 2014.
- Adjudication:
Development and Mayor Lloyd Winnecke’s office.
 Project adjudicated by Board of Directors, Evansville Brownfields Corp., on
- Dissemination
 “Sculpt EVV Sculpture-build and Community Festival”
 Where Kings and Queens Meet, place-making installation, by Mark Brendel,
2014
 Society for Arts and Humanities, for “Sculpt EVV2—the Art House,” $780.00, 2014.
- Dissemination
 Students took out ceilings and knocked down (non-load bearing) walls at 313
Jefferson Ave., transforming rooms into designed spaces that fostered the three
dimensional experience of form, color, and texture.
 City of Evansville, for “Sculpt EVV Project,” $125,000.005
2011-2013.
- Adjudication:
Development, Mayor Jonathan Weinzapfel’s Office and the City Council.
 Project adjudicated by Board of Directors, Evansville Brownfields Corp., on
 Purchase Award winners juried by Public Art Commission sub-committee.
- Dissemination
 “Sculpt EVV--National Juried Outdoor Sculpture Exhibition,” opening: June 15,
2013
—exhibited ten sculptures from across continental US
 “Sculpt EVV--National Juried Outdoor Sculpture Exhibition,” opening: June 16,
2012.
—exhibited twelve sculptures from across continental US
 “Sculpt EVV (Permanent) Sculpture Park” at 1161 Parrett Street.
 “Project Final Report and Presentation” to Mayor Lloyd Winnecke and
Department of Metropolitan Development, executive director, Philip Hooper
 Evansville Conventions and Visitors Bureau, to market “Sculpt EVV Project” 2013, $5,000.00,
2013.
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The grant was initially $120,000 which was divided into two budgets of $60,000 for each of the years in the two year project.
The second $60,000 depended on if City’s evaluation of the first year of the project warranted funding the second exhibition.
$5,000 was added to the award at the end of the first year after the grant was renewed.

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 Vectren Foundation, Neighborhood Development grant, for Sculpt EVV parallel project: “the
Great Street Makeover,” $3,000.00, 2013.
 Arts Council of Southwest Indiana, Arts Institute Fund, for “Sculpt EVV [youth] Leadership
Academy,”6
$6,000.00, 2012.
 CLAFDA (College of Liberal Arts Faculty Development Award),7
“Craft? Art, or Hybrid? A Case
Study of Swazi Woodworking and Weaving.” $3,654 .90, 2007.
 FRCWA (Faculty Research and Creative Work Award), “East and West Together Again8
”
$3,440.00, 2000.
- Dissemination
 “Beyond the Wall: Ten Artists from Berlin,” exhibition, Goethe Institute,
Washington D.C., February-April, 2002, Berman Museum, Collegeville, PA,
January-April 2001.
Scholarship—Peer Reviewed Conference Panels and Presentations
 “Public Art Practice--Clearing the Hurdles and Avoiding the Pitfalls,” Panel Chair, College Art
Association of North America annual conference, Washington D.C., February, 2016.
 “MFA? DFA? Ph.D? DVA? Determining the Terminal Degree in Studio Art Practice for the 21st
Century”, Panel Chair, College Art Association of North America annual conference, New York,
February, 2011.
 "Pedagogy not Politics: Faculty-driven Assessment Strategies and Tools,” Panel Chair, College
Art Association of North America annual conference, Los Angeles, February, 2009.
 “Public Art Bus Shelters”, Governor’s Conference on Service and Volunteerism and Campus
Compact Annual Conference, Indianapolis, March 25-26, 2008.
 “Breaking New Ground or Conflict of Interest: an Examination of Contemporary Ethical
Practices in the Visual Arts,” Panel Chair, College Art Association of North America annual
conference, New York, 2007.
 “Visual Constructions and Public Realities of Chicanas and Latinas: From Submissive Ethnic
Captives to Athletic Cultural Reformers,” Interdisciplinary Conference on Hispanic Studies,
University of Sheffield, England, January, 2002.
 “Engaged Citizens: Developing the Public Character of Undergraduates,” Panel Co-chair with
Honors Director Phyllis Toy, Association for General and Liberal Studies annual conference,
October, Louisville, 2002.
 “Fatherland without Borders: the Meta-nationalism of C.D. Friedrich,” 30th Congress
International d’Histoire de l’Art, the oldest international meeting for art historians. London,
September, 2000.
 “Soccer in the United States: New Emblem of Domestic Tranquility and the Means to Urban
Peace,” IOC (International Olympic Committee) Pre Olympic Congress in Brisbane, Australia,
September, 2000, used works of art depicting athletic women to discuss construction of gender,
race, class and nationality. My paper was a finalist for best in its category.
6 In the first year of the Sculpt EVV project, the docent training sessions were called a “Leadership Academy.”
7
I was awarded the amount stated for research in the Kingdom of Swaziland. I had to leave Swaziland unexpectedly due to the
sudden illness and subsequent passing of my mother. I did not seek reimbursement for the funds expended and, unfortunately,
was not able to complete the culmination of two years of research--the field investigation. I was, consequently, unable to
publish on this topic.
8
For research in Germany for exhibition later retitled: “Beyond the Wall: 10 Artists from Berlin.”

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Other Kinds of Scholarship
 “From the Ground Up,” intellectual property application for public art design and production
process to Center for Applied Research and Economic Development, University of Southern
Indiana, 2015.
 “Game Design,” intellectual property application to Center for Applied Research and Economic
Development, University of Southern Indiana, 2014.
 “App” Design,” intellectual property application to Center for Applied Research and Economic
Development, University of Southern Indiana,2014.
 Review: Alice Yang, Alice, Why Asia? Contemporary Asian and Asian American Art (192 pages,
71 b/w photographs), 1998, NYU Press, in EAA (Education About Asia), winter issue, 2000.
Scholarship—In Progress
 “From Curiosity and Souvenirship to Connoisseurship and Diplomacy: The Colonial and U. S.
American Reception of Oriental Exotica in Landscape Architecture”9
is now in manuscript form.
I am assembling the accompanying images and will submit to Studies in the History of Gardens &
Designed Landscapes.
 “The Architecture of Caspar David Friedrich” (working title), investigating Friedrich’a church-
cum-landscape design about which very little has been written.
Fellowships
 NEH Fellow, Institute on Infusing South Asia into the Undergraduate Curriculum, East-West
Center, Hawaii, July, 2010.
 Eli Lilly Foundation Leadership Fellow, Connect with Southern Indiana, (applied in 2007) class of
2008.
 Leadership Evansville Fellow, May, 2005.
 NEH Fellow, Workshop on “The Authoritative in South and East Asian Art and Literature”,
Nashville, TN, April, 2002.
Awards
 Art Educator of the Year, Arts Council of Southwestern Indiana, 2014.
 Faculty Recognition Award, University of Southern Indiana Alumni Association, 2014.
 Spirit of Giving Award, Vanderburgh Community Foundation, for Sculpt EVV, January, 2013.
 Best Project in the Arts Award, for Sculpt EVV, Leadership Evansville, May, 2013.
 Celebration of Youth Arts Award, for Sculpt EVV Leadership Academy, Vanderburgh Community
Foundation, 2012.
 H. Lee Cooper Core Curriculum Teaching Award for “excellent and creative teaching of core
courses”, 2002.
 Who’s Who Among America’s Teachers, 2002.
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Scholarship on the history of landscape gardening falls under the purview of both art history and architectural history
particularly in terms of analysis of aesthetic theory or practice or examination of gardens as aesthetic phenomena reflecting
their cultural contexts.

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Service to the Discipline/Professional Activity
 Member, Editorial Board, Journal of Culture, Art, and Education, Palacky University Press,
Palacky University, Olomouc, Czech Republic, May 2015 to present.
 Member, the College Art Association of North America, 2000-present.
 Commissioner, Mayor’s Public Art Commission, (appointed by Mayors Lloyd, Weinzapfel, and
Winnecke) 2004-present.
- At the request of Mayor Lloyd’s office, I researched public art commissions across the
nation and put together information for the Mayor as well as a model for a public art
commission for Evansville. This research took approximately two and a half months and
had the happy result that Mayor Lloyd established a Public Art Commission
 Member, City of Evansville Bicentennial Planning Executive Committee, 2011-2012.
 Co-chair, City of Evansville Bicentennial Subcommittee on Arts and Culture, 2011-2012.
 Selected as engaged professor for interview by Trudy G. Lee, Doctoral Student at University of
Missouri, Columbia, whose dissertation was on engagement at Carnegie Engaged Institutions,
2012
 Member, Education Committee, the College Art Association of North America, 2008-1110
.
 Member, Mayor’s Public Art Commission Design Review Subcommittee, Ford Center Public
Sculpture, 2010.
 Consultant, Ford Center Public Sculpture Design Selection Committee , 2010
 Invited Guest (invited by Tom Barnett, Executive Director, Department of Metropolitan
Development), to Richard Orr workshop on introducing Arts and Culture into Haynies Corner
District, Evansville Arts Redevelopment Initiative, Haynie”s Corner, December, 2009.
 Speaker, “What and Where is Public Art, and Who is it For?” University of Redlands, May, 2010.
 Consultant on German Romantic art to thesis director Dr. Martha -Peacock, Brigham Young
University, for masters art history student, Alison Sligting Mays, December, 2010.
 Member, City of Evansville Downtown Street-scaping Design Committee, 2009.
 With muralist Eric Braysmith Line Street Park Mural and Neighborhood Development Project,
project director. Project partners: City of Evansville Parks Department, Cleaves Memorial C M E
Church, Teamsters union, and Keep Evansville Beautiful, 2008.
 Member, Mayor’s Master Plan Implementation Cluster (Committee) for Downtown Gateway
Improvements, 2006-2007.
 Member, Board of Directors, Evansville African American Museum, 2005-2007.
 Speaker, “Art in the Trenches,” University of Evansville Lecture Series, Evansville, 2005.
 Presenter, “The Role of the City in Cultural Development,” analyzed differences in the social,
economic, and aesthetic benefits derived from public art and community art and provided
guidelines for instituting integrated programs, IACT (Indiana Association of Cities and Towns),
September, 2004.
 Speaker, “Saving Western Civilization, Finding the Meaning of Life and Other Confessions of a
Core Curriculum Teacher” H. Lee Cooper lecture, University of Southern Indiana, April, 2003.
 Voice and Translator for segment on Berlin in “Who Controls Museums?” by Alex van Oss,
“Morning Edition,” National Public Radio, 12 March, 2002.
10
The Education Committee chair asked me to serve an extra year and when I agreed, she obtained the approval of the CAA
Board of Directors.

10
 Panelist and Simultaneous Translator, Contemporary Berlin Art, Berman Museum, Collegeville,
PA, February 2001.
- conducted a panel discussion at the “Beyond the Wall: 10 Artists from Berlin” exhibition
opening
- was the simultaneous translator for five of the exhibiting artists, the co-curator, and the
audience, 2001.
 Member, Education Committee, Evansville Museum of Arts and Science11
The committee suggests, assists with and assesses different types of exhibitions or lectures
sponsored by the museum. 2000-2001.
Teaching—List of Courses Taught at the University of Southern Indiana
 ARTH 221 Survey of Western Art History I
 ARTH 222 Survey of Western Art History II
 LBST12
697 Capstone Project in Liberal Studies
Teaching—List of Courses Developed and Taught (see below for course descriptions)
 HONS 101
 ARTH 353 19th
Century Art
 ARTH 354 20th
Century Art
 ARTH 355 Contemporary Art
 LIBA13
497/LBST 597 Women, Art and Society:
 LIBA 497Art, Nature, and Religion
 ARTH 490 Special Problems in Art in Indiana
 ARTH 490 Special Problems in Nonwestern Art
 ARTH 490 Special Problems in Art and Identity:
 ARTH 490 Special Problems in Public Art:
 ARTH 490 Special Problems in Muralism
 ART 489 Special Problems in Outdoor Sculpture Exhibitions
 ART 489 Special Problems in Community Exhibitions
 ARTH 59014
Special Topics in Public Art Exhibition Planning
 ARTH 590: Special Problems in Public Art Implementation
Teaching—Mentoring Student Research and Professional Development
 Graduate Student Research--Masters of Liberal Studies Thesis and Capstone Project Director
- Masters of Liberal Studies advisor and thesis director, L. Walker, “Sculpt EVV: An
Innovative Community Revitalization Partnership between the City of Evansville and the
University of Southern Indiana,” completed November, 2014.
11
Now called the “Evansville Museum of Arts, History, and Science.”
12
LBST is [Masters of] Liberal Studies—a prefix for graduate courses in the Masters of Liberal Arts program.
13
LIBA is Liberal Arts—a prefix for the core curriculum senior capstone synthesis course offered in the College of
Liberal Arts.
14
Courses 500 or above are graduate-level courses at the University of Southern Indiana.

11
- Masters of Liberal Studies advisor, L. Walker, completed LBST 697 - Capstone Project in
Liberal Studies, spring, 2012.
- Masters of Liberal Studies advisor, S.Howard, completed LBST 697 - Capstone Project in
Liberal Studies, spring, 2014.
- Directed Masters of Liberal Studies Projects for: 2009: C. Cain, R. Rodenberg, J.
Weigand. 2007: D. Engler, E. Eskridge, C. Fetscher, S. Gremore, R.Risinger. 2006: M.
Hoffman; D. Utley. 2005: M. McManus,
 Mentoring Research: Honors Student Project Advisor to:
2014: K. Ryder, A. Sventeckis, C. Ritter. 2013: J. Rueger (twice), C. Wilson, M. Badger, B. Brock,
M. Patterson, A. Eades, 2012: S. Esche, R. Lear, S.Long, A. Lupfer, C. Wilson, A. Eades, 2011: L.
Everest, J. Gideon, J. Nichols, L. Wheeler. 2010: L. Everest, S. Kuban. 2005: A. Furbee, V. Sprinkle.
 Mentoring Honors Student Research- University of Southern Indiana Honors Research
Conference15
Paper Advisor to:
- A. Scott and L. Siekman, “The Sacred in Stone and Light” 2001
- P. Mabarak and M. Seed, “The History of Stained Glass” 2001
- O’Connor and A. Scott, “How Evansville Remembers War” 2001
- K. DeFries, "The Revolution in Chiapas”2002
- J. Kern, “Images of Cesar Chavez and Dolores Huerta in
- Chicano/a Murals” 2002
- M. Rowe, “Walls of Hope: The Murals of Judith Baca” 2002
- H. Dodd, “Swirls, Slashes and Fog: Style and Content Differences in the
- Art of Monet and Turner”, 2003
 Museum Internship Application advisor for:
- Lacy Williams, Smithsonian—2011-2012
- Wakako Mikami, Smithsonian, 2010-2011, won internship to Smithsonian for fall 2011
- Wakako Mikami, Metropolitan Museum of Art, New York, 2010-2011
- Wakako Mikami, Museum of Modern Art, New York, 2010-2011
Service—to the College and University
 Member, Dean of College of Liberal Arts Search Committee, 2015.
 Member, Dean’s Chairs Council, 2014-present.
 Member, Provost’s Council of Chairs, 2014-present.
 Initiator and Organizer, Rhythm and Blues band concert featuring “Perfect Mix” for Black
History Month, 2015.
 Member, Philosophy Department Program Review Committee, 2014-15.
 Author, narrative nominating Professor Kathryn M. Waters for Distinguished Professor and
author of subsequent narrative for her finalist’s dossier, 2014-2015.
 Chair, College of Liberal Arts Community of Scholars and University of Southern Indiana
Society for Arts and Humanities speaker, “Art and Commerce: How Public Art Changed
Indianapolis,” by Dr. Lisa Freiman, College of Liberal Arts Community of Scholars and University
of Southern Indiana Society for Arts and Humanities speaker, 2013.
 Mentor to Sukanya Gupta, 2012.
15
I founded and directed the first Honors research conference in our region (see section on University and College
service)

12
 Author and contributor, service-learning reports for Carnegie Engaged Institution application,
2010.
 Chair, Sydney Berger Lecture Committee
Brought Vermont Supreme Court Associate Justice Marilyn Skoglund, “When Art Goes to Court,”
Justice Skoglund addressed what can happen when public art is created and legal issues arise,
2009-10.
- Arranged for Justice Skoglund to visit classes in criminal justice.
 Member, Humanities Core Teaching Committee, 2000-2011.
 Conference presenter, “Teaching Feminism in a Post-Feminist World,” Indiana Feminist Art
Project, Women’s Art Symposium, New Harmony, Indiana, February 27, 2010.
 Co-collaborator with Rob Millard-Mendez, “Aquila,” public art installation, University of
Southern Indiana, April, 2009.
- Author, Major as Home Grant, which funded this project.
 Author, “Conversations with Stephen and Pam Pace (with Kathryn Waters),” ,
Southern Indiana Review, 2008.
 Speaker, “From Abstract Expressionism to Modernist Figuration: the Art of Stephen Pace,”
University of Southern Indiana, September 8, 2008.
 Member, Service-Learning Advisory Committee, Committee worked on defining “service-
learning” and establishing guidelines for its practice, 2007-2008
 Member, Liberal Arts Distinguished Scholar Committee
Committee brought installation artist, John David Mooney, 2007.
 Co-author, nomination of Sherry B. Darrell for Distinguished Professor award, 2007.
 Member, University of Southern Indiana Accreditation Assessment Sub-committee on the
University Mission, 2004 and 2005.
 Member, Honors Council
Evaluated applications for admission to and graduation from the Honors program, evaluated
student portfolios, helped assess program, developed a national email database of Honors
programs, attended social/cultural enrichments outings with Honors students, organized
meetings with other Honors faculty to develop HONS 101, 2000-2005.
 Initiator and Organizer, speaker for Black History Month, “Running Man: the Art of Raymond
Johnson” by local African American artist, Raymond Johnson, 2005.
 Teacher, First Class, guided freshmen in a discussion about succeeding at the university level,
August, 2004 and 2005.
 Member, New Harmony Task Force
explored ways to establish New Harmony as a residential living-learning campus of the
University, 2003-2004.
 Co-speaker and presenter with Michael Slavkin, “The Ethics of Engagement,” University of
Southern Indiana deans and chairs retreat, August, 2004.
 Chair, Community of Scholars Lecture Committee
“Beauty Below the Surface: Artistic Intentions,” Dr. Peg Zeglin Brand, Assistant Professor of
Philosophy and Gender Studies, Indiana University, Bloomington, discussed 'inner beauty' as it
relates to artistic intentions in feminist art of the past three decades, drawing a crowd that filled
Kleymeyer to capacity, October, 2003, 2002-2003.
 Member, Service-Learning Task Force
promoted service-learning and scholarship of engagement projects, 2002-03.
 Teacher, HUM 211 the Western Tradition I for distance education:

13
Team-taught interdisciplinary survey of Western culture to distance learners, helped to
construct the syllabus, prepared, rehearsed and delivered recorded presentations which
included student participation, contributed three two-hour discussions covering ancient Greek,
Roman, and Medieval art, interwove teaching students a visual vocabulary, and a knowledge of
past art, and understanding of the principles of the time periods under discussion, included
interdisciplinary references that overlapped information delivered by other contributing faculty.
2002.
 Founder and Director, The University of Southern Indiana Honors Research Conference
Founded and directed all aspects of the first Honors research conference in our region which
was also the University’s first interdisciplinary undergraduate research conference.
- Year 1 (2001): we attracted participants from as far away as Pennsylvania and Iowa,
offered theme-based sessions with papers from varying disciplines, e.g., session
“Matters of Life and Death:” offered papers analyzing sculptural commemorations of
WWII, a Spanish civil war play, ethical and legal approaches to assisted suicide, local oral
tradition about WWII, and different methods of abdominal aortic aneurysm repair.
- Year 2 (2002): The University of Southern Indiana Honors Research Conference:
Conference Director and presented, with students, “Community Art: The Transforming
Power of Chicano/a Murals.”
 K. DeFries, "The Revolution in Chiapas”
 J. Kern, “Images of Cesar Chavez and Dolores Huerta in Chicano/a Murals”
 M. Rowe “Walls of Hope: The Murals of Judith Baca”
- Nuke, a Chicano muralist, spoke, via video conferencing, about his work in the East Los
Angeles barrio and with the revolutionaries in Chiapas, Mexico.
- The second year, the conference existed in conjunction with the new RISC (Research,
Innovation, Scholarship and Creativity) Showcase—a campus undergraduate
conference which eventually absorbed the Honors conference and morphed into
Endeavor!. — The University of Southern Indiana Honors Research Conference and
RISC Showcase, 2002.
 Member, RISC (Research, Innovation, Scholarship and Creativity) Committee and RISC
Showcase Conference co-director
Dedicated to furthering undergraduate research. Represented the Honors program, evaluated
student applications for research grants, co-directed Showcase, an annual undergraduate
research conference modeled after the Honors Undergraduate Research Conference.
- Directed the theme-based sessions, invited the keynote speaker, renowned Chicana
muralist, Professor Judy Baca, coordinated all aspects of her visit, initiated co-
sponsorship of her visit with University of Southern Indiana Foundation, negotiated with
Ms. Baca for a workshop for art majors, at no extra charge to the university. 2002.
 Member, International Studies Task Force
Helped put together International Studies program, 2001-02.
 Speaker, Graduation Reflection Address. May, 2001.
 Co-coordinator, Honors student participation in Enlow Conference on Biotechnology
Helped the Director of Honors coordinate Honors student participation in this conference in
New Harmony, 2001.
 Presenter and workshop leader, Honors Faculty Teaching workshop
Demonstrated to junior Honors faculty how to construct and monitor Honors components and
projects in their courses, spring, 2001.
 Member, Graduate Council

14
Evaluated applications for faculty and student admission to graduate program, reviewed and
changed as needed policies, assisted (former) School of Education with accreditation review
with NCATE (The National Council for Accreditation of Teacher Education), 2001.
 Chair, Sydney Berger Lecture Committee
"Art, Diversity, or Censorship: Who Decides presented by Dr. Charles Nelms, Vice President for
Student Development and Diversity for the Indiana University system, Vice Chancellor of the
Bloomington campus, and professor in the Department of Educational Leadership and Policy
Studies.
- Selected Dr. Nelms to address the controversy about the image of a KKK cross burning in
one of Thomas Hart Benton’s murals on Indiana history.
- Directed all aspects of inviting Nelms, arranging his travel and accommodations, hosting
and publicizing his talk, including attracting members of the Native American and
African American communities to this lecture which over 300 people attended in March
2001. 2000-2001.
 Presenter and workshop leader, Honors Faculty Teaching Workshop for New Honors faculty,
Honors Faculty Retreat
Introduced new Honors faculty to the possibilities of service-learning research projects and
suggested ways faculty could frame topics to insure students successfully complete their
projects and format them to present at our research conference, fall, 2000.
Service—to the Art Department
 Chair, Art History Committee.
- Dealt with all curricular, pedagogical, technological and facilities-related matters
relevant to teaching art history, collaborated on developing ARTH 265—Professional
Writing in Art, 2015, and ARTH 223—Survey of Nonwestern Art History spring and fall,
2015, advised students, maintained NASAD program accreditation
- Worked closely with Art Resource Library curator (ARL), to develop Department capacity
to access, use, and teach students to access and use Artstor-(digital database) and its
OIV (Offline Image Viewer) presentation software.
- Wrote portions of the Department application to NASAD for accreditation, 2009-2010.
 Member, Annual Juried Student Art Show Committee
Helped organize and implement this event, 2000-present.
 Southern Hospitality Day
Represented the Department at one Southern Hospitality Day each academic year, 2000-2013.
 Member, Senior Art Seminar Portfolio Review Panel
Reviewed the portfolios and portfolio presentations of Art majors during finals week of fall
semester, 2000-present.
 Assist with Art Club fund-raiser (The Fall Festival Corn Booth)
Assisted students one evening of Fall Festival with their fund raising for travel to collections and
exhibitions, 2001-2011.
 Member, Core 39 [general education] Committee
Worked with the Art History Committee to coordinate CORE 39 offerings and assessment, 2013-
present.
 Member, Tenure, Promotion and Faculty Evaluation Committee, 2013.
 Chair, Search Committee, Assistant Professor of Art History, 2011-2012.

15
 Chair, Search Committee, Assistant Professor of Art (Ceramics), 2010-2011.
 Chair, Contract Faculty Evaluation Committee, 2007 –2010.
 Member, NASAD Accreditation Review Committee
Wrote new department policy regarding the review of contract faculty, 2009-2010.
 Co-chair., Judy Chicago Lecture and Museum Liaison Committee
Worked with the Evansville Museum of Arts, History and Science to bring Judy Chicago to
campus for a public lecture in conjunction with the Museum’s exhibition of her work, summer
and fall, 2012.
 Member, Tenure, Promotion and Faculty Evaluation Committee, 2005.
 Member, Search Committee, Assistant Professor of Art (Wood Sculpture), 2005.
 Member, Tenure and Promotion and Instructor Evaluation Committee, 2004.
 Chair, Tenure and Promotion and Instructor Evaluation Committee, 2003.
 Member, Tenure and Promotion and Instructor Evaluation Committee, 2001.
 Chair, Slide Library Task Force
Chaired a task force reporting on the state of the Slide Library and its immediate need for a
visual resource librarian, wrote the budget justification and request, 2001.
Service—to the Community
 Member, Planning Committee, Boom Squad (local drum line) fund raiser, helping to bring a
carnival to Bayard Park, Evansville, May 26-31, 2014.
- I was invited to participate because of my experience organizing Sculpt EVV and because
I feature Boom Squad at the annual Sculpt EVV opening.
 Member, Tri-State Cinema Society, brought classic and foreign films to this region, 2000-2008.
 City Tour escort for Maestro Yanami Sakahashi, Conductor, Tochigi City Wind Orchestra, 2009.
 Helped Patty Avery find an exemplary female art student who would exhibit her (the student’s)
work and mentor girls at the annual April “Girls In Bloom” event, 2003-2006
 Presenter, “German Art through the Ages,” Atria Retirement Center, Newburgh, 2006.
 One of three jurors, evaluating applications for the art scholarship awarded by the Vanderburgh
County Community Foundation, 2005.
 Presenter, “How Religion Changed Art,” at the Evansville Unitarian Church, in February, 2000.
Descriptions of Courses Developed and Taught
Note: The list does not include the standard lower-level surveys ARTH 221 (Survey of Western Art
History I), ARTH 222 (Survey of Western Art History II) nor does it include the standard upper-level
survey courses of ARTH 353 (19th
Century Art), ARTH 354 (20th
Century Art), or ARTH 355 (Contemporary
Art).
HONS 101 Critical Thinking--Issues for the 21st Century: Three other faculty and I created this course to
develop Honors students’ critical thinking abilities in their roles as citizens—to develop their abilities in
public, collaborative problem-solving and foster a relationship between Honors students and the
Evansville community. Using the Kettering Foundation and National Issues Forum method, students
learned how to frame an issue and moderate a public debate so groups of citizens could apply critical
thinking to public deliberation. We each taught a section of this class and in each section we helped the
students collaboratively organize, host and moderate a public issues forum on the legal ramifications of

16
biotechnology (2000) and the problems of urban sprawl (2001). Both of these fora were SRO in Forum I.
To help students prepare for these public deliberations, we taught students how to interview members
of civic government and local professional experts on the fora topics. The four Honors faculty members
met every Wednesday, both semesters, to coordinate the different sections’ learning and involvement
in the public fora.
LIBA 497/LBST 597 Women, Art and Society: This course included a survey of the history of women
artists and art depicting women in which I helped students contextualize the artworks and apply what
they were learning about issues of colonization of mind as well as body. We looked at women artists
who had successful careers in particularly oppressive circumstances and reflected on the factors that
shaped their success. We practiced examining our communities and daily lives to discover the value
systems that objects, images, and works of art reinforce so we could recognize gender issues and their
presence or absence in public debate. Sometimes, for example, I posted current articles from the New
York Times and invited students to identify evidence of gender bigotry or feminist perspectives in them.
LIBA 497Art, Nature, and Religion: I created this University Core Curriculum synthesis course to help
students: understand how men and women of the past defined human beings and their relationship to
nature; recognize that the ancients posited a divine order in the universe and imbued human existence
with significance; trace how confidence in an inherited Judeo-Christian cosmic order is challenged by or
blends with scientific discoveries. My interest in the modern confrontation of inherited Judeo-Christian
belief systems with scientific interpretations of the world derives from my research on Caspar David
Friedrich. I incorporated some of his visual texts into the selection the class collectively examined. The
course expected students to engage in discussions on ethical and social considerations resulting from
the debatable significance of our species’ position within the universe. How should we treat other
species? Where do our moral codes and exemplars come from?
ART 490 Special Problems in Art in Indiana: I developed an experiential field course that enabled
students to apply their knowledge of art history to Southwest Indiana and benefit the community at the
same time. Sometimes residents of an area are unaware of their cultural assets. Publicizing them can
increase citizens’ pride in their community, their willingness to invest in asset preservation, and
encourage the economic benefit of cultural tourism. Students located, documented, and researched
architectural monuments or works of art in Southern Indiana, converted their findings into exhibition
catalogue form and published them on the Art in Indiana website the students developed:
http://www.usi.edu/artdept/artinindiana/index3.html. Students demonstrated to website visitors that
our local architectural monuments and artworks descend from and connect our region to illustrious
aesthetic traditions from all around the world. The last time I taught this course was 2009. The (then)
dean of the college ceased supporting the course and website and it is no longer available.
ARTH 490 Special Problems in Nonwestern Art: Inspired by my research on Ndebele (women) muralists
and Swazi (women) weavers and (men) woodcarvers, I developed this course to help students thrive in
the global community and be able to engage with people of different heritages in the United States, as
well. This course exposed students to a sampling of the aesthetic contributions of pre and post-colonial
Asia, Africa and Polynesia, and the pre and post-conquest Americas. I also introduced students to issues
of colonization, transformation, survival and revival of indigenous peoples and their aesthetic
expressions. Of course, I include Nonwestern artworks in the upper-level survey courses, notably the
Japanese influence on 19th century European art, the African and Oceanic influences on 20th century
European art, and a discussion of the Global Contemporary Movement, in contemporary art.

17
ARTH 490 Special Problems in Art and Identity: My research on ethnic and gender identities as
expressed in Chicano/a murals of Los Angeles inspired me to create this class and share with students,
as part of the course material, some of my discoveries. My scholar-citizenship also impelled me to
create this course on Post Modern social problem-solving through the arts. Students trace how identity
factors, e.g., ancestry, inform the Post Modern art-making method of Judy Chicago in her Holocaust
Project (1985-93), a collaboration with her husband, Donald Woodman. Students examine some of the
components of their own identities and consider how these identity factors might impact the selection
of themes for and creation and viewing of their own artworks or art history projects. Then, students
choose their own topics relevant to a local or global community need or problem and plan a public art
solution by following the steps in Chicago’s method. Students are not expected to realize the project—
just plan it and complete the preliminary research, e.g., developing a bibliography, reading some of the
sources, and identifying and analyzing art historical precedents dealing with their chosen topics. The
latter often takes students outside the Western tradition.
Public Art Courses: In 2003, I began teaching classes on public art. The projects described below
culminate in the courses I developed for my applied scholarship in public art—the Sculpt EVV project
2012-2015 briefly described in the section on Peer Reviewed Exhibitions
ARTH 490 Public Art Seminars: Continuing to teach from the point of view of the scholar-citizen I began
developing seminars on public art. I believe that professors in the arts and humanities must help
students become wise stewards of the cultural tradition that we pass on to them. I also believe we must
enable students to become inclusive, community conscious cultural producers as well as guardians of
culture. Public art practice is not really taught anywhere. In this seminar, we not only examine historical
monuments but also tackle issues surrounding the process of creating public art. We address the idea of
memory and what and whom we commemorate and how we can make our public memories as
manifested in, for example, public sculpture or murals, inclusive, even conciliatory. Citing examples, I
share strategies with the students about how to include non-art members of the public in contemporary
public art practice and still end up with a fine art product. One method is for the professional artist to
work with members of the public to generate ideas for the content which the artist converts into
aesthetic form—a method established by muralist Judy Baca. I submit, below, descriptions of the
different community problems students addressed in different semesters I offered this or similar
seminars:
ARTH 490 Special Problems in Public Art: The “Public Art Bus Shelters Project,” involved University of
Southern Indiana students mentoring at-risk youths from the Stanley Hall Enrichment Center16
(SHEC)
through the public art process. Art student mentors and I demonstrated how to identify community
needs and led the SHEC mentees to the following conclusions: Evansville needed (1) more bus shelters
and (2) more awareness of Evansville’s achievements and history. Then mentors and I worked with SHEC
mentees to find public art solutions to meet these needs, i.e., public artworks that function as bus
shelters while commemorating and teaching about Evansville’s transportation history. The mentoring
took place at SHEC every Thursday morning from 7:30-10:00 a.m. throughout the semester17
except for
when we took the SHEC mentees on a research field trip to Willard photo archive and the Evansville
Museum Transportation Center. Students and mentees also read the plaques recounting the
16
The (former) Stanley Hall Enrichment Center offered an alternative, self-paced learning program so that at-risk youths could
finish high school.
17
We only missed two Thursdays: the first Thursday of the semester so University of Southern Indiana students could prepare
for the project and the Thursday of spring break.

18
transportation history on Evansville’s Ohio River front. The SHEC mentees and the art majors chose the
transportation themes (the steam boat, the WWII LST (landing ship tank) and WWII P-47 fighter). and
the art majors mentored the design process, converting the ideas into models. An architect critiqued the
designs midway through the project and he, an engineer, and the Metropolitan Evansville
Transportation Service (METS) director critiqued the “unveiling” of the models at our final meeting. In
keeping with SHEC individualized course of study, I developed a self-paced PowerPoint tutorial for the
SHEC youths to introduce them to some design considerations for this project and which was structured
to prompt them to ask for definitions of terms at our next session or look up things they did not
understand and share the information at our next session.
ARTH 490 Special Problems in Muralism: This course offered students the opportunity to learn about
the history of muralism and participate in two mural-based service-learning projects: “Arts and Smarts”
and “Park Deco.” In the “Arts and Smarts” mural project, lead artist Nancy Raen-Mendez, students, and I
worked with young people at Patchwork Central to create a mural commemorating the silver
anniversary of the Arts and Smarts program.
The Department of Metropolitan Development (DMD) Executive Director, the late Gregg LaMar, and
Mick Conati (then) Vice President of the Downtown Development Division of Growth Alliance for
Greater Evansville (GAGE), contacted me to see if some University of Southern Indiana students and I
could submit a design for an aesthetic improvement to the City’s public parking garage between Fourth
and Fifth Streets and Locust and Main Streets. I suggested a design that could be converted into a mural
or a neon/LED sign on the panels of the garage. Our design/s would let these two non-profit
organizations see the aesthetic possibilities which they could not afford to commission. The aesthetic
renovation of the parking garage would improve the cultural and economic infrastructure of downtown
by attracting more people to the Children’s Museum of Evansville (CMOE) across the street. Creating a
“fun” place to park would also encourage more people to visit Main Street.
Students and I named the project “Park Deco” because our design solutions alluded to an Art Deco style
through which we highlighted the architectural heritage of Evansville and called attention to the notable
downtown Deco landmarks of CMOE, the Greyhound Bus Station, and the Titles, Stratman, and Hullman
buildings. Each mural/LED design further promoted awareness of downtown history by referencing an
Art Deco movie palace, thereby commemorating the Majestic movie theater that the parking garage
displaced. Finally, all designs showcased the transportation history of Evansville during the Art Deco
period (1920’s-1940’s) by featuring the P-47, LST, Graham-Paige car, Greyhound bus, and train. All of
these modes of transportation, which appear along the Fourth and Fifth Street sides as “movie stills”
“move” toward Main St., visually guiding pedestrians in the same direction. In the design narrative,
these native modes of travel “arrive” at the composite Art Deco skyline of Evansville, which we have
titled “Majestic Destination.” We also designed neon/LED light treatments for the interior to complete
the Art Deco movie palace theme in style and medium and to distinguish each level of the “Park Deco”
garage. The designs were very well received but the unfortunate passing of Mr. Lamar prevented
realization of the project. 2006
ARTH 490 Special Problems in Art in Indiana: Students studied varying aesthetic solutions and purposes
for public artworks from different art historical periods and cultures, learned to analyze sites for
potential public artworks in public art master planning exercises and, applying what they learned,
created designs for “the Four Elements Gateway Project,” co-directed by Ann Ennis (then) Executive
Director of Keep Evansville Beautiful and architect Mike Shoulders of Veazey, Parrott, Durkin, and
Shoulders (VPS Architects). The design team goal was to encourage the City to support aesthetic

19
improvements. I was the team member who came up with the elements theme. While the professional
team generated ideas for First Ave./Market St. and the Lloyd underpass (Earth), students in my class
focused on the Main Street and Lloyd underpass (Fire) and contributed to the design for Martin Luther
King Boulevard and Lloyd underpass (Air) and suggested affordable Our class sessions were held at VPS
architects, downtown. Students published their design solutions on the Art in Indiana website and
presented them to sixty members of the public at the “Weigh In” public forum on gateways,
greenscapes and complementary environmental art, Browning Room, Central Library, Dec. 1, 2009.
Sculpt EVV Project—Integrating Scholarship and Teaching
My public art scholarship realized a method for including others, i.e., students and the
community, in a major public art project that still produced works of high aesthetic caliber,
while also delivering the social, cultural, and economic benefits of public art to distressed
neighborhoods. This new paradigm resulted in a $125,000.00 grant to fund a two year project
(2011-12, 2012-13) with additional $15,000.00 of City grants and $44,780.00 from other
granting sources to support different aspects of the project and extend its length by two years
(2013-14, 2014-15). The ART 489 and ARTH 590 courses form the curriculum I developed to
involve both students and the community in the public art process
Undergraduate and graduate students were able to participate in Sculpt EVV by participating in
the following courses:
ART 489 Special Problems in Outdoor Sculpture Exhibitions18
(summer I, 2012-2015),
ART 489 Special Problems in Community Exhibitions19
(summer I, 2013)
ARTH 590 Special Topics in Public Art Exhibition Planning spring (2012, 2013, 2014)
ARTH 590: Special Problems in Public Art Implementation summer I (2012, 2013)
ART 489 Special Problems in Outdoor Sculpture Exhibitions: In each annual incarnation of
Sculpt EVV, undergraduate students had the opportunity to prepare exhibition sites, help artists
install works, write exhibition catalogue entries or docent scripts, train neighborhood youths to
be docents, learn to budget, plan, and implement an event with many layers including live music
and an art fair.
ART 489 Special Problems in Community Exhibitions: Students who had completed ART 489
Outdoor Sculpture Exhibitions and wanted to broaden their learning experiences enrolled in this
course where they took on different assignments than before and assumed significant
leadership roles in the project.
Both ART 489 courses enabled students to work at the neighborhood level. This kind of
community experience is unfiltered, differentiating it from the structured interface between
institutions, such as a university partnering with a clinic or public agency, for example.
18
I am teaching art history with a studio/design pre-fix because studio classes have six contact hours. The amount of contact
hours needed for students to help me implement the Sculpt EVV project (see scholarship section of this narrative) in less than
five weeks warranted switching from ARTH 490 to ART 489. Students receive upper-level art history credit from this field-based
course that provides students with many resume lines.
19 I developed this course for students who had completed ART 489 Outdoor Sculpture Exhibitions and wanted to broaden
their learning experiences by taking on different assignments and assume leadership roles in the project.

20
ARTH 590 Special Topics in Public Art Exhibition Planning: Graduate students learned to plan
the multi-layered summer I curriculum. First, they addressed how to identify what the youth
docents must know and do and, second, how to design the training program that enables youth
docents to perform their duties (different each year) and third, how to prepare the
undergraduate students to teach the youth docents.
ARTH 590: Special Problems in Public Art Implementation: Graduate students were also
involved in implementing the project, mentoring the undergraduates through the docent
training and aspects of the exhibition openings.

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