I think of my teaching philosophy as having two major components.  The first considers what to teach.  The second considers how to teach.  Each component depends upon the other to achieve success in teaching and learning.

            In considering what to teach, I draw from my own rather schizophrenic education.  As an undergraduate, I studied painting with Peter Plagens.  Plagens, well known for his often brutally funny art criticism, is also a formalist, non-objective painter.   In graduate school, I studied with Thom O’Connor, a minimalist printmaker; Ken Johnson, an art critic; and Mark Greenwold, a narrative painter.  Plagens and O’Connor consistently critiqued in formal terms only.  I might show work similar to a woman nursing a litter of piglets, yet they would only speak about hard and soft edges, convincing form, and the effective use of space, etc.  From these critiques, I learned that content is only powerful to the extent it is visually compelling.  Johnson and Greenwold critiqued differently.  They did not discount formal principles, but ultimately wanted to see a conceptually interesting vision.  They wanted to see work they had never seen before, that resulted from an intense, thoughtful exploration.  From these critiques, I learned to be brave. 

            In my courses, I endeavor to teach a cohesively integrated curriculum that stresses formal principles and creative daring.  I want students to have a strong foundation that develops their visual acuity.  I design assignments so that considerations of line, value, form, light, etc. become so ingrained that they are almost intuitive.  I work closely with students to develop their technical skills handling whatever materials we are using.  As students gain these skills, the assignments open up.  They receive fewer step-by-step directions, but more guidance as they generate their own ideas.  They learn a creative process.  As their teacher, I push them to their most ambitious, most courageous self.  I want nothing less than blood.  If we both have done our jobs, then students will proceed through their advanced level coursework with the ability, the discipline, and the tenacity to be true artists in the most romantic sense of the word. 

            Augmenting the studio experience are my writing and research projects.  As my syllabi show, I firmly believe students benefit from an intense exposure to historical and contemporary art.  Each major project is introduced with visual examples from established artists and from other students. Having always taught a diverse student population, I am careful to balance my examples of artist’s work between various cultures.  Frequently the historical illuminates the contemporary, as Chinese calligraphy does to Brice Marden’s Cold Mountain series.   I strongly believe in showing contemporary artists whenever possible as a way of increasing student awareness and interest. I have noted that students gravitate to current art world trends. Even in foundation classes, I believe discussing controversial or theoretically difficult work to be quite insightful. 

            In considering how to teach, I again draw from my experiences as a student.  At pivotal times in my own artistic development, my best teachers had faith in me.  Not surprisingly, they were also the most demanding. When I teach, I fully expect concentrated effort and success from my students.  I encourage their creative development, accepting only their best effort while supporting their endeavors.  I believe in my students, and they know it. In a climate of supported risk-taking with the expectation of hard work, they flourish.   I often think professors underestimate the influence they can have over students’ views of themselves.  I take that responsibility seriously.  It is especially important at the undergraduate level to carefully separate the person from the artwork.  In a strange way, my critique is not about how good or bad a student’s work is.  It is about teaching that student to be a better artist.   

            Specifically, I have a group critique in every class.  For more formal critiques, I assign students typically two questions to answer in their sketchbooks about a classmate’s work.  Each student then shares what they wrote and expands on it.  Group discussion follows.  This public assessment is critical to setting high expectations for the class.  Students speak constructively (“I just like it” is not enough.) and have the opportunity to explain their own creative process after their work is discussed.  The climate is one of respectful attention perhaps because all students will have their moment of vulnerability.  Most students come to understand and welcome “the hot seat.”  After all, this feedback is why they are taking the class.  My role is to guide the group discussion, asking questions and making sure all important issues are discussed.  I usually also finish the discussion with a recapitulation of the important points.  My student evaluations frequently comment that the critique is the best part of the class. The experience teaches students how to critically analyze their own effectiveness.

            Of particular interest to me is contemporary figurative work. I believe too often figurative artists are valued simply for their technical skill.  Contemporary artists such as John Currin, Jenny Saville and LisaYuskavage demonstrate considerable technical skill while engaging us conceptually as well.  As I consider the possibilities of this position, I want foremost to teach students technical skills not as an end, but as a means to an end of making art.  Especially in painting, which arguably reached its technical peak with Van Eyck, students need to both strive for skillful mastery and thoughtful consideration of their place in contemporary art.  Just as drawing and painting naturally inform other visual media, students need to understand how photography, video, film and digital media have fundamentally changed drawing and painting.  Currently, my teaching in close proximity to New York City gives students the ability to stand before both master works and world-class contemporary paintings.  My students are required to take full advantage of this fortunate proximity to one of the major art centers in the world.

            My courses are a blend of attention to technique, exposure to both historical and contemporary artists’ work, and the encouragement of original ideas.  The sophistication of the visual culture students see every day makes them much more visually literate (or jaded).  I endeavor to develop in students an analytical eye that can discern the good from the bad in their own art and beyond.  Most importantly, I want to nurture their work ethic, courage and commitment.

                                                                        Jackie Skrzynski