TEACHING

Statement of Teaching Philosophy

As an artist and educator, I empower students to build frameworks for creative practice, research, and professional development, emphasizing they are not just preparing for a career - they are forging a lifestyle. themselves as producers, critics, and participants in visual culture. I have taught primarily print media courses since 2011, and use print’s vital roles in mass media and social action as catalysts for students to engage design, sculpture, installation, digital media, and photography. In her book Living and Sustaining a Creative Life: Essays by 40 Working Artists, Sharon Louden states, “The power of creativity does not just lie in an artist’s work, but also in how he or she continues to create regardless of the obstacles life places in the way.” I facilitate a workspace that emphasizes both independent exploration and collaborative problem solving, encouraging students to identify and discuss obstacles and solutions to prepare for a sustaining creative practice after graduation. 

When I introduce an assignment, I provide students with (a) prints by student and professional artists to look at in person; (b) slide presentations with examples from art history, contemporary art, and arts organizations; and (c) technical demonstrations. Together, these provide a variety of entry points to discuss past, present, and potential connections between printmaking and social media, publishing, design and illustration, activism, science and technology, community organizing, and social practice. I encourage students to work fluidly between digital and analog technology: from planning color layers and separations with imaging software, to using CNC devices as tools to expand possibilities for hand-pulled prints. Students in all levels have opportunities to exhibit their work, from on-campus venues like the SpaceLab Gallery or the IU Southeast Annual Student Juried Exhibition, to showing artwork regionally or in national and international juried exhibitions. They research venues and platforms outside of school that suit their interests, and write about the ideal venues and audiences for their artwork. Each activity and assignment supports an outward-looking perspective, as students discover, identify, and pursue a diverse range of pathways to practice creative work. 

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The opportunity for all students to have their work displayed in public significantly enhances their understanding of personal achievement and growth. Therefore, CAA strongly encourages institutions to stage regular solo and group exhibitions of student work. The process of selecting, installing, and exhibiting work strengthens the ability to think critically, express ideas creatively, and work conceptually and with thematic consistency. Other student outcomes include professionalism and technical proficiency.

-College Art Association (CAA), Guidelines for Baccalaureate Degrees in Art and Design 

Another focus in my classes is the facilitation of a collaborative problem-solving community. In each class meeting, I include intentional and self-reflective periods of making, writing, and research. For the first 15 minutes of class, small groups of three to four students address technical problems, share research findings, and discuss connections to learning in other courses. Students share content on laptops, classroom computers, their sketchbooks, and materials from the Printmaking Research Library, a collection of books and periodicals I have assembled in the studio. In the years since I implemented this cohort activity, student evaluations reflect a distinct increase in a feeling of reciprocal support in the studio - even for those studying in other fields like psychology and neuroscience. I have aligned grading rubrics with instructor-guided self assessment on the basis of technical innovation, concept and context, and craft. After each project, students write a self-evaluation on research findings, inspirations, and ideal audiences and venues. Language for grading and self-evaluations is borrowed from residency and grant applications students may pursue after graduation. In upper-level courses, students write and revise artist’s statements and conduct written interviews with professional artists and designers across the US, which are published on my teaching research website, People Powered Prints. Outside of class, students find new audiences and work within the community. They regularly lead publishing projects to raise funds for national conferences and professional development opportunities, and teach classes at local arts organizations. Through these activities, I help students connect with artists, markets, and collectors, write about their work, and assess the efficacy of their methods. 

My teaching methods are a reflection of my research-based art practice, and I approach both with passion. I feel most successful when students are confident to take risks with new techniques and subject matter, understand each artistic medium as a vehicle to communicate their ideas, and maintain an active role in the shared space of the studio. Through readings, web-based resources, independent and collaborative work in the studio, and projects with visiting artists, students of all levels learn the myriad ways that artists make a living doing what they love.

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Courses Taught

Each semester, I teach two classes with 5-7 course numbers. This includes one standalone course, Basic Printmaking Media, and one Stacked class, in which several courses meet concurrently. Stacked classes include intermediate through advanced students and are typical among universities with one or two faculty in the Printmaking discipline area.

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Basic Printmaking Media (FINA-S 240)

This class is designed to give the beginning student an overview of basic printmaking techniques and an understanding of what a print is, the nature of prints as original works of art in multiple, and print media’s contemporary and historical impact in art, design, and society. During this course, students will become familiar with basic techniques and concepts of relief, intaglio, lithography, screen printing, monotype and digital applications for printmaking, with in-depth, hands-on experience in relief, monotype, and intaglio. 

The emphasis of this course is on mastering basic printmaking techniques, and learning how to create and discuss creative work on the basis of technique (application of printmaking processes), concept (creativity, originality, and ambition), craft (attention to detail and consistency). Through demonstrations, studio work, visual presentations, readings, and discussions, you will obtain a basic knowledge of printmaking and its history. This course uses non-toxic and less–toxic, sustainable printmaking techniques and materials as much as possible.

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Syllabus, Fall 2020 

Syllabus, Spring 2020 (prior to transition to remote learning due to COVID-19 pandemic)

Example assignment, Project 1: Repeated Pattern Design with Relief Printmaking

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Stacked Intaglio and Relief Classes (Fall semesters) 

Printmaking II Intaglio (FINA-S 341)

Printmaking III Intaglio (FINA-S 441)

Printmaking II Relief (FINA-S 348)

Relief Printmaking Media (FINA-S 445)

BFA Printmaking (FINA-S 442)

Syllabus, Fall 2020

Syllabus, Fall 2019

Example assignment, Project 2 Intaglio - Creating an Image with Multiple Grounds

Example assignment, Project 2 Relief Printmaking - Multi-color Reduction Prints

Stacked Lithography and Silkscreen Classes (Spring semesters) 

Printmaking II Lithography (FINA-S 343)

Printmaking III Lithography (FINA-S 443)

Printmaking II Silkscreen (FINA-S 344)

BFA Printmaking (FINA-S 442)

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Syllabus, Spring 2020 (prior to transition to remote learning due to COVID-19 pandemic)

Example assignment, Project 3 Lithography - Combining Hand-Drawn and Photographic Imagery

Example assignment, Project 3 Silkscreen – CMYK Color Separations

Example technical guide, Preparing Films for Computer-Generated Positives

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Undergraduate Independent Studies

Because printmaking techniques require specialized equipment, students who want to make work in print media but have schedule conflicts often take an Independent Study with me. I mentor them throughout the process of submitting a written project proposal, through completion of the project. Their work often becomes part of their thesis or design portfolio, or a larger, multi- or interdisciplinary project. Some independent study projects include: 

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"Artist's Book with Cyanotype and Handmade Paper," Completed. (August 24, 2019 - December 10, 2019).
"Relief Printing on Fabric," Completed. (June 24, 2019 - August 5, 2019).
"Interactive Intaglio Printmaking," Completed. (June 24, 2019 - August 5, 2019).
"Experimental Stone Lithography," Completed. (May 7, 2019 - August 5, 2019).
"BA Thesis Show," Completed. (January 1, 2019 - April 27, 2019).
"App with Animated Woodcuts and Sound," Completed. (January 1, 2019 - April 27, 2019).
"Lithography and Screen Printing," Completed. (August 21, 2017 - December 9, 2017).
"Narrative Intaglio," Completed. (August 21, 2017 - December 9, 2017).
"Screen Printing on Ceramics," Completed. (January 9, 2017 - May 2, 2017).
"Student Leader for MAPC Conference - Technical Demonstration Lead Assistant and Conference Host," Completed. (August 22, 2016 - December 10, 2016).

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Teaching Methods and Learning Outcomes

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“[Professor Crum’s] assignments require students to learn, create, apply, and evaluate material and be able to apply what they are learning in an appropriate and empirically verified, manner.”

-FACET Peer Review, Fall 2017 

I approach learning outcomes and course objectives as tools to observe and record actual learning, utilizing methods to identify specifically what students understand and are still struggling with in the studio laboratory. The origin of the word “assessment” is crucial to my approach: from the Latin assidere, “to sit beside.” I structure classes around opportunities for students to show what they know and can do, track improvement in learning outcomes in daily activities like in-class work sessions and comparisons of artwork, and collect meaningful data to enhance student learning in future classes. I design courses to train and encourage students to work professionally, respectfully, and collaboratively with others in the shared studio environment. These important life skills make students better employees, coworkers, collaborators, and independent creative producers, and make printmaking classes vital learning communities for students of all Fine Arts disciplines. 

At IU Southeast, specialized equipment for several distinct techniques (lithography, etching, relief, or silkscreen) is located in the same room. While the studio is large, the same class of 16 may share a total of 3 etching presses. If students aren’t communicating well, they experience long waits to use equipment. I make continuous adjustments to my courses to better provide students with an ongoing sense of support, even if I am working with another student across the classroom. Through presentations and lectures, I introduce and revisit the websites and projects of professional printmaking studios and residency programs, such as Crown Point Press, San Francisco, CA or Tamarind Institute of Lithography, Albuquerque, NM. I share details of my own experiences as a visiting or resident artist at studios like Kala Art Institute, Berkeley, CA; Chicago Printmakers Collaborative, Chicago, IL; or Edinburgh Printmakers, Edinburgh, Scotland. This demonstrates how students with a creative practice after graduation will consistently utilize skills of stewardship, conscientiousness, time management, and communication to make artwork at residency programs, community studios, and graduate school. I tell stories about the antics of professional artists at my own community studio Calliope Arts as illustrations of what to do and not do. Each in-class work session involves discussion of actions illustrating thoughtful communication. Eventually, I see students adopt strategies for accountability with one another. 

Curriculum Changes during COVID-19 Pandemic: With Hybrid instruction in Fall 2020, lectures, assignments, and presentations will introduce students to a studio approach that approximates an art residency (or a working artist’s life, for that matter). Students will attend scheduled, socially-distanced printing sessions in the studio; plan and execute parts of projects at home; organize what they need to maximize their time on campus; identify and ask for materials they might need for further experimentation; and present their progress on virtual platforms with regularly-scheduled peer review sessions (“Squad Meetings”). I will link each of these course activities to real-world applications for working artists, bring in virtual “visiting artists” to describe and share experiences, and assess student learning on the basis of successful execution and implementation of activities.

Of course, students in Printmaking classes benefit immensely from in-person, face-to-face instruction - this is how emerging artists achieve crucial social connections, spontaneous discoveries, problem solving successes, and material investigations that sustain creative practices after graduation. Though a Hybrid class is not a permanent or desirable alternative, there is one silver lining — the opportunity to focus on essential professional practices for the creative practitioner such as self-advocacy and innovation in the face of necessity. Grading opportunities like reading responses, research presentations, and Studio Professionalism evaluations will center around these concepts and activities.

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Direct Evidence of Learning Outcomes - Student Work (download PDF)

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Student Evaluations (download PDF)

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Professional Engagements 

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3 or 4 times per year, I am invited to present my creative research as an Artist in Residence, Research Fellow, Visiting Artist, or Guest Lecturer. Often these lectures are in conjunction with a workshop, masterclass, and/or exhibition of my artwork. 
 

Artist Lecture, "Several Worlds in Several Circles", Hobart and William Smith Colleges, Geneva, NY, Oct 24, 2019

Description: In her lecture, Susanna will discuss the development of her research-based art practice, the roles of digital technology and software in her work with historical print media, and the ways she hopes a transhistorical approach to map-making can inspire new questions and conversations about what comprises a sense of place.

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Artist Lecture, "Transmissions from Calliope Arts"

Mildred's Lane, Beach Lake, PA, July 12, 2019

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Artist Lecture,  "Mapping Alvik"

Kunstnarhuset Messen Open Studio event, Kunstnarhuset Messen, Alvik, Norway, May 24, 2019

Artist Lecture, "Found Fictions"

Minot State University, Minot, ND, Feb 27, 2019

Panel Discussion, Making Our Place: Disruptive Narratives in Contemporary Printmaking, Society for Utopian Studies conference (program)

University of California - Berkeley and St. Mary’s College of California, Berkeley, CA, Nov 6, 2018

"Speculative Futures and Queer Ecologies" - Corinne Teed, University of Minnesota, Minneapolis, MN

"Alternative Maps, Aspirational Pasts" - Susanna Crum, Indiana University Southeast, New Albany, IN

"Out of the Sky, Into the Dirt" - Aaron Coleman, Arizona State University, Tucson, AZ

"Queer Illuminations: Utopias in Print and Performance" - Jaime Knight, California College of the Arts, Oakland, CA

Panel Abstract: Each printmaker in this panel will approach the question of creative dissent through the production of the utopic imaginary via printmaking and collaborative studio practices. In the 502 years since Thomas More published “Utopia”, printmaking has enacted social change, broadened worldviews, and made stories of those on the margins visible to the largest possible audience. Throughout the 20th century, as print processes became more ubiquitous and accessible, they allowed marginalized communities new strategies for cultural production and for engaging with public discourse. Prints become interventions on public space, on the hegemony of dominant narratives, and on elitist jurisdictions of knowledge production.

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Panelists discuss strategies of printmaking for reimagining, revising, or resisting our present social landscapes. These artists use the authority of print’s visual languages and distribution techniques to expose stories and perspectives that challenge the status quo. Utopic trends in printmaking include the mapping of future social relations, practices of collectivity and collaboration and traditions of appropriation and reimagining the archive. In contrast to popular notions of the solitary artist, printmakers often thrive in collaborative studio environments and facilitate community-based practices within and beyond  traditional exhibition contexts. Panelists will discuss the ways their work engages collective utterances throughout their creative process. In place of utopia’s Greek etymology meaning “no place,” they will discuss print-based strategies that create places and opportunities for concrete utopias that urge viewers to imagine beyond.

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Artist lecture, "Collaborative "Workstyles" at Mildred's Lane"

SARC Series, Indiana University Southeast, New Albany, IN, Oct 31, 2018

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Artist lecture, "Structure and Experience"

Mildred's Lane, Beach Lake, PA, July 9, 2018

Artist lecture, "Alternative Maps"

Kent Blossom Workshop Series, Kent State University, Kent State University College of Art, Kent, OH, May 31, 2018

Artist lecture, "A Call to Print"

University of Kentucky School of Visual Studies, Lexington, KY, April 13, 2018

Artist lecture, "Worldmakers"

Middle Tennessee State University School of Art and Design, Murfreesboro, TN, Oct 24, 2017

I discussed the development and influences for my research-based artistic practice, as well as recent artist residencies and creative entrepreneurship, including my experiences establishing and managing Calliope Arts Printmaking Studio in Louisville. The MTSU printmaking area head, Nick Satinover, wrote the following of my lecture and visit: 

"Your visit has created tangible proof that [a visiting artist program] is a thing the department should devote our resources to continue.  Most importantly to me, it showed my advanced students an intellectual and research based approach to art/printmaking."

Artist lecture, "Imaginary Lines", University of Notre Dame, South Bend, IN, Oct 11, 2017

Artist lecture, "Constellations"

Catapult Creative House, Southeast Missouri State University, Cape Girardeau, MO, April 6, 2017

Guest Lecture, "People Powered Prints"

California State University - Chico, Chico, CA, Oct 2016

Along with fellow artist Rodolfo Salgado Jr, I gave an hour-long presentation, “People Powered Prints,” on my creative research, teaching activities at IU Southeast, as well as the founding of Calliope Arts Printmaking Studio & Gallery in Louisville, which has provided a space for artists to make and exhibit prints since 2015. Rodolfo and I gave advice and answered questions about starting your own printmaking studio, applying to graduate programs, and career opportunities in printmaking. After our visit, Professor Eileen Macdonald wrote, 

"Your lecture with Rudy Salgado truly inspired our students and was commended by faculty that attended; you are such an articulate speaker. By sharing your creative process... you showed our students how ideas and creative work develop over time... Your lecture instilled the importance of research, which is so important for all students to understand." 

Artist lecture, “A Collecting Place” 

1078 Gallery, Chico, CA, Oct 2016

During the public reception for my solo exhibition A Collecting Place, I gave a brief lecture in my artwork and research, supported by a 2016 IU Southeast Summer Faculty Fellowship in Research. Following my visit, exhibition curator Thomasin Saxe wrote, 

“From the beginning of our planning your show last year through the installation and the reception this year, you have been the most conscientious, professional, helpful, intelligent, generous, and talented artist… exhibiting a brilliant, interesting, complex show that looks beautiful in our space; and giving such a polished, enthusiastic detailed long talk at the reception, which kept everyone riveted (rather than restless).... I believe the art world - especially as it connects with the broader social world - will benefit from your inspiring plans for many years to come.” 

Artist lecture, "People Powered Prints"

Kentucky College of Art & Design at Spalding University, Louisville, KY, Sept 2016

Artist Lecture, "Lost in (Public) Space"

Community Arts Center, Danville, KY, May 2016

Presentation followed by discussion of my community-based approach to historical research and art-making. The audience for this lecture was primarily members of Danville's Community Arts Center, who had previously been engaged with the "Art Under Pressure" steamroller printmaking event, funded by a National Endowment for the Arts Challenge America grant, for which I was a guest artist, instructor, and consultant.

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Panelist, “Constructing Programs and Communities" 

Southern Graphics Council International conference

March 18-21, 2015, Knoxville, TN

I was invited to serve on a panel with an international group of panelists: 

Emmy Lingscheit (chair), University of Illinois, Urbana-Champaign, USA

Mark Bovey, Nova Scotia College of Art and Design University, Nova Scotia, Canada

Zach Stensen, Virginia Commonwealth University in Qatar, Doha, Qatar

SERVICE

Service Philosophy

Service to the university, department, and community are integrally bound to my creative and teaching practice. As an artist and educator, I see my role as an agent of change and transformation. I am deeply committed to making the Fine Arts program a collaborative, nurturing, and rigorous learning environment that is comparable to highly-ranked programs across the country. As an interdisciplinary artist, I consistently seek ways to benefit the school and community through engagement, partnerships, and advising, which works across a diversity of disciplines and backgrounds to identify and serve common goals. As you will see in each of my efforts, I work to enhance the visibility and reputation of the university within the local community and region. I work to identify and serve on committees and programs that enhance and support university standards, and create opportunities for growth. 

Louisville is my hometown, and though I do have students who venture elsewhere after graduation for graduate study and work, many of them stay in the region. I moved back to Louisville to enrich its many communities through art, and see my efforts as an educator at IU Southeast, as a partner to local organizations, and as cofounder of Calliope Arts Printmaking Studio, as a combined venture to promote critical engagement and support of the arts in the area. In each of my service activities, I model for students what a professional artist-educator can do for and in her community, and to help them make connections to define their own roles as cultural producers, critical thinkers, and agents of change. 

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Feedback from 2016 Faculty Annual Report, Dean Jim Hesselman

Ms. Crum’s service to her program, our campus, and the university have been exemplary. She has used her own expertise to maintain the quality of exhibitions in the Barr Gallery, served on several vital school and campus committees, and served the university as a whole with the successful MAPC conference which gained national attention and acclaim. She is engaged with the Fine Art community on a local, regional, national, and international level. As a local business owner she is a fine example for her students of a committed member of the campus and local community on an array of social, political, as well as artistic issues. 

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Service to the Printmaking Area

In addition to teaching Printmaking classes, I maintain the studio’s inventory, equipment, consumables, tools, and facilities. I often work closely with and supervise a Work Study student on these projects. Three priorities guide my continued work within the Printmaking studio: 

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1. Arrange the studio and class time so that a student who takes even one printmaking class leaves with the knowledge and experience to work in a professional studio after graduation. When I arrived at IU Southeast in summer 2015, students cleaned Silkscreen materials outside with a garden hose, and washed photographic emulsion down drains in the parking lot. The Lithography setup was not conducive to productive work and presses needed maintenance. Each semester, I work closely with students to show them how to conduct regular press and equipment maintenance - from greasing presses and mixing etchants and sharpening gouges and engraving tools. Projects with Rolling Knob Press and visiting artists challenge students to utilize their skills on demand. Because printmakers often make editions of their work, the printing process is a repeated process of rolling out ink, arranging blocks and paper on the press, and running the press. The less physical steps they need to take while printing and the better-organized the studio, the more successful they will be in producing printed editions. We work together at the End-of-Semester Cleanup to reflect upon and arrange equipment in a way to maximize productivity. 

2. Ensure a safe and up-to-date environment for students to work. Printmaking processes have traditionally utilized an array of petroleum-based solvents, oil- and lacquer-based materials, and strong acids. However, it is standard practice for university and professional printmaking studios to replace these materials and techniques with more environmentally-friendly and healthy ones. Susan Groce, Professor of Art at the University of Maine, began work on developing less-toxic, environmentally-friendly techniques and processes with the artists at Edinburgh Printmakers in 1995. In her article “The Green Art School,” Groce writes that there are many benefits to replacing a printmaking studio’s traditional chemicals and processes with safer, less-toxic ones. In addition to the obvious health and environmental improvements, she cites that as Printmaking departments became more aligned with environmental values and new technologies, student enrollments in printmaking increased as the processes “were shown to be user-friendly.” As studios feel (and smell) safer, they become more accessible for more members of an art program to engage in interdisciplinary work with digital, new media, and installation-based art production. Facilities became more economical, due to less of a need for costly ventilation and safety equipment. I consistently research and examine standard and emerging practices at conferences, artist residencies (including at Edinburgh Printmakers via an Improvement of Teaching Grant), visiting artist engagements at other universities, and with friends and mentors who run programs at universities and in communities across the US, Canada, and Europe. Research shows that student engagement increases when programs replace traditional chemicals with less-toxic ones. 

3. Collect and document decades of student artwork and Rolling Knob Press publications.  I work closely with the Work Study student to maintain and document the IUS Printmaking Archive. They are currently working on assigning accession numbers to each print. By our estimate, there are currently more than 2,000 prints in the growing collection, which is an important teaching tool and resource for students. Stored in the Printmaking studio, this collection includes prints by visiting artists working with Rolling Knob Press, as well as several decades of past IU Southeast students. Once documented, it is my hope the IU Southeast Archive will be available for digital study on the People Powered Prints website.

2015-2016

• Installed professional, backlit Silkscreen washout booth and vacuum printing table, and implemented the use of drain-safe emulsion and cleaning agents. This was purchased with my startup budget. 

• Installed a new exposure unit for Lithography, Intaglio, and Silkscreen, processes, and a vacuum table for precise alignment of Silkscreen imagery. This was purchased with my startup budget. 

• Worked closely with Environmental Health & Safety inspector Jon Hoffman to: 

  • Ensure proper labeling of equipment and containers, setup of equipment, and disposal of unnecessary solvents and chemicals

  • Retire the use of Nitric acid baths for Intaglio etching processes, in favor of the much safer Ferric Chloride corrosive salt, which is more frequently in use at professional and academic environments.  

  • Move Lithography stone library from annex room to the Lithography workspace. 

  • Convert annex room to Silkscreen darkroom and Lithography stone graining room. 

• Began the Printmaking Resource Library (an ongoing process), purchasing and bringing in books from my own collection for student research and use

2016-2017

• Organized and executed significant painting, organization, and cleanup ahead of the Mid America Print Council conference, which met Oct 5-8, 2016 at IU Southeast. This included replacing cracked glass tabletop work surfaces, patching walls, instituting a new ink inventory and organizational system, disposing of unused chemicals and solvents, moving presses and equipment to other classrooms to accommodate 500 conference-goers, and the installation of an exhibition of the 2016 MAPC Conference Portfolio Exchange in the classroom. 

• Established the @iusprintmaking Instagram account, a platform for sharing student works-in-progress, visiting artists, and exhibitions, and connects current and former students with alumni. I administer this account and often invite students to do an “Instagram Takeover” where they post to the account over a 7-day period, sharing behind-the-scenes views of their work in the studio, special projects or presentations, and research. 

• Following feedback from a fall 2017 peer review, which included focus groups with students, class observations, and reviews of all course content for my introductory printmaking class, I established People Powered Prints, an online platform for web-based resources, video tutorials, student interviews with professional artists and designers, and images of student work. I continue to maintain and manage this website, which is a crucial teaching tool and a point of connection with Fine Arts program alumni. 

• With some of the revenue from the MAPC 2016 conference, I established the Rolling Knob Press rollover subaccount, which collects funds from Print Club fundraisers and printed editions and distributes to students for professional development opportunities, including fees and travel to conferences and workshops. This has been a crucial support mechanism for student professional development opportunities, to bolster funds awarded from Student Life and Research & Grants.

2017 - 2018

• Implemented pre-mixed etches for Stone Lithography, so that students no longer work with undiluted nitric acid. 

• Letterpress Rehabilitation: organized and purchased necessary equipment to make the proofing letterpress in the studio available for student use. 

• Brought damaged silkscreens for professional re-screening services at One Stroke Inks, Louisville, KY 

2018 - 2019

• Picked up and transported 12 new lithography stones for IUS Printmaking from Syracuse, NY (I was in the region for an artist residency at the time). These are permanent additions to the program, as they are reusable indefinitely. They were free, but when purchased new cost between $425-658 each. Quality lithography stones come from Bavaria, Germany, and additional crating fees are also applied. 

• Increased access to digital technology in the classroom. Purchased a new 12.9” iPad and Apple Pencil for the studio (funded by an honorarium from the 2017 #IAMPUBLICART Phoenix Collaborative Project, awarded by the Carnegie Center for Art and History); began the process of advocating for a second computer in the studio.

2019 - 2020

• Conducted a major structural repair to lithography graining sink, which is a necessary component to the Lithography curriculum. 

• Researched and purchased a Risograph stencil duplicating machine for the Printmaking program, with FY 2019-2020 budget. In and out of academia, this machine is extremely popular and in-demand in contemporary print media and graphic art, and will increase opportunities for students to make new work with an additional printmaking medium. Students will be able to produce larger runs of zines, artist’s books, posters, and illustrations than with any other printmaking technique. 

• Second desktop computer installed in the studio. 

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Service to the Fine Arts Program

BFA Coordinator (August 1, 2020 - June 1, 2022)

I conduct all communications with prospective and accepted Bachelor of Fine Arts majors regarding the BFA application process, fall BFA group exhibition, spring thesis exhibitions, studio workspaces for graduating students, and formal critiques with students and faculty.

Marketing Coordinator for Fine Arts Department, approximately 80 hours spent per year, Appointed. (August 1, 2018 - present).

I coordinate promotions and marketing for Barr Gallery exhibitions, design and create the Fine Arts department’s shared promotional materials for Open House and College & Career Day, update images of the Fine Arts program for monitors in Knobview Hall lobby, and manage the Instagram account for @iusoutheastfinearts, which featured graduating BFA thesis projects in spring 2020 and regular alumni spotlights.

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CNC Router (ShopBot) Advisor (July 2019-present)

Developed expertise with the CNC router (with the support of a 2019 Summer Faculty Fellowship in Teaching), created a PDF and video tutorial for students and faculty on using the CNC router in the 3D Foundations classroom, led a workshop for faculty in Oct 2019, order replacement tools and supervise student work with the router (ongoing). 

Scribe/Archivist, Fine Arts (2018-present) 

I take notes in our weekly departmental meetings, present them for discussion and approval at subsequent meetings, and manage the IUSFINEART master folder of departmental administrative files. These files include documents and records relating to the BFA Coordinator, Fine Arts program recruitment and promotion materials, class scheduling spreadsheets, program policies and procedures, and more. In summer 2020, I oversaw file management related to the Box Migration, backed up IUSFINEART files to an external hard drive, and am currently working to ensure access on the new shared document platform.

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Workshop instructor, Frame Building Demo for Fine Arts majors (Feb 28)

Taught 10 students the woodworking tools and processes necessary to build a frame for artwork. 

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Adjudicator/Judge, International Student Art Exhibition

Invited, approximately 3 hours spent per year. (June 12, 2018).

Along with three other Fine Arts faculty members, I reviewed student and faculty submissions for the "Paper Connections" exhibition, which was on display at the Pacific Studies Gallery at the National University of Samoa, Apia, Samoa, and the Barr Gallery at IU Southeast. My work was also selected for this exhibition by other jurors.

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Faculty Advisor/Mentor, Senior Capstone Professional Development Class

Invited, approximately 2 hours (November 26, 2018)

Reviewed graduating BFA students' resumes and applications for artist residencies. Invited by instructor Miri Phelps. 

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Barr Gallery Co-coordinator, Organizer/Coordinator, approximately 240 hours spent per year, Appointed. (Aug 1, 2016 - Sept 15, 2018).

• Co-coordinator Emily Sheehan (Associate Professor of Fine Arts - Drawing) and I worked with artists locally and nationally to develop the calendar of 7-8 professional and student exhibitions each year. This includes coordinating with exhibiting artists, installing artwork, purchasing supplies, maintaining the budget, conducting community outreach and promotions, and hosting evening receptions.

• Annual Student Juried Exhibition: each year, Sheehan and I arranged purchase awards with administrators and organizations across campus, hired an outside juror to judge a large pool of student artwork for inclusion in the exhibition and awards, and coordinated the hanging of artwork. This juried exhibition is a unique and invaluable opportunity for Fine Arts students to apply for a competitive show, and to see their work in a professional gallery context attended by families and alumni.

• Marketing and Promotions: communicated with artists and arts writers in the Kentuckiana community, arranged visiting artist presentations during exhibitions, created promotional content for social media and local and regional newspapers, communicated with Academic Information Officer Steven Krolak to promote and document exhibitions, and oversaw work study students.

• BFA Exhibitions: In 2017, I designed a rubric for assessing thesis exhibitions, and implemented this rubric with BFA coordinator Tiffany Carbonneau. This rubric has resulted in a measurable increase in student responsibility and accountability in planning and installing capstone BFA exhibitions.

• In 2018, co-coordinator Emily Sheehan and I oriented new Barr Gallery co-coordinators Anne Allen and Kok Cheow Yeoh to the tasks and responsibilities, while managing install, de-install, promotions, and logistics for the first professional exhibition of the 2018-2019 academic year— artist Becky Alley's solo exhibition. I worked closely with Ms. Alley and her studio assistant on this meticulous and large-scale sculptural installation, ending my duties as Barr Gallery Coordinator when her exhibition closed.

Faculty advisor, Publication of student work on online juried art feature, "Artebella", approximately 10 hours (May 2016).

I advised 5 students in the preparation of materials to submit to Artebella, an online art feature published by local art organization Louisville Visual Art. Five graduating BFA students from IUS were featured, one for each day of the week, along with their artist's statements and artwork. Having one's work featured on Artebella presents opportunities to sell artwork and spread the word locally about accomplishments, and helped publicize the high quality of work being produced at IU Southeast.

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Instructor, "Wear Your Type" Silkscreen Workshop for Graphic Design FINA-S 351 Typography class (Nov 4, 2015)

Assistant Professor Kok Cheow Yeoh asked me to lead a three-hour workshop for his class. Students designed original letterforms and in the Printmaking studio at IU Southeast, made silkscreens and printed their designs on T-shirts and paper. 

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Service to the School of Arts & Letters

Committee Chair, Strategic Plan Committee, Committee Chair, United States, approximately 25 hours spent per year, Appointed. (December 12, 2016 - Present).

Working with Dean Hesselman and two other faculty members to revise and update the Arts and Letters Strategic Plan to match Campus Strategic Plan language and initiatives, update Mission, Vision, and Diversity statements, and more. In Sept 2018, I presented the current draft of the Strategic Plan to around 45 faculty members at an Arts & Letters faculty meeting. Throughout Oct 2018, I led collaborative revisions via a shared Box document. In our last meeting on April 3, 2019, Dean Hesselman reported that he would share the draft for finalizing in an upcoming Arts and Letters faculty meeting.

Committee Member, School Review Committee, approximately 40 hours spent per year, Appointed. (August 1, 2016 - August 1, 2017).

Reviewed tenure and third-year review dossiers for three candidates in fall 2016, as well as the Arts and Letters and campus guidelines for tenure and promotion. We observed classroom learning of each candidate, discussed candidates with faculty, drafted letters of recommendation to share with the candidates, and submitted recommendation letters to Executive Vice Chancellor Uric Dufrene.

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Committee Member, Recruitment and Marketing Committee, approximately 60 hours spent per year, Appointed. (January 1, 2016 - May 2016).

Attended meetings to plan and execute recruitment, marketing, and retention techniques in Arts & Letters.

Led tours of the Fine Arts studio facilities in the campus Open House in spring and fall 2016.

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Service to the Campus

Committee Member and Representative for Arts & Letters, Improvement of Learning Committee, Elected. (Forthcoming: Aug 1, 2020 - June 1, 2022)

As the elected representative for the School of Arts & Letters, I will review and recommend recipients to the Associate Vice Chancellor for Academic Affairs for several awards including: Improvement of Teaching Grants, Faculty Development Travel Grants, Summer Faculty Fellowships for Teaching, and Trustees Teaching Awards.

Faculty Governance, Faculty Senate, (Aug 1, 2018 - Aug 1, 2020).

As a member of Faculty Senate, I represented and updated the School of Arts & Letters as needed, providing a voice and information relevant to my department and school, for the greater goal of faculty governance and roles in university-level and administrative decision-making. I also received updates from head administrators during these sessions, which I share with Arts and Letters faculty to make sure we stay on task with important goals like accreditation, new courses and opportunities for community outreach and recruitment, and more. This was especially crucial in April and May 2020, when the university was making decisions about the 2020-2021 upcoming academic year during the COVID-19 pandemic.

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Adjudicator/Judge, IU Southeast Student Research Conference, approximately 8 hours (April 20, 2018).

I served as a judge for the IU Southeast Student Conference, reviewing poster presentations with fellow faculty members, ranking student presentations,  and selecting awards.

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Committee Member and Representative for Arts & Letters, Honors Council, approximately 60 hours spent per year, Appointed. (June 1, 2016 - June 1, 2020).

Reviewed applications to the IU Southeast Honors Program with the help of Dr. Dement and Dr. Salas, and attended orientation and graduation events for students in the program. I reviewed scholarships and courses for the Honors Program, and worked with other faculty members to determine ways that we can create resources and expand student participation and its civic engagement and service. A major project was the development of a Strategic Plan for the Honors Program, which I have developed with other faculty members. In 2018 and 2019 I helped the Honors Program Student Advisory Board (HPSAB) chairman access paint and supplies for a pumpkin painting event for elders in a nursing home. In 2017, I designed and printed internal promotional posters to increase awareness and participation in the Honors Program, which were approved by marketing and distributed by Campus Life. In 2016, I participated in a review of the Honors Program by an outside reviewer, to determine a strategic plan and outline future goals for the organization. I have attended Honors Program events, such as the Honors Program welcome ceremony in spring 2016, as well as monthly meetings.

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Facilitating Artist and Project Lead, Veterans For Peace Mural Project, approximately 100 hours, Appointed. (May 1, 2017 - Sept 26, 2017).

In the summer of 2017, in a partnership with the Louisville Visual Art association, the Fund for the Arts, and IU Southeast, Assistant Professor Mariana Grohowski and I helped student veterans create the Veterans for Peace Mural— a large-scale screen print and painting. I led a series of 6 workshops with students and community members, completed the 4' tall by 16' long mural, and worked with university Facilities and Physical Plant personnel to coordinate permanent installation of the project at University Center. I worked with the IUS Marketing department, Student Affairs, and the News and Tribune to promote and document the event. The project — around $3,500 — was funded in part by the Louisville Center for Neighborhoods and through a matching grant from the Jennifer Lawrence Arts Fund, a subsidiary of the Greater Louisville Fund for the Arts. The project culminated with a public reception at IU Southeast, with a dedication by Chancellor Ray Wallace and attended by Meredith Lawrence of the Jennifer Lawrence Art Fund. 

News and Tribune article “'Veterans for Peace' mural unites veterans, community at IUS”, Aprile Rickert, Sept 26, 2017.

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Peer reviewer, FACET/ILTE Peer Review, approximately 25 hours spent per year, Appointed. (March 20, 2017 - May 5, 2017).

I conducted my first peer review as a certified FACET/ILTE Peer Reviewer in spring 2017. This included attending two classes, meeting individually three times with the faculty member being reviewed, and writing a summative review for the faculty member's application for Promotion and Tenure to Associate Professor. I sent the complete summative review letter to the Dean of the faculty member's school on May 5, 2017.

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Adjudicator/Judge, IU Southeast Student Research Conference, approximately 8 hours (April 22, 2016).

As a judge for the conference, I used a rubric for judging students' research or creative activity.

I judged students' research and creative activity at the conference.

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Service to the University

Author and presenter of "White Horses" exhibition podcast, Speed Art Museum / IU Eskenazi Museum of Art, approximately 10 hours (August 10, 2018 - November 28, 2018).

The "Picasso to Pollock: Modern Masterworks from the Eskenazi Museum of Art at Indiana University" art exhibition at the Speed Art Museum featured significant artworks on loan from the Eskenazi Museum of Art, Bloomington, IN. It was on display June 16, 2018 - January 20, 2019, and was the first in a series of collaborations and collection exchanges between the Speed Art Museum and the Eskenazi Museum at Indiana University. This includes free admission for IU Southeast students, and other collaborations, such as the Monotype Printmaking Workshop that six IUS students gave at the museum in Nov 2018. I worked with Amber Thieneman, Teaching Programs Coordinator at Speed Art Museum, to record a curatorial analysis within a contemporary and historical context of one work from the exhibition, "White Horses," by Erich Heckel. This was published as a podcast on the Speed Art Museum website in November 2018. I met with Ms. Thieneman at the exhibition to discuss the role of podcasts by curators and artists in their exhibition programming. I am the first artist-scholar to have been interviewed for a podcast. Audio is available here.

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Faculty Advisor/Mentor, IU Public Art - IU Office of the Bicentennial, approximately 10 hours (December 1, 2017)

Mission of Public Art Discussion: The IU Public Art Strategic Plan will provide a vision and structure for IU's public art. The creation of the plan will take into account the needs and resources of each campus and and driven by people at the table. On 12/1/17 I attended a meeting of faculty and staff from a range of IU regional campuses to discuss art-related components for a strategic plan regarding the upcoming IU Bicentennial celebration. Led by David Brenneman of the Eskenazi Art Museum, we discussed various ideas for the ways that regional campuses across the IU system could participate in the university-wide event. I believe more information will be forthcoming on the specifics of my participation in the planning and execution of these ideas. On 3/26/18, I provided written feedback on a Strategic Plan for IU Public Art with MaryClaire Pappas and David Brenneman.

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Lead Coordinator, Mid-America Print Council Conference, approximately 1200 hours spent per year (August 1, 2015 - April 1, 2017).

MAPC is an educational and community-based organization that focuses on all print-related arts, and works to promote awareness and appreciation of traditional and contemporary forms of printmaking through artist resources, opportunities, newsletters, and a biennial conference. The 2016 conference, "Print Matters, Printing Matters," was hosted by IU Southeast with one day at University of Louisville from Oct 5-8. It included technical demonstrations, panel discussions, portfolio exchanges, exhibitions, and artist presentations. Speakers included keynote speaker Carmon Colangelo— Dean of the Sam Fox School of Art, Washington University in St Louis, and Chicago Printmakers Collaborative director Deborah Maris Lader, as the recipient of the biennial Outstanding Printmaker award. In addition to activities on the campuses of Indiana University Southeast and University of Louisville, area galleries, museums, artist-run print studios, colleges, universities, and other cultural venues in Louisville, KY and southern Indiana hosted conference events, including more than 20 exhibitions by artists working across the US. I worked closely with Senior Lecturer of Fine Arts Donna Stallard to co-chair this conference. This project was supported by Indiana University's New Frontiers in the Arts & Humanities Program. 

I will be forever grateful to the IUS and IU Bloomington faculty, staff, and administration for their support in this major project, who responded to my requests for innumerable favors as a junior faculty member and new hire. In my time serving as President of the MAPC board (2018-2020), I have better outlined these various roles. Future conference co-chairs will delegate these responsibilities and request course releases ahead of the conference. My responsibilities since I began work as Assistant Professor - Fine Arts, Printmaking at IU Southeast August 2015 until the conclusion of the conference and through December 2016 included: 

• Registration coordinator (lead contact person for web and on-site registration)

• Social media and promotions coordinator (managed conference-specific Facebook page, lead contact for local newspaper for exhibition calendar, interviews, and articles about the conference)

• Technical demonstration and panel discussion coordinator (ordered/distributed all demo materials and supplies for both IUS and UofL, arranged audiovisual plans with Ogle Center and University of Louisville’s lecture spaces)

• Design Center liaison - lead contact and content writer for conference website team (led regular meetings with designers to provide schedule, content, and deadlines)

• Marketing coordinator - organized and conveyed all photos and marketing materials for websites and MAPC's social media coordinator, Breanne Trammell

• Exhibitions co-coordinator - arranged 20+ exhibitions throughout southern Indiana and Louisville with Rachel Singel at UofL

• Conference and Catering Liaison - coordinated catering needs for food, portfolio exchanges, and vendors/publishers fairs at IUS

• Transportation Co-coordinator - Donna Stallard and I designed bus route and shuttle schedule

• MAPC Board liaison - sent regular conference reports via email from March 2016 - October 2016 to MAPC board

• Created, published, and received post-conference survey form, distributed by MAPC social media/marketing team

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500 artists, educators, and students from across the US and Canada attended the four-day conference. According to our post-conference survey, 59% were general attendees, while approximately 30% identified themselves as panelists, featured speakers, exhibition curators or hosts, technical demonstration leaders, and volunteers. 69% traveled from more than 200 miles away, while 11.8% came from 50 miles away or less. 49% of conference-goers reported that this was their first MAPC conference, and it was evident that many members of the Louisville Metro and Southern Indiana communities came to experience the conference on the IU Southeast and UofL campuses. 96.3% of respondents rated that the conference fulfilled their reason for attending. 85.4% of respondents stated they were either “Extremely Satisfied” or “Satisfied” with the events at IU Southeast, and 83.7% stated they were either “Extremely Satisfied” or “Satisfied” with the studio facilities and demonstrations at IU Southeast.

Notable quotes from conference-goers include:

“The professionalism and generosity of the exhibits, the presentations, the staff, the volunteers, the studio spaces. Mostly I felt like I was in the company of some of the rock stars of the print world. It just seemed like a historic event for the history of printmaking.”

“The conference is expertly organized, and it's a fine way to celebrate both the many forms of prints and its makers in a concentrated period of time. It's also an amazing way to connect with colleagues and friends and to meet and see the work of emerging printmakers.”

“Crum and Stallard were very organized insuring that all ran smoothly. It was a great conference.”

“Kudos to all the organizers of the conference. It's a huge logistical undertaking and I appreciate the way all the moving parts came together.”

From an IUS printmaking student: “MAPC is/was very awesome. Put printmaking and art into a new perspective. You were spectacular. I was so proud to tell everyone that I was your student. I’m looking forward to working together and have renewed confidence in myself. Thank you!”

According to respondents to our post-conference survey, the most beneficial aspects of the conference included panels, the sense of community, the open portfolio presentations, demonstrations, meeting new printmakers, the Midwest location, the studio facilities, viewing innovations in the field of printmaking, introducing students to well-established printmakers, and the high quality of work exhibition. Conference-goers responded that they would recommend the conference to others who seek to increase knowledge of printmaking culture, meeting other printmaking professionals, and the opportunity to view different cities, art communities, and college campuses with printmaking programs.

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Engagement with Non-Academic Communities and Agencies

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LOCAL

Event host and organizer, Shop Local Print Sale, Calliope Arts, Louisville, KY

Self-Initiated, Pro Bono, approximately 25 hours each year (November 30, 2019).

Organized, promoted, and hosted the First Annual Shop Local Print Sale at my studio Calliope Arts. 12 local artists sold their artwork and retained 100% of the sale value - we did not collect a commission or fee.

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Co-organizer, "One Night Stand" Artist Critique Night

Appointed, Pro Bono, approximately 20 hours spent per year (August 1, 2017 - April 1, 2018).

In a collaboration with Miranda Lash, Curator of Contemporary Art at the Speed Art Museum, Tiffany Calvert, Assistant Professor of Painting at University of Louisville, and Adrienne Miller, Exhibitions Manager at Speed Art Museum, we led two community-based artist presentations in Louisville, in which artists Joyce Ogden and Todd Smith presented their work to 15-20 artists and curators.

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REGIONAL

Co-founder and Associate Director, Calliope Arts Printmaking Studio & Gallery, Louisville, KY

2013-present 

Dedicated to increasing knowledge and practice of contemporary print media on a national scale, Calliope Arts provides access to equipment, classes, and exhibitions for intaglio, relief, lithography, and screen printing. Along with cofounder Rodolfo Salgado Jr, we have completed several collaborative publishing projects, hold an annual community-based print sale, and display work by over 35 artists working in the US and Canada. 

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Guest Artist and Professional Advisor, Community Arts Center, Danville, KY

National, invited

Jan 5, 2016 - May 31, 2016

Sponsored by National Endowment for the Arts Challenge America grant

I provided consulting for the original grant proposal and implementation of workshops, and later wrote rubrics and lesson plans to accompany a $10,000.00 National Endowment for the Arts Challenge America grant, submitted by the Community Arts Center of Danville. After the grant was awarded, artist Rodolfo Salgado Jr and I planned and facilitated a coordinated series of printmaking events engaging over 200 students at Danville High School, culminating in a public steamroller printmaking event with students and area residents. The finished prints were hung as a public art installation in the community.

From Dec 18, 2015 article in KY Forward: “The NEA Challenge America program awarded 130 grants totaling 1,300,000 during its fall 2015 round of grant-making. Grants were awarded to organizations all across the country. The Community Arts Center was the only organization in Kentucky to be awarded an NEA Challenge America grant."

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Service to the Profession

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LOCAL

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Artist Lecture, "S.T.E.A.M Speaker Series", Kentucky Country Day School, Louisville, KY 

Dec 6, 2019, Compensated

This speaker series features professionals whose careers are based in S.T.E.A.M. disciplines: Science, Technology, Engineering, Art, and Math. All students were enrolled in classes in Kentucky Country Day's Fabrication Lab, so I discussed the role of CNC (computer numeric controlled) technology in my artwork and teaching, and together we talked about ways that digital technology can enhance handmade objects and artworks.

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Member of the Advisory Council, Jefferson County Public Schools, Local, Committee Member

Appointed, Pro Bono, approximately 10 hours spent per year (November 18, 2015 - June 1, 2016)

As a committee member on the Advisory Council for the Communications, Media and Arts schools in Jefferson County Public Schools, I attended meetings in which I've collaborated with others who want to support high school art programs. We discuss resources in the community for art students, both in high school and after graduation, and I learn about the programs preparing local high school graduates for a pursuit of an art career. I connected with area art teachers, and other committee members who are connected to visual arts in the Louisville Metro area. Discussed high school arts curricula and opportunities for high schoolers to develop their work in preparation for college and career.

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REGIONAL

Guest Critic, Governor's School for the Arts, Centre College, Danville, KY

July 6, 2018

I was invited to serve as a visiting critic for the final review day of the 2018 Governor's School for the Arts - Visual Arts program. I attended student presentations of work, and led formal group discussions in response to their group art exhibition.

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Guest Critic, University of Kentucky School of Art & Visual Studies, Lexington, KY

April 13, 2018

Conducted 8 studio visits with MFA and BFA candidates, viewing their artwork, providing professional advice, and responding to their research.

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NATIONAL

Program Reviewer, Minot State University, Minot, ND

Aug 2020 (forthcoming)

I was selected among faculty at similar institutions to travel to Minot State University and conduct a review of their Art Program. Evaluation will now be remote due to COVID-19 pandemic.

From their website: “Minot State offers five art degrees, with potential career fields in advertising, illustration, graphic design, marketing, art history, commercial photography, museum and gallery administration, exhibition design, art therapy, professional studio art, independent art instruction, arts organization management and K-12 education. Art students select from these five degrees: BFA in Visual Art, BA in Visual Art, BS in Arts Administration, BS in Multimedia Studies and BSE in Art Education. (BFA and BA degrees offer specialized option areas in Ceramics, Drawing, Graphic Design, Painting, Photography, Printmaking, Traditional Arts, Integrated Media, and Sculpture).”

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President, Mid America Print Council

Elected, Pro Bono, approximately 200 hours each year (2018 to present)

Since my election in October 2018, I have led the board of this member-driven nonprofit organization in the planning of a biennial conference, the publication of the MAPC Journal, and the organization of juried exhibitions, grants, professional development opportunities, and other programming to support our membership. 

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The Mid America Print Council is an educational and community-based organization that focuses on all print related arts. Embracing both time-honored and innovative approaches, we promote awareness and appreciation of traditional and contemporary forms of printmaking. We are an inclusive association for individuals and institutions, administering the sharing of technical and critical information regarding print. Honoring our predecessors, we aim to bring new and sustained interest to this unique medium. Active on multiple platforms, MAPC is an organization that provides members with access to a network of printmakers, resources, opportunities, newsletters, and a biennial conference that features speakers, workshops, panels, shows, and exchanges. Through calls for participation, we organize members’ exhibitions and publish The Mid America Print Council Journal. Our goal is to recognize, advocate, and continue research in historical, current, and future print technologies.

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Guest Critic, Hobart & William Smith Colleges, Geneva, NY

Oct 24, 2019, Compensated

I was invited to serve as a visiting critic for studio art students at Hobart & William Smith Colleges. I attended a group critique and provided feedback on screenprints.

Guest Critic for MFA Program, Cornell University College of Architecture, Art and Planning, Ithaca, NY

Oct 22, 2019, Compensated

I was invited to serve as a visiting critic for two exhibitions by studio art MFA students at Cornell University. I met individually with 7 graduate students in the galleries and in their studios.

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Artist Lecture, "Live/Work", Cornell University College of Architecture, Art and Planning, Cornell University, Ithaca, NY, Compensated

Oct 22, 2019

Description: AAP Connect “Fearless Creatives” Lecture Series. "Becoming an artist is one thing, being a fearless creative is another. Join Susanna Crum (B.F.A. '08) and hear why entrepreneurial drive, resourcefulness, and grit are so important when building any type of creative career."

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Artist Lecture, "Featured Artist", Slippery Rock University, Slippery Rock University, Slippery Rock, PA

Mar 27, 2019, Pro Bono

Description: I gave art students a virtual tour of my studio via Skype, and discussed my creative research and recent projects, as well as my studio Calliope Arts and teaching practice. The conversation resulted in a fall 2019 collaboration with the Interuniversity Sketchbook Project, an exchange of 14 sketchbooks between students at university art programs across the US.

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Roundtable discussion, "Yes, You Can! The Ups, Downs, Ins, and Outs of Hosting a Conference", Mid America Print Council conference, University of Wyoming, Laramie, WY

Oct 6, 2018, Pro Bono

A panel with three past Mid America Print Council (MAPC) conference coordinators with the goal of sharing our experiences with collaboration, cooperation, and community while planning a four-day event at our institutions and hometowns. I had served as a lead conference organizer for the MAPC conference in 2016, which was hosted at IU Southeast with one day at University of Louisville. Each panelist presented a brief introduction of the types of collaboration they engaged in, the cooperation from colleagues and the university in general they asked for and received, as well as the level of interest and involvement of their local community while planning for their conference. After their presentations, we led a discussion with the panelists about the benefits, the drawbacks, the challenges, and the rewards from hosting the MAPC conference at their institution. Time was allowed for questions from the audience. The goal was to give panel attendees a realistic look into what the process of hosting a MAPC conference is like at institutions and cities of various sizes and scope.

Exhibition juror, 10x10x20 Exhibition

California State University - Chico, Chico, CA

April 9 - 11, 2018, Compensated

I was invited to serve as a juror for a student art exhibition. I met with students, reviewed artwork, and selected awards for the exhibition.

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Guest Critic, University of Kentucky, Lexington, KY

April 2018, Compensated

Conducted 8 studio visits each with MFA and BFA candidates, viewing their artwork, providing professional advice, and responding to their research.

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Roundtable discussion, "Yes, You Can! The Ups, Downs, Ins, and Outs of Hosting a Conference"

Mid America Print Council conference, University of Wyoming, Laramie, WY

Oct 6, 2018

A panel with three past Mid America Print Council (MAPC) conference coordinators with the goal of sharing our experiences with collaboration, cooperation, and community while planning a four-day event at our institutions and hometowns. I had served as a lead conference organizer for the MAPC conference in 2016, which was hosted at IU Southeast with one day at University of Louisville. Each panelist presented a brief introduction of the types of collaboration they engaged in, the cooperation from colleagues and the university in general they asked for and received, as well as the level of interest and involvement of their local community while planning for their conference. After their presentations, we led a discussion with the panelists about the benefits, the drawbacks, the challenges, and the rewards from hosting the MAPC conference at their institution. Time was allowed for questions from the audience. The goal was to give panel attendees a realistic look into what the process of hosting a MAPC conference is like at institutions and cities of various sizes and scope.

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Adjudicator, Madison Chautauqua art fair, Madison, IN

Sept 30, 2017. Invited, Compensated, approximately 8 hours spent.

Together with two artists and curators, I attended the Madison Chautauqua art fair in Madison, IN, met with artists who had come to the event from across the US, and viewed their work. In September of each year, Madison’s historic district welcomes thousands of visitors during the two-day Madison Chautauqua Festival of Art. The festival is a juried fine arts and crafts show with approximately 250 exhibitors. My fellow jurors and I selected prizewinners for the art fair, which were presented at the conclusion of the event.

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Adjudicator, St James Court Art Show, Louisville, KY

April 23, 2017. Invited, Compensated, approximately 8 hours spent. 

Along with three other professional artists, I reviewed 240 applications from artists working across the country for inclusion in the Saint James Court Art Show, a nationally-renowned outdoor art fair that was voted one of "America's Best Art Fairs" in 2016, by ArtFairCalendar.com.

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Panel chair, "Crossroads: Intersections and Interventions" 

Southern Graphics Council International conference

March 16, 2017, Atlanta, GA

My proposed panel was selected with an international group of panelists:

Carolyn McKenzie-Craig, Lecturer in Printmaking, National Art School, Sydney, Australia

Aaron Coleman, Assistant Professor, University of Arizona, Tucson, AZ

Nicholas Satinover, Assistant Professor, Middle Tennessee State University, Murfreesboro, TN 

Abstract: Artist Hank Willis Thomas said, “My work is about framing and context. More specifically, I am fascinated with how history and culture are framed, who is doing the framing, and how these factors affect our interpretation of reality.” For centuries, prints have been methods to share social actions and political ideologies. Maps and publications provide material evidence of the ways social frameworks and norms have been maintained. As commercial media grows increasingly screen-based, image-making techniques that reproduce inequities and erasures remain. Panelists discuss artworks that appropriate historical contexts of printmaking to perform interpretations of print media’s authority and agency today.

​Relevant dates include reviewing applicants for panel discussion, organizing and communicating with panelists - April 11, 2016 - March 18, 2017.

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Guest Curator, "Interventions: Re-Framing the Printed Image"

21c Museum, Louisville, KY

April 2016 - Oct 2016

Chief Curator Alice Gray Stites invited me to curate an exhibition from the 21c Museum collection of contemporary art, in conjunction with the 2016 Mid America Print Council conference.

Curatorial statement: For centuries, prints have been a means to illustrate, define, and share scientific findings, political ideologies, and cultural norms. In "Interventions: Re-framing the Printed Image" at 21c Museum in Louisville, KY, contemporary artists appropriate, intervene upon, and reinvent printed images to reveal new interpretations of their impact and agency in our times.

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Career Mentor, “FLUX”, Southern Graphics Council International conference, Portland, OR. 

April 1, 2016

Based on my application, I was invited to serve as Career Mentor during 6 one-on-one sessions with arts professionals and graduate students during the international printmaking conference. 

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Committee member, Mid-America Print Council Outstanding Printmaker Selection Committee

Appointed, Pro Bono, approximately 30 hours each year (November 2015 - October 2016).

After the organization's vice president invited me to participation as a member of the 2016 Mid America Print Council Outstanding Printmaker selection committee, I reviewed nominations from across the US, and wrote a biography and statement about the printmaker we selected for the award, Deborah Maris Lader. I then managed her preparation and transport of artwork from her studio in Chicago to the Barr Gallery at IU Southeast for an exhibition in conjunction with the Mid-America Print Council conference.

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