MaryAnn Bonjorni, Professor

Teaching Philosophy

Studio instruction usually represents a mix of information the area or department feels should be covered, and information the instructor personally feels should be included. How the information is disseminated ranges and is a direct reflection of the instructor¹s style. It may be the responsibility of the instructor to design courses with informative breadth and challenging depth, but it is the responsibility of the student to remain teachable and to find courses that are appropriate for their learning level and demeanor. I prefer to work within established goals in the area of skills development and with unknown outcomes in the area of critical thinking. For instance, all students in intermediate and advanced level courses are required to practice the skills involved in documenting their work in a professional manner. After all, many students pursuing courses beyond the 100 level often wish to create professional options including but not limited to exhibitions, commissions, or scholarships. Critically, it is at this same level that I begin to ask students to consider what they feel is the predominant current of their own work and that of others. In conjunction with making a whole bunch of stuff, we discuss cultural connections, critical merit, and how formal structure interrelates with concept. Within the role of mentor I hope to facilitate a student's interests, not determine them.

100 level courses ­ Focus is on visual skills development, terminology, assigned problem solving. A thorough understanding of selected foundation information is stressed (verses multiple ideas with limited practicum and thin understanding). Classroom discussion during critiques is intended to exemplify how spoken language helps to clarify visual language and how art is integral to cultural histories. Students are given an opportunity to establish their own point(s) of departure as a means to personally explore both visually and verbally.

200 level courses ­ Focus is shared between skills development, and assigned problem solving, and independent projects. Each 200 level course incorporates art historical research in combination with studio processes. Some reading and research are required as well as visual literacy. Imagination, intuition, and risk taking play an important roll at this level.

300 level courses ­ Focus is on finding and directing the individual voice conceptually and visually, with a keen awareness on how idea and craft are intrinsically linked. Continued skills development as needed per project. 300 level courses have an expectation that students are committed to their studio endeavors, willingly participate in critical dialogue, reading, and have a working knowledge of basic craft, art and cultural histories.

400 level courses ­ Focus is on self-directed, in depth production of a body of work and corresponding readings.

500 level courses and special projects ­ Self directed proposals.

Selected Curriculum Vitae

2004
"The Myth of the West" One-person exhibition, Oats Park Art Center and Western Nevada College, Fallon, Nevada; postcard mailer (included eleven large scale painting constructions and six studies)
Nevada Individual Artist¹s Fellowship Recipient, traveling group invitational, Diane Deming, Curator. Sponsored by the Nevada Museum of Art, Reno, Nevada
2003
"Ulterior Motifs" group invitational, Wheeler Brothers Gallery, Lubbock, Texas; brochure (included a series of six drawings. Participating artists: Nancy Kienholz, Luis Jimenez, The Art Guys, Terry Allen, James Surls, and others)
UM Faculty, group invitational, Dana Gallery, Missoula, Montana; postcard mailer (included one painting large scale painting construction and one small scale painting construction)
2002
"Holding the Line" group invitational, Sheppard Gallery, University of Nevada-Reno, Reno, Nevada; postcard mailer (included one large scale drawing construction; participating artists: Manuel Neri, Bailey Doogan, Phyllis Bramson, Eve Laramie, and others)
"Old Paint New" group invitational, Gallery of Visual Arts, University of Montana-Missoula, Montana; postcard mailer (participating artists: Luis Jimenez, Caroline Kreig, Henry Meloy, and others)

Statement

My interest in the West and Western society developed long before "Last Best Place" espresso bars and t-shirts. Like many contemporary regional writers I arrived at my pursuit through personal investigations into family and place. Over the years I have slowly integrated this information into a larger context. In the past I have supported myself by farming, commercial fishing, as a bartender and ranch hand. I have literally and figuratively sweated out any romantic notions I once held about "western-ness". While these experiences are about physicality and solace amidst a beautiful natural environment, they are also about economic stress, injury, death, and beating the odds. The essence of my work has attempted to link these characteristics.

Trained under the influence of late Modernism and practicing within the linguistic chatter of Post Modernism, much of my work has emphasized process and signing. I work in four ways, each with a specific function. For me, drawing is a mainstay and often the first step in exploring an idea. It is also something that can be pursued pretty much at any time in any place. Painting constructions allow me to link my inclination to work with found materials and construction techniques to that of the history of pictorial space (which I greatly admire). Installation is not my first choice due to time and space restrictions, yet cannot be denied when it is the most appropriate choice. Lastly, my work with specific sites may represent the most intricate link between culture, art and myself.

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