Beth Taylor-Schott

Wednesday, February 25, 2009

forthcoming

Look for my piece on outdoor cooking in Destination Wine Country, the spring/summer issue.

Tuesday, October 14, 2008

my writing for the Independent to date

Monday, April 23, 2007

my Independent page: Beth Taylor-Schott

The good news: the Indy just got a new web site, and I've been able to update all my lovingly hand-crafted links below. (Thanks Matt and Mike!)

More good news: I have my own staff page on the new site where you can find links to all of my pieces as well.

http://www.independent.com/staff/beth-taylor-schott/

Thursday, February 22, 2007

current curriculum vitae

ELIZABETH TAYLOR-SCHOTT

TEACHING EXPERIENCE

Instructor, How to Write Quality Non-Fiction, Santa Barbara City College Continuing Education, winter 2007-present

Instructor, Poetry out Loud, Santa Barbara Poets in the Schools, (high school) winter 2007 and 2008

Instructor, Poetry out Loud, Santa Barbara City College Continuing Education, fall 2007

Poet-In-Residence, Santa Barbara Poets in the Schools, (grades K-6) fall 2003 – present

Outreach Instructor, University of California, Santa Barbara, (grades 10-12) 2003 –2004

Workshop Assistant, Core Curriculum, The Coaches Training Institute, 2003

Instructor, University of California, Santa Barbara, 1998–2004

Writing2: Writing Across the Disciplines

Writing 2 Link with Art History: Writing for Art History,

Writing50: Cross-Disciplinary Approaches to Research and Writing on Meditation

Writing 109: Writing in the Visual Arts,

Art History 156: The Art Historical Research and Writing Process,

Lecturer, University of Southern California, fall 1998

Northern Baroque Art

Graduate Instructor, University of California, Berkeley, spring 1997

History of Art 1B: Reading and Writing about Art

Teaching Assistant, U. C. Berkeley, 1992-1993

Seventeenth-Century Dutch Art

Art History Survey, Renaissance to Modern

OTHER WORK EXPERIENCE

Writer, The Santa Barbara Independent, March 2006 – present

Writing and Life Coach, This Life Coaching, 2002 – present

Exhibitions Intern, University Art Museum, Berkeley, Early Modern Art, 1994

Education Intern, The Minneapolis Institute of Arts, 1989

EDUCATION

C.P.C.C. Certified Professional Co-Active Coach, The Coaches Training Institute, 2004

Mentorship, Santa Barbara Poets in the Schools, under Perie Longo, Fall 2003

Ph.D. History of Art, University of California, Berkeley, 2000

B.A. Art History, Carleton College, magna cum laude, with Distinction, 1989

PUBLICATIONS: bethtaylorschott.blogspot.com

Reviews, Features, and Interviews on Art, Poetry, and Living, The Santa Barbara Independent, March 2006 – present

“Plugging in Poetry,” (cover) Dana Foundation Arts Education in the News, March 2007

Entry on chiaroscuro woodcuts by Goltzius, The Saul P. Steinberg Collection: Paintings, Drawings and Sculpture, Domenic Leo et. al. (New York: unpub., 1997).

POETRY: elizabethschott.blogspot.com

"The Weird Vegetarian Poem," forthcoming, the anthology Hunger and Thirst
"La Mezquita" and "Umbilical," Spring 2009, Sulphur River Literary Review
"Umbilical" and "Walnut Fruit," end 2008, Stand
"Angelus Mortis" and "Umbilical," Fall 2008, Phoebe
"Miscarriage," 2008, Soundings East
"Venus of Willendorf," Summer 2008, North American Review
"Miscarriage," 2008, Mourning Sickness: Stories and Poems about Miscarriage, Stillbirth, and Infant Loss
"Veil," Spring 2008, MotherVerse
"Maw," May 2008, the anthology The Mom Egg
"Junkie," March 30, 2008, Mamazine
"Seraphim," March 2008, Literary Mama
"Minnesota," expected 2007, the anthology Alternatives to Surrender
"Nude," Fall 2007, Volume 33, number 4, California Quarterly
"Heavens Open," Fall 2007, The Handmaiden
"After Pentecost," Fall 2007, The South Carolina Review
"The Message Comes," "Born," and "Knowing," June 2007, Liaisons II:The R. D. Lawrence Commemorative Anthology
"Ardor" and "Nude," July 2007, Illuminations
"Miscarriage" and "Verliefd," Spring 2007, Zone 3
"The Heart has More Chambers," September 2000, The Mindfulness Bell
"Creation and Expulsion," Summer 1997, South Coast Writing Program Anthology

PROFESSIONAL DEVELOPMENT

Co-Founder, Mission Canyon Poetry Crafting Group, April 2007

Member of zeugma, online poetry crafting group by application only, December 2006

Santa Barbara Writer’s Conference Weekend Poetry Conference with Ted Kooser, March 2007

Advanced Poetry Crafting Group led by Perie Longo, summer 2005 - present

Santa Barbara Writer’s Conference, 2005 (Community of Voices Poetry Scholarship)

Santa Barbara Summer Poetry Workshop, 2003

Reader for ETS, Subject A Exams, Berkeley, California, 1998

Fellow, Summer Institute in Composition, South Coast Writing Project, Santa Barbara, 1997

CURRICULAR EXPERIENCE

Course Development Project, Writing 50 on Meditation, UCSB Writing Program, spring 2004

Course Development Consultant, Art History 6B, UCSB, spring 1999

Consultant, Interactive University Project, Writing, Thinking and Art, U.C. Berkeley, 1997-98:

Developed curriculum and trained teachers

ORGANIZATIONAL EXPERIENCE

Organizer, Community Poetry Game, Santa Barbara, sbpoetteachers.blogspot.com, April 2007

Area Coordinator, Poetry Out Loud, poetryoutloudsb.blogspot.com, 2007

Grant Writer and Web/Blog Mistress, Santa Barbara Poets in the Schools, 2006-present

2006 CAC grant award: $6,900

2006 POL grant award (including NEA money): $1,750

New School Liaison, Santa Barbara Poets in the Schools, 2006

Organizer, Art History Graduate Student Instructor Training Workshops, U. C. Berkeley, 1997:

Secured grant money, coordinated and facilitated series of five workshops

Program Advisor, Carleton Off-Campus Studies Program in Amsterdam, 1996

AWARDS AND HONORS

Accepted by Writer’s Relief, submission service, November 2006

Community of Voices Poetry Contest Scholarship, SB Writer’s Conference, summer 2005

Dean's Dissertation Fellowship, University of California, Berkeley, 1998

Kress Institutional Fellowship, University of Leiden, 1994-1996

Social Science Research Council Fellowship, 1994-1995

Full Scholarship, Seminar on Seventeenth-Century Dutch Culture for Art Historians, Internationale Vereniging voor Neerlandistiek, 1994

Berkeley Fellowship, U. C. Berkeley, 1990-1991, 1992-1994

Graduate Dean's Work Study/RA Fellowship, U. C. Berkeley, 1992-1993

Humanities Graduate Research Grant, U. C. Berkeley, 1993

Summer Travel Grant, Department of History of Art, U. C. Berkeley, 1992

Full Scholarship, Ministerie van Onderwijs en Wetenschap, Zomercursus voor Nederlandse Taal, Nijenrode, 1992

Katz Graduate Fellowship in Art History, U. C. Berkeley, 1991

PRESENTATIONS and INVITED LECTURES

Reader, Poems of Love, Wordly & Spiritual, Intimate and for the Planet, Contemporary Arts Forum, Santa Barbara, April 29, 2007

Panelist, “Expressive Arts for Emotional Outlet,” Youth Summit, Santa Barbara, April 28, 2007

“Believing is Seeing: Rembrandt’s Bathsheba and the Framing of the Nude,” Renaissance Society of America Conference, University of California at Los Angeles, March 25, 1999.

“Critical Thinking in the Classroom: What It Is and How to Encourage It,” Art History Graduate Student Instructor Training Workshop, University of California, Berkeley, August 21, 1997

“How Writing about Art Helps Students Write,” South Coast Writing Project Summer Institute, Santa Barbara, July 11,1997

“The Urban Development of Amsterdam in Relation to its Modern Structure,” Carleton College Off-Campus Program in Amsterdam, September 12, 1996

“An Example of Early Modern European Urban Development: Amsterdam 1200-1700,” Carleton College Off-Campus Program in St. Petersburg, March 9 and 10, 1995

“History So As to Imagine the Unexpected: Dutch Seventeenth-Century Mentality and the Nude,” guest lecture, History of Art 190E : Genres of Seventeenth-Century Dutch Art), University of California, Berkeley, November 5, 1993

Thursday, November 16, 2006

Expression of Protest

Neo-Icons by John Nava at Sullivan and Goss through November 22^nd.

I don’t do baroque or expressionism, but I can make a beautiful painting of a real kid.

--John Nava

John Nava’s show, Neo-Icons, at Sullivan Goss though November 22,^nd has been in the news and attracted threats primarily as the result of the reproduction of one painting, Signing Statement Law or An Alternate Set of Procedures.. Let us spend some time actually looking at it.

The painting is square, a disquieting proportion for portraiture, as the figure fills only the central third, the background stretching out on either side like the wings of a triptych. The figure faces us straight on, as one might expect of an icon, and its colors are saturated, but only slightly, as if your vision had been turned up a notch. The artist has taken pains, though subtly, to tell us that what happens within this space is important.

The details, in particular, are important. One detail has attracted all the attention, the words on the subject’s tee shirt, “America Tortures.” The painting itself, however, does not distinguish this detail as THE detail. Though the words are close to the center and red, they are also small and difficult to make out against bright green. At the same time, the painting offers many other details, and to ignore any of them is to do violence to the image. It describes, for example, the ambivalent way the subject holds herself, the way her hands hang at her sides, the creases in her pants, and the way her shirt bunches up around her armpits. The expression on her face and her gaze are caught by the light that spills down onto them and one has the impression that the artist knows how many strands of hair are on her head. Not to say that it is an overly fussy, or even precise work. Nava clearly knows that illusionism work best when softened, engaging the eye in a way that details themselves, slavishly reproduced, cannot do.

This painting is, in other words, the work of a dedicated craftsman who asks us to look at its human subject. No, it is not baroque or expressionist. If it were, it could be dismissed as the ranting of yet another overly-rhetorical leftist. Make no mistake, Nava does take his place in a long tradition of protest painting. But this is what is truly radical about his work: if we could but learn it’s clarity and attentiveness, if we could learn to look carefully—as it does—at what is beautiful and vulnerable in ourselves and others, there would be no place for slogans. What has happened could not have happened. We would have no need to protest.

This review appeared in the Independent at the beginning of November 2006. Because of a glitch on the technical end, it was never posted to the Indy site and so is not otherwise available online. This is the version I sent my editor, not the version that appeared. I seem to remember that there was minimal editing on the version that appeared in print, which mostly made it slightly more pointed politically.