Invited to teach at Amsterdam’s prestigious Gerrit Rietveld Academie in 2005, I furthered the academy’s vision of an integrated practice-theory program by creating a new art theory curriculum, editing academy-wide readers, and initiating the first-ever research into cultural diversity in the academy, including workshops and lectures on whiteness and visibility, and the decolonization of art discourse. I supported Fine Art students’ studio work, and guided artists to find new writing formats and voices that resonated with their practices. During the same period, I tutored artists, designers, and architects at the postgraduate Sandberg Institute. I participated in national debates about establishing a PhD in Fine Art, and co-supervised the first-ever cohort of the new doctoral program in the Netherlands at the University of the Arts, Leiden.

The Royal Academy of Art, The Hague invited to develop one of Europe’s first MAs in Artistic Research in 2011, creating an experimental practice-led curriculum. My program created space for artists engaged with other fields to delve into in-depth research in material, embodied, and theoretical forms. Working in collaboration with the Royal Conservatoire, the MA also nourished artists, composers and musicians working in expanded and cross-genre performance. Wanting to create experimental formats of presentation and curatorial possibility, I forged collaborations with several like-minded institutions on a dynamic program of exhibitions and performance. (See curating for further details.)

Based in the US since 2018, I have been an adjunct lecturer and mentor on MA programs in Art and Social Practice, Critical Theory, Fine Art, and Design Systems at Portland State University and Pacific Northwest College of Art, as well as guest lecturing and doing workshops online and in person in the US, Canada, Germany, Ireland, Norway, Sweden, The Netherlands, the Uk, Bulgaria, Italy, and Finland.

I do guest lectures, workshops, seminars, mentoring, and PhD assessment, both in-person and remotely. Some of my current topics include “art as embodied and material knowledge”, “writing as an artistic medium”, “artistic practice and oral knowledge”, “artistic research and decolonizing knowledge”, “practice-led curating”, and “artistic research in a world on fire.” As well as visual and socially engaged artists, I often teach practitioners in architecture, design, dance, music, and theatre, many of whom work at the borders of their disciplines.

My guest teaching includes recent seminars and talks at The New School, New York (2024); Staedelschule, Frankfurt, Germany (2023); University of Malmö, Sweden (2023); EYE Film Museum, Amsterdam (2023); Lewis and Clark College, Portland, US (2022); Queen’s University, Belfast, UK (2021); Royal Danish Art Academy, Copenhagen (2021); DASARTS, Amsterdam University of the Arts (2021); Sandberg Institute, Amsterdam (2021); University of Amsterdam (2020); Portland State University, Oregon (2020); European Cultural Academy, Venice (2020); HKU Academy of the Arts, Utrecht (2020); School of Visual Art, New York (2019); Minneapolis College of Art & Design, MN (2019); Valand Academy, University of Gothenburg, Sweden (2018); Gerrit Rietveld Academy, Amsterdam, (2018); Sofia University, Bulgaria (2018); European Cultural Academy, Venice (2018); Linneaus University, Växjö, Sweden (2018).

I have been an external assessor for graduate and undergraduate work, an advisory expert for staff research, and an opponent in PhD defenses for several institutions and organizations, including Aalto University, Finland; the Austrian Science Council; the Irish Arts Council; Malmö Art Academy, Lund University, Sweden; Artez Academy of Art, Arnhem, The Netherlands; St Joost Academy, Hertogenbosch, The Netherlands, and Loughborough University, UK.

I love to give public talks, always wanting to connect in a real way with whoever is in the room. People often comment on my ability to forge bridges between artistic and academic discourses, and address complex topics in an accessible way. Powerpoint is a kind of sketchbook for my thinking. I rarely read from a paper, preferring how the act of speech and its live human connection makes my thoughts go further than a linear text. The joy lies in finding new pathways for thinking.

I always seek to create space for engaged discussion, embracing the collective moment as something precious. Zoom talks have their own rhythm. I appreciate the possibility of creating wider access through this technology. I am committed to incorporating ASL and closed captioning in public talks as often as possible. A good talk always feels like a song. It leaves something hanging in the air, creating an environment for new thinking, and an opportunity for human connection. I care about orality as a medium, and not only a means to an end. This interest in reflected in my recent artistic writing.