Excellence in Any Medium '81; Saunders Woods Prize for
Landscape Painting '79.
Private collections in the U.S and Mexico, and The Pennsylvania Academy of Fine Arts
EXPERIENCE IN THE FIELD OF ART and Art EDUCATION
Continuous: Development, fabrication and exhibition of own art work
2007-2008 Supervisor of student art teachers, The University of New
2001, 2002 Bergen County Community College, NJ. Instructor of Life
Drawing I, Drawing Fundamentals.
2000 New Jersey City University: Instructor of 2 Dimensional Design.
1993 The University of New Mexico at Gallup; Visiting Lecturer. Two
lectures: "Women in European and Early American Art History" and
"A Multi-Cultural Presentation of Contemporary Work Being Done By
1992 Institute of American Indian Arts; Visiting Lecturer. "Women in Art";
presentation and lecture focusing on work by women artists.
1992 Dine Community College, Shiprock NM. Art Instructor in
Intermediate Painting and Lecturer of
"Women in Art", a cross-cultural presentation/seminar.
1990 Consultant on Art Curriculum Writing: Towards a Native American
Aesthtic, By Gloria Emerson;
Center for Research and Cultural Exchange, IAIA, Santa Fe, NM
1990 Painting Instructor, Joan Roberts Studio, Pojoaque, NM
1989 Guest Speaker, "Women Becoming Painters", forum organized by
the Institute of American Indian Art, Santa Fe, NM
1987-1988 Teaching Assistant; Beginning and Intermediate Drawing and
Advanced Painting, The University of Washington, Seattle,
K-12 ART EDUCATION
2016- Art Education demonstration to Fine Arts Teachers, with young children. Presentation to teachers and parents. Oaxaca, Mexico
2012-2016 Art Classes to children in my studio.
2007 Arts Specialist. "A Child's Garden"- Early Childhood Center.
2007- University of New Mexico, Dept of Education, Supervisor of student art teachers
2003-2005 Arts Program Specialist: Santa Fe Public Schools, Santa Fe,
NM.Responsible for designing and implementing the first state
funded elementary art program. Duties included the development
of a visiting artist component; interviewing, support and supervision
on a content level of art teachers; curriculum development for the
visual and performing arts, and the organization of a
multicultural Arts Advisory Committee.
Spring 2000 High School Art Instructor: Ceramics and Fundamentals;
Great Neck Public Schools, Great Neck NY.
1999-2000 Art Teacher (Studio Practices, Photography, Ceramics,
Sculpture), Edward R. Murrow High School, Brooklyn, NY.
1998-1999 K-12 Art Teacher, Special Ed. Lorge Non-Public School,
Manhattan, New York.
Spring 1998 K-12 Art Teacher; P.S. 164Q. Full time replacement; multi-
cultural Public School in Queens, NY.
Fall 1998 Student Teaching; Fiorello Laguardia High School for the Visual
and Performing Arts, NYC.
1993 Art Instructor for the Summer Program, Pojoaque Schools,NM.
Joan Roberts Garcia was one of 6 children of an artist mother who painted in the bathroom of their large gracious home. At 19 Joan left to discover more of who she was.- and lived in Mexico for eight years. When she returned and entered the Pennsylvania Academy of Fine Arts, at 27- she was pregnant with her first of two children. That year she started her life both as a serious artist and as a mother.
A pivotal experience for Joan took place when, having won a travelling scholarship from the Academy, she encountered the Islamic mosques of Southern Spain, (three year old daughter in tow). The intentional confusion of space and pattern excited her. Abstractions in mixed media followed that combined spatial and physical opposites- accumulations that force the viewer to give up trying to figure out the parts and experience the whole effect.
Later, missing color, she returned to oil painting- focusing on a recurring theme of squashes, and other natural forms- painted often at dusk- when forms disappear and become part of the darkness surrounding them
In recent works, physics and geometry of nature, captured in landscapes: the lines around things- and the way that backgrounds push forward to displace the object of contemplation. These natural occurrences are presented in paint and in photographs. The abstract qualities of objective forms shown in natural light and settings speak to her of the fleeting stages of all material life. Joan studies a landscape to feel why it is important to her, and strives to reduce it to those elements. In Venice- verticals and reflection. In rural England, the monolithic dark presence of ancient Beech trees, against vivid yellow green of watered fields.
Some of her squashes, a recurring theme, look droopy, or forlorn- and have titles referring to the female experience, such as “Look What Happened to Cinderella” (after a storybook marriage collapsed) and “La Maternidad- perched”: an awkward large squash, seen in a beautiful light, slightly askew on a small base- perched- for what? Flight? Growth? A reference to later stages of motherhood. The same subject is approached in “Once Upon a Time”- a portrait of an empty, rocking chair, springs exposed, caught in the shimmering light of dusk, that bounces off its surface and the art studio around it.
Female artists with children- particularly those who have continued to do both on their own- have two lives that are inextricable and valuable.
Joan Roberts Garcia currently lives and makes art in both New York City and Placitas New Mexico.