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Faculty Excellence at UMUC

	Faculty Interview Jean Mandola Art Jean Mandola came to UMUC-Europe in 1976 in search of adventure after teaching art in South Dakota. She is an accomplished artist and an art historian. Living and traveling abroad—including adjusting to different customs and cultures—has been a positive and continuous learning experience that she shares with her students.

Interviewer:	Please tell us about your chosen discipline—how long have you worked in or taught it? What made you interested in the area? What keeps you interested in the area?
Jean Mandola:	I teach the history of art and study courses in painting and occasionally drawing. I have been doing this since 1976. Making art has always been my passion. Art history compliments this in a variety of ways. Over time my interest has focused more and more on modern art. Because it is something that is still evolving it never, for me, becomes routine. I also find the philosophy behind much of modern art and artists very much in agreement with my philosophy of keeping an open mind.
Interviewer:	How would you describe your teaching style or philosophy? What experiences or person(s) have influenced your style or philosophy?
Jean Mandola:	In my life I have learned that I am more productive, creative, and comfortable in an environment that is stress free. I have discovered that this applies in classroom situations too. In my classrooms, including online, I focus on cooperation and communication rather than competition. In studio classes we work as a collective creating installations in which everyone participates. In addition, each student makes his/her own statement in paintings that mirror and support the group theme. In art history classes the emphasis is on the exchange of ideas. These exchanges take place in a small group format. Frequently the questions are designed to encourage controversy—e.g., What is art? What is the function of art or an artist in our society? These questions leave room for a wide range of responses. The emphasis is not on right answers. The emphasis is on multiple points of view and different perspectives. The theme is that what you see and think depends on where you are. Exploring art history issues in depth is encouraged in individual projects and papers. The small group format and the individual research projects is an effort to combine the best of these two approaches, sharing and focusing on a specific goal.
Interviewer:	What do you find most satisfying about teaching in your chosen format(s)? What do you find challenging about teaching in your chosen format(s)?
Jean Mandola:	I teach online, face-to-face (f2f), field studies, and studio classes. Each has its challenges as well as its rewards. I like the online format. The access to resources is extraordinary. Art history, because of its link with the visual, works really well in this format. My experiences suggest that not only do I learn more but also the students learn more. The f2f format in Europe makes it possible to visit museums, galleries, etc. with the students. This is an extraordinary experience for them. Viewing artworks in the original will always be the best way to really see an artwork since no reproduction can compete with the original. I take one of my classes on a field study in a nearby major city--e.g., Paris, Amsterdam, or Frankfurt--for a day or a weekend. These inexpensive trips are possible with reduced group rates and provide students with the opportunity to spend time learning about a particular artist or time period in art. Art is a visual language--it communicates much to us in its various forms. These trips are an ideal way to learn, explore, observe, and absorb such visual language. Studio classes--painting for example--are a hands-on activity. This is, in many ways in my opinion, the best way to introduce a student to art making and the history of art. In my experiences, I have found that once a student has explored art making, his/her ideas about what art is change. To approach art history from the perspective of the artist is important and adds another dimension to what it is that art is about.
Interviewer:	Please explain if you do something special or unique in your approach and how you developed that approach.
Jean Mandola:	The importance of craftsmanship is emphasized. This is at the top of our list of priorities: whatever we do it should be done to the very best of our ability. In the studio, the work should be of the highest quality in terms of application of materials and effort. In art history, a project's structure and form, assembling of material and research, is expected to be flawless.
Interviewer:	What suggestion would you give to students who are interested in majoring or working in your discipline?
Jean Mandola:	I believe that students interested in majoring in art or art history should be encouraged to pursue their interests because it is something that excites them. If their primary goal is to get a high-paying job, I would suggest that another choice might be a better one. However, I would tell them that opportunities exist in the art world too. How important is it to them to be working in an area that is of interest? It is up to them to decide which risk is greater: following their interests or being practical?
Interviewer:	What suggestion would you give to new faculty who are interested in teaching in your discipline at UMUC?
Jean Mandola:	My experience teaching for UMUC has been with the European Division. To live abroad, one must be flexible. Changing locations is sometimes necessary and frequently a lot of travel is involved getting from classroom to classroom. However, being in the heart of Europe provides extraordinary opportunities to see the world's greatest art in the world's best museums. This, for me as an art historian, makes being here a gift. After almost thirty years of teaching in Europe, I still love it.

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