Why I Love Teaching at Molloy College
I love teaching at Molloy College because of the personalized attention that can be given to the students in reference to their specific interests which helps broaden the culture and add to the positive sense of community.
My academic interests are in the fields of Ceramics, Sculpture, Video, Photography, and the space where those mediums intersect.
What I am working on
I am working on a body of work that combines both ceramics and traditional silver gelatin photography. The theme of the work is to achieve an underlying seriousness to subjects of family dynamics through absurdities and satire -- specifically my relationship with my four sons.
My educational, artistic, and professional teaching experiences are diverse with influences from many disciplines. Since my own artwork is idea based and draws from historical art, visual culture, and possesses strong fundamentals of formal elements, as an art professor, the projects that I assign my students also include these ideas. I encourage my students to use materials and processes in creative, innovative and conceptual ways.
In my introductory art courses, I have the student's explore where ideas come from and how to express them. I also want my students to learn the fundamental properties of the medium, but also be experimental and trust their intuition. Introductory courses should build a foundation that combines and blurs traditional approaches with new concepts. As the students advance, learning the nuances of the different approaches becomes more focused depending on the student's level of interest. The outcome is a hybrid language between new and old technology, which I strongly believe is the forefront of art. I also encourage my students to incorporate mediums from other disciplines.
The activities that my students embark on reflect their exposure to both contemporary and historical art works through lectures and discussions, student research, podcast interviews, and field trips to museums and galleries. Furthermore, as a professor, I try to spark enthusiasm in my students through discussions that combine aesthetic versus artistic evaluation, problem solving, and current cultural trends that can easily be reflections and suggestions of art. Students learn how to use materials and techniques to assist them in creating their ideas. In order for students to demonstrate this, I like to give them universal problems so they have to think for themselves and investigate their own experiences. I strive to create an environment where the students and I learn from each other.
At the same time, students need to be responsible for their actions. I believe critiques and written evaluations are important aspects of every class because students learn how to have a critical dialogue about their own art, and also understand how the art was made in relation to the assignment. Learning how to question and challenge their own work will prepare them for their future art careers.
One aspect that I enjoy the most from teaching art at the college-level is advising and mentoring students. I advise them on pushing their ideas further, making a coherent body of work for their thesis or portfolio, and giving advice on future courses to take. I often keep in touch with students after the class is completed to give feedback on new works and help them apply to artist residencies, graduate schools or internships. I am eager to give back to my students in this way since I had a good support system during each phase of my art education. I am eager to help facilitate these relationships with my students and colleagues because I want to see them succeed.
- M.F.A. 2004 - University of Washington, Seattle (Ceramics)
- B.F.A. 2002 - The Pennsylvania State University (Ceramics)
- 2009-2008 - Fulbright Award to Italy Institute of International Education (Visual Arts, Photography)
- Essay's by George Orwell
- On Photography by Susan Sontag
- Selected Essay's of John Berger by John Berger
Howarth, S & McLaren, S Family Photography Now Thames & Hudson Press, (2016)
Roda,T. The Butcher's Block Kodoji Press (2012)
Garoian, C. The Prosthetic Pedagogy of Art: Embodied Research and Practice State,University of New York Press, (2012).
Kangas, M. Return to the Viewer: Selected Art Reviews, New York: Midmarch Arts, Press, 2011.
Sullivan, G. Art Practice As Research: Inqury In Visual Arts, SAGE Publications, Inc., 2010 Los Angles
Schwartz, J. S. Confrontational Ceramics: The Artist as Social Critic. A&C Black Publishing, London, and the University of Pennsylvania Press, Philadelphia.
Larks Books. (2005). The Figure in Clay. New York: Division of Sterling Publishing
Art Reviews / Magazines / Online Journals
Rosenberg, D. (2015, June 21.) How One Father Found a Way to Make His Children (and Himself) the Center of His Work. Slate
(2015, May 28.) Tim Roda: Hidden Father At Daniel Cooney Fine Art. Musee Magazine.
Sasha. (2010, March.) Beautiful / Decay
Hall, E. (2010, January.) ARTFORUM Magazine
Seyfarth, L. (2008, June 16.) Kulissenzauber IM Hobbykeller, Artnet
Troop, D. (2008, May) Modern Painters Magazine, 56-58.
Linzy, K. (2007, February) Tim Roda Interview. Art Review, 165.
Kangas, M. (2006, November). Tim Roda at Greg Kucera. Art in America, 220,221.
Gibbons, R. (upcoming publication). Janus Head On-Line Magazine
Fugami, T. (2006, May/June). Truth is Stranger than Fiction. afterimage, 33 (6), 45.
Scott, C. E. A. (2006, February 1). Portrait of a Family Snapshot. Visual Codec.