PUBLIC LECTURES
PUBLIC LECTURES
Teaching is about constant learning - especially from one's students. This is a key premise of all the the lectures and courses I develop and present, whether in a college classroom or in a museum. Another important guideline is that every lecture should create opportunities for more substantive exchanges between the speaker and the audience, irrespective of whether it is preseted in a auditorium or in a museum gallery.
Please contact me for information on upcoming lectures and discussions
SELECTED SEMINARS AND LECTURES FOR THE SMITHSONIAN ASSOCIATES:
(please follow the highlighted links)
The Artists of Renaissance Venice, May, 2018
Russian Art: from Icons to the Avant-Garde, February 2018
The Spell of Vermeer, November, 2017
A Day at the Rijksmuseum, September, 2017
The Arts and World War I: Creation, Destruction, Revolution, June, 2017
Reading Portraits: An Introduction to the Genre, February, 2017
A Day at Vienna's Kunsthistorisches Museum, February, 2017
Hieronymus Bosch, December, 2016
Rembrandt, Close-Up, September 2016
The House-Museum as a Memory Palace: Discovering the Lesser-Known Treasures of Paris, April, 2016
Four Giants of the Northern Renaissance: Van Eyck, Durer, Bosch and Bruegel, April, 2016
The Spell of Vermeer, February , 2016
Russian Art - from Icons to the Avant Garde, November, 2015
Along the Coast of Many Cultures: Croatia, February, 2015
Seventeenth-century Dutch Art, day-long seminar, September, 2014
Degas and Cassatt, evening seminar, September, 2014
OTHER MUSEUM VENUES AND CORPORATE COLLECTIONS:
The Intersection of the Real and the Imaginary, the World Bank, Washington D.C., 2016
Vermeer and the Art of Seeing, The Arts Club of Washington, 2016
Beverly Ress: The World is a Narrow Bridge, American University Katzen Arts Museum, Washington D.C., 2015
To Remember and Reflect - Art and War-related Trauma, organizer and moderator, Katzen Art Center, American University, Washington, 2015
Emilie Brzezinski: Thirty Years of Sculpture, Phillips Collection, Washington D.C., October, 2014
The Lure of the Forest, gallery talk on Emilie Brzezinski, The Kreeger Museum, October, 2014
The Art of Ambiguity, Virginia Museum of Fine Arts, Richmond, VA, May 2014
Artists and Writers around World War I, four-part series, The Art Seminar Group, The Walters Art Museum, Baltimore, February, 2016
Self-Portraits: Truths and Fictions, five-part series, The Art Seminar Group, The Walters Art Museum, Baltimore, February-March, 2015
Looking at the Overlooked, Cross-Mackenzie Gallery, Washington D.C., February, 2015
Great Women Artists in History - Renaissance to Contemporary, eight lecture series, The Iliad, Baltimore, February-March, 2015
Artistic Encounters: Caravaggio to Picasso, four lecture series, Kaleidoscope Program, Baltimore, April, 2015
DOCENT TRAINING SESSIONS:
Kreeger Museum, Washigton - A series of six lectures and discussions on Abstract Expressioinst art, 2021
Katzen Art Museum, American University, Docent training session, 2017
Walters Art Museum, Docent training session on Carlo Crivelli, 2016
Pilot program for Art Ambassadors at the World Bank Group, Washington D.C., 2016
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SELECTED PUBLICLY AVAILABLE RECORDINGS:
Lectures on art around World War I, delivered at Cape Town University, Cape Town, South Africa, January, 2018
2. Casualties of the War and the Aftermath
3. Witnesses and Memory Keepers
TESTIMONIALS:
(follow the highlighted links)
Smithsonian Resident Associates, Modern and Contemporary Art, Hirshhorn Museum and Sculpture Garden, 2011
Poetry meets Painting, Virginia Literary Festival, Virginia Museum of Fine Arts, Richmond, Virginia, 2012
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EXCERPTS FROM REVIEWS:
Stop! Whatever you do, jump at the opportunity to take a class taught by Aneta Georgievska-Shine, adjunct lecturer in art history at the University of Maryland, whom the Smithsonian Associates hires to teach art history.
It is easy to understand why Aneta Georgievska-Shine "has her own following," as her introducer said at the first class: She is passionate about her subject matter and speaks in layperson's terms without notes, treating every question seriously, with dignity, without condescension.
At the last meeting at the Hirshhorn where the large class size necessitated four different sessions over a half day, several students, when queried by the professor, said they took the class because they hate or either do not understand modern art and were hoping for enlightenment, Georgievska-Shine's goal, too, she said, and she succeeded!
The sessions at Ripley, which Georgievska-Shine infused with several hundred slides of paintings, were: "The Meaning of the Avant-garde, from Courbet to Cubism," "Forms of Abstraction, from Mondrian to Richter," "Modernism and the Spirit of Confrontation," "Versions of Modernity after World War II: Between Figuration and Abstraction," and the tour at the Hirshhorn.
If you want to catch all her wisdom, be prepared to come early and stay late for those are the class hours Georgievska-Shine keeps.
Patricia LeslieDC cultural events Examiner
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"Poetry and Painting: An Undying Love Story," a collaboration between the VMFA and the Library of Virginia, October 2012
The concept was simple: choose nine works from the museum's collections and have nine award-winning poets write about them.
Lecturer Dr. Aneta Georgievska-Shine gave a sparkling talk on the topic of ekphrasis, the intersection of the visual and the verbal and the competition, or paragone, of painting and poetry. Her enthusiasm on the subject was delightful, her depth of knowledge impressive and her accent perfectly charming on the topic of which is more effective at description, the word or the image?
She spoke of how works of art were designed to spark conversation. "What are words if not a dance from pronoun to imperative?"
Shine's passion for her subject was evident in her language (referring to herself as a "beholder" when it came to art) her directives ("Go to the Prado and give yourself a treat") and her guileless assumption that everyone craves art as she does ("Who is not provoked by difficult pictures?").
Don't look at me. I'm easily provoked by the difficult. Going through a variety of visuals, she concluded that the goal was to talk back to art, for instance, "When you no longer see art as a visual intrusion but more of an invitation to respond."
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