Kimberlee Cloutier-Blazzard

I am a creative and dependable professional actively seeking a full-time position in a dynamic work environment that will utilize my many skill-sets.

I am experienced in project management, development, research, writing, editing, publishing, public speaking, new media, web design, classroom- and online teaching. I have published across disciplines and historical periods, in outlets online and academic. Currently I serve as co-editor and publisher for a scholarly e-journal. I have experience as the site administrator and development associate for an historical house museum. I am proficient in French, Dutch and German.

I thrive on challenge, and am interested in an opportunity to use my knowledge and strengths to make an outstanding contribution to a creative venture.

Specialties: writing, editing, publishing, project management, development, research, public speaking, visual analysis, teaching, digital media, e-learning, distance learning, museums

• Dutch

  (Professional working proficiency)

• German

  (Professional working proficiency)

• French

  (Professional working proficiency)

1. Writing
2. Research
3. Editing
4. Public Speaking
5. Teaching
6. Museums
7. Art History
8. History
9. E-Learning
10. Project Management
11. Digital Imaging
12. HTML
13. Art
14. Higher Education
15. Books
16. Publications
17. Lecturing
18. Publishing
19. Fine Art
20. Curriculum Design
21. Curating
22. Blogging
23. Galleries
24. Contemporary Art
25. Development
26. Grants
27. Prospect Research
28. Social Media
29. Event Planning
30. Mailing List Management
31. Public Relations

View All (31) Skills View Fewer Skills

• "One Flesh… Two (Wise) Fools: Evidence for Artistic Collaboration Between Judith Leyster and Jan Miense Molenaer in Four Festive Paintings"

  • Open Inquiry Archive, Vol. 1, No. 2 (Winter 2012)
  • February 2012
  Authors: Kimberlee Cloutier-Blazzard

  It is generally assumed that the seventeenth-century Dutch artists Jan Miense Molenaer (c.1610–1668) and Judith Leyster (1609–1660) worked collaboratively, both before and after their wedding in 1636. This paper examines the broader concept of artistic collaboration as intellectual endeavor by Molenaer and Leyster, focusing on four thematically-related comic paintings from before their marriage: Leyster’s slightly earlier The Merry Company and The Last Drop of 1629–1631, and Molenaer’s smaller set of 1634, The Battle of Carnival and Lent and Twelfth Night. These festive pictures have not yet been fully considered in relation to each other, perhaps because some scholars have questioned identifying these paintings as directly paired within the artists’ oeuvres. There are many valid reasons for seeing them as companion works, however, not least of which is that all four paintings share a common theme: they link the two central festivals of the Christian liturgical calendar—Christmastide and Eastertide. In European popular culture the two are bound together by an entire socially-leveling carnival season that runs from early December through Mardi Gras or Vastenavond, six weeks before Easter. In their related paintings, Leyster and Molenaer depict carnival celebrations in juxtaposition to the complimentary end of those festivities with the advent of Lent. These works share an overlooked theme of ecumenical Christian humanism and an abiding form of seriocomical philosophy that was burgeoning in select humanist circles of Haarlem and beyond at this time.

• "The Golden Age of the 'City of Peace' (Madinat al-Salam): Baghdad as Cosmopolis"

  • For the Record Project Blogspot: An Exploration of Art & the Search for Objectivity in Global Conflict
  • December 2011
  Authors: Kimberlee Cloutier-Blazzard

  The “For the Record Project” is conceived of as an independent exploration on the topic of objectivity in the arts in relation to war and global conflict. Pieces in the corollary exhibition (held at Montserrat College of Art) dealing with Iraq, namely Benjamin Lowy’s “Iraq/Perspectives” (2007, archival pigment prints), James O’Neill’s “Tigris River” (2011, charcoal on paper) and, Rob Roy’s works “Witness #36” (2009, monotype, chine colle, acrylic on paper) and “Witness #41” (2011, monotype, chine colle, acrylic on paper) particularly intrigued me, especially as I am concurrently teaching “Survey of Islamic Arts,” a course covering the entire historical arc of Islamic arts. In light of this, I think it is important to bring up the cosmopolitan, progressive nature of thinking from the mid-Eighth to mid-Thirteenth centuries in Abbasid Islam--if only to inform those who are unaware of this grand tradition. What follows is a reflection on the medieval history of Baghdad, and how works from the “For the Record” Exhibition might be viewed through that lens as a spur of conversation and contemplation in the Twenty-first Century.

• “The Elephant in the Living Room: Jan Steen’s 'Fantasy Interior' as Parodic Portrait of the Schouten Family”

  • Aurora: Journal of the History of Art, vol. XI: 91-119.
  • December 2010
  Authors: Kimberlee Cloutier-Blazzard

• “Enchanting the Intellect and the Eye,” Review of A. Georgievska-Shine, "Rubens and the Archaeology of Myth, 1610-1620"

  • Aurora: Journal of the History of Art, vol. XI: 155-159.
  • December 2010
  Authors: Kimberlee Cloutier-Blazzard

• "Presence in Absence as an Artistic Mode," Review of M. Mochizuki, "The Netherlandish Image after Iconoclasm, 1566-1672"

  • Aurora: Journal of the History of Art, vol. X: 131-138.
  • November 2009
  Authors: Kimberlee Cloutier-Blazzard

• “The Wise Man Has Two Tongues: Images of 'the Satyr and the Peasant' by Jordaens and Steen”

  • in "Myth in History, History in Myth," Eds. W. Frijhoff & L. Cruz (E.J. Brill)
  • 2009
  Authors: Kimberlee Cloutier-Blazzard, Willem Frijhoff, Laura Cruz

  In 1975, a group of Dutch and British scholars published a conference volume of collected essays entitled Some Political Mythologies. That conference sought to examine the political myth as an object of historical study, particularly in the context of the tumultuous and exceptional history of the Low Countries. Thirty years later, a more diverse group of scholars gathered to re-examine the history of Dutch myth-making in light of developments in theoretical and methodological approaches to understanding the role of myths in national identity, moral geography, and community formation. The results of their efforts appear in this volume, Myth in History: History in Myth. The essays cover developments in history, anthropology, cartography, philosophy, art history, and literature as they pertain to how the Dutch historically perceived these myths and how the myths have been treated by previous generations of historians.

• "Cindy Sherman: Her 'History Portrait' Series as Post-Modern Parody"

  • Bread and Circus Online Magazine
  • July 2009
  Authors: Kimberlee Cloutier-Blazzard

• "Wit and Witches in the Art of Jacob de Gheyn II," Review of C. Swan, "Art, Science, and Witchcraft in Early Modern Holland: Jacques de Gheyn II [1565-1629]"

  • H-NET Low Countries
  • January 2007
  Authors: Kimberlee Cloutier-Blazzard

• Catalogue entries in "Realism and Invention in the Prints of Albrecht Dürer"

  • The Art Gallery, U.N.H., Durham, New Hampshire
  • 1995
  Authors: Kimberlee Cloutier-Blazzard, David R. Smith, Liz Guenther

Websites:

• Academia.edu
• Open Inquiry Archive
• KCB Loft: Under One Roof

Groups and Associations:

College Art Association, Renaissance Society of America, Historians of Netherlandish Art, Society for Netherlandic History, American Association of Netherlandic Studies, Mediterranean Studies Association

• 
  American Alliance of Museums
• 
  Association of Historians of American Art
• 
  Emerging Museum Professionals
• 
  Medieval and Renaissance Studies Group
• 
  Montserrat College of Art
• 
  New England Independent Museum Professionals
• 
  New England Museum Association
• 
  Vroegmoderne Kunst en Wetenschap
• 
  Young & Emerging Museum Professionals (YEPs), New England Museum Association