ABOUT
Educator | Artist | Scholar
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​Jeremie Zulaski is a state-certified professional educator and administrator experienced in university, museum, and secondary learning environments. He is proficient in teaching visual and textual literacies including studio art, visual culture, world art studies, and academic writing.
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He received his Master of Arts in East–West Psychology, a unique program synthesizing prominent theoretical areas of psychology with Asian religious and philosophical traditions, from the California Institute of Integral Studies in San Francisco, California. He earned his Bachelor of Fine Arts from SUNY Buffalo State University in Buffalo, New York. Jeremie recently completed a Post-Graduate Diploma in Ancient Civilizations from the University of Wales Trinity Saint David with a focus on the Ancient Near East. He also spent a year studying the history, art, and culture of South Asia at Leiden University in the Netherlands.
COURSES TAUGHT
ACADEMIC WRITING
& TEACHING SKILLS
Working from a variety of disciplines and pedagogical approaches, learners develop research, academic writing, and teaching skills, design curricula, and practice giving instruction using objectives-based lessons in preparation for facilitating courses at various degree levels across the curriculum.
WORLD ART STUDIES
& VISUAL CULTURE
Explores several key functions that visual art has fulfilled in a range of societies from prehistory up to the present day. Examining a broad range of artistic practices and expressions through an array of diverse and dynamic cultural contexts, we reveal ways in which art has been vital, prevalent, and lasting for humankind.
ACADEMIC WRITING
THE ICONOGRAPHIC DEVELOPMENT OF YAMA
This paper traces the iconographic symbolism of the South Asian deity Yama from its earliest origins in the Rig Veda through Tibetan tantric Buddhism utilizing a 19th century CE Tibetan, gold-plated bronze Yama sculpture in the collection of the Museum Volkenkunde in Leiden.
This paper analyzes the 7th century Mahisasuramardini cave temple relief at Mahabalipuram and suggests that it conveys several levels of meaning, of which two are addressed. One references historic conflict between the Pallava and Chalukhya kingdoms and the second signifies regional climate cycles and flood events.
This paper examines the six stone-carved Saivite relief panels in cave 29 at the Ellora cave complex at Dhumar Lena and considers how the Pasupata sectarian identity may have been articulated as well as how the reliefs’ iconography may have been utilized in the context of temple worship.
CONTACT
