Josh is not only an artist but a teacher as well. Teaching was and is a major driver in his career – as an art historian, museum curator, and museum educator; a translator of Japanese poetry as well as a published poet, essayist and book critic. Teaching includes appointments at California State University, University of California Los Angeles, Michigan State University, State University of New York College at Brockport, Pima Community College and University of Arizona.

Josh was a speaker at many conferences on diverse subjects as creativity, poetry and painting, Chinese and Japanese Art, The Art of Collage, The Spiritual in Art, and The Nature of Abstraction.

As a result of Josh’s drawing selected for the cover of “Subversive Scriptures: Critical Reflections on the Use of the Bible” by Beth Hawkins Benedix (NY: Macmillan, 2009) he was that same year a panelist at the symposium “Representation and the Holocaust” at De Pauw University.

Josh is a popular and often returning workshop teacher for arts organizations such as PaperWorks, Contemporary Artists of Southern Arizona, and the Southwest League of Fine Art. His workshops include Xtreme Painting (studio), Learning How To Love the Work You Hate (critique), and A New Way of Seeing, Practicing, and Understanding the Art of Collage (studio; see under Writings, “Collage Notes From Josh Goldberg“).

In addition to exhibiting his art, lecturing on his work, conducting painting and collage workshops and giving private critiques, Josh teaches Advanced Abstract Painting at The Drawing Studio, Tucson, AZ.

“Thanks for such a wonderfully challenging art class. The most interesting art class I have ever taken!”

“Josh asked us to stand in front of our fresh canvases without a plan and empty of thought. As we began, he asked us to be spontaneous, and let go of the idea of control. Over the weeks, we were encouraged to be unattached and non-judgmental. We were to look at the marks objectively and act according to what the painting required. Looking critically at the composition, the colour and the direction of brush strokes, while keeping the painting fresh were just some of the lessons we learned with each session…we learned to trust ourselves, see our work and let our inner abstraction find expression.”

“Thank you for your most-inspirational Critique [Class] this past spring. Your comments have inspired me and I am currently working with wood along with leather, metal and various other materials. I am moving off the edges and feel totally inspired! Thank you so much.”

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