James Haywood Rolling, Jr.
Syracuse University, African American Studies, Department Member
- Syracuse University, Art Education, Faculty Memberadd
- Inclusive Education, Curriculum and Instruction, African Diaspora Studies, Race (Culture), Visual arts and Youth Inclusion, Arts Education and Pedagogy, and 31 moreIntersections in Visual Art and Design, Arts-Based Educational Research, Educational Philosophy, Practice-Based Research, Art Education, Popular Culture, Arts-based methodologies, Narrative, Higher Education Leadership, Identity construction and cultural production, African American Studies, Arts-Based Research, Drawing, Urban Education, Visual Methodologies, Visual Studies, Identity politics, Interdisciplinary Higher Education, Studio Practice, Art Practice as Research, Narrative Inquiry, Autoethnography, Arts Education, Critical Pedagogy, Creativity, Comics and Graphic Novels, Art & Design education, Performance Pedagogy, Post-Colonialism, Contemporary Art, and Visual Literacyedit
- James Haywood Rolling, Jr. is Dual Professor of Arts Education and Teaching & Leadership in the Syracuse University’s... moreJames Haywood Rolling, Jr. is Dual Professor of Arts Education and Teaching & Leadership in the Syracuse University’s College of Visual & Performing Arts (VPA) and School of Education, and he has served as Chair of the university’s Arts Education programs since 2007. Rolling is also an affiliated faculty member in African American Studies. From 2018 to 2020, Rolling was appointed to serve as the inaugural Director of Diversity, Equity, and Inclusion for VPA. Dr. Rolling will begin his elected term of office as the 37th President of the National Art Education Association (NAEA) in 2021. At the start of 2021, Dr. Rolling will also add an additional role to the gauntlet of creative leadership responsibilities he is honored to wear—as a new member of the Board of Trustees at the Everson Museum of Art.
Nationally, Dr. Rolling continues to champion the cause of achieving greater diversity throughout the visual arts fields as the inaugural Chair of the NAEA Equity, Diversity, and Inclusion Commission, overseeing the dedicated work of 11 commissioners from around the nation representing various arts and museum education related fields. Dr. Rolling’s initial service on the Board of Directors of NAEA was as the association’s Higher Education Division Director from 2011-2013. Rolling’s record of professional contributions is highlighted by his recognition as the 2014 recipient of the National Higher Education Art Educator Award for outstanding service and achievement of national significance; his work from 2015-2017 as Senior Editor of Art Education, a bi-monthly research journal for arts education practitioners; and his induction as part of the 2017 class of NAEA Distinguished Fellows in recognition of a career of exemplary accomplishment in research, scholarship, teaching, and leadership in the field.
In his earlier education, Rolling earned an MFA in studio arts research from the Experimental Studios department that once existed at Syracuse University, having earned a fully funded Graduate Fellowship in the Department of African American Studies. Rolling completed his doctoral studies in art education in 2003 under the mentorship of Drs. Graeme Sullivan and Judith Burton at Teachers College, Columbia University. As the coordinator for K-12 New York State art teacher education programs at Syracuse University, Rolling has actively worked to reconceptualize of the arts education discipline as a natural nexus of interdisciplinary scholarship where visual art, design, STEAM, and other media arts practices emerge as an avenue for social responsibility. As a visual artist, Rolling focuses on mixed-media explorations and portraiture of the human condition, viewing studio arts practices as an essential form of social research. As a researcher, Rolling is devoted to telling the story of how human beings creatively constitute, shape, and reinterpret personal and collective identity.
Rolling is the author of "Swarm Intelligence: What Nature Teaches Us About Shaping Creative Leadership," a surprising look at the social origins of creativity (Palgrave Macmillan); the "Arts-based Research Primer" (Peter Lang); "Cinderella Story: A Scholarly Sketchbook About Race, Identity, Barack Obama, the Human Spirit, and Other Stuff That Matters" (AltaMira Press) and "Come Look With Me: Discovering African American Art for Children" (Charlesbridge); in addition to more than 35 peer-reviewed articles and commentaries, fourteen book chapters, and five encyclopedia entries on the subjects of the arts, education, creativity, and human identity. In 2020, Rolling published "Growing Up Ugly: Memoirs of a Black Boy Daydreaming" (Simple Word Publications), an inspirational coming-of-age narrative tracing his own emergence as a painfully shy child raised in a struggling inner-city New York neighborhood who learned to rewrite the trajectory of his life story through the development of his own creative superpowers.edit
This chapter tells a story of the events contributing to the formation of the National Art Education Association’s (NAEA) Equity, Diversity, & Inclusion (ED&I) Commission and the sea change its establishment portends for the field of art... more
This chapter tells a story of the events contributing to the formation of the National Art Education Association’s (NAEA) Equity, Diversity, & Inclusion (ED&I) Commission and the sea change its establishment portends for the field of art + design, museum, and media arts education. A system of inequitable, divisive, and exclusive practices—like all systems—works to maintain the survival of its own characteristic relationships and functions over time, whether through growth, contraction, periods of equilibrium, or evolutionary leaps. NAEA’s effort to generate greater diversity, equity, and inclusion in human relations continues to be an effort precisely because there are dominant mental models and derivative practices in place that systemically work to resist greater diversity, equity, and inclusion out of sheer self-preservation.
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Utilizing the intersection of critical race theory and the de/re/constructive tenets of visual culture archaeology (Rolling, 2007), this book chapter proposes to explore the means by which the colonized reinterprets the colonizer through... more
Utilizing the intersection of critical race theory and the de/re/constructive tenets of visual culture archaeology (Rolling, 2007), this book chapter proposes to explore the means by which the colonized reinterprets the colonizer through an examination of the intertextual subversions of African American artists ranging from Aaron Douglas to Kehinde Wiley. Visual culture archaeology recognizes the power/knowledge confluence that constitutes: (1) the social construction of modern Eurocentric institutions and identities; (2) the discursive matrices for the social construction of normativity; (3) socially transgressive interpretations of identity; and (4) the interrogation of visual culture as the arena wherein these contestations take place.
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The practice of contemporary education is fundamentally interdisciplinary, featuring a vast array of intersecting bodies of knowledge to facilitate more effective teaching and learning. This book chapter suggests a flexible architecture... more
The practice of contemporary education is fundamentally interdisciplinary, featuring a vast array of intersecting bodies of knowledge to facilitate more effective teaching and learning. This book chapter suggests a flexible architecture for theory-building to guide educational researchers in structuring hybrid pathways and arts-based models for conducting social research.
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This book chapter tells a story of several meaning-making projects situated within the pedagogical orbit of an elementary school art studio. These are recounted in order to discover analogies and equivalencies between the effort to... more
This book chapter tells a story of several meaning-making projects situated within the pedagogical orbit of an elementary school art studio. These are recounted in order to discover analogies and equivalencies between the effort to construct an identity as an imaginatively produced text, and the effort to make meaning from materials and ideas. The assembly of a representative array of meanings from a stock of accessible materials and ideas create the baseline structures for an evolving identity framework. This is so fundamental an activity, even a child can do it. Moreover, all young learners must do this brand of work in response to the expectation that they gainfully figure themselves out in the context of society each and every time they attempt to (re)make meaning.
Research Interests: Education, Self and Identity, Tacit Knowledge, Early Childhood Education, Visual Literacy, and 11 moreArts Education, Intertextuality, Meaning, Art and Design Education, Art Education, Visual Arts, Meaning Making, Multimodal Literacy, Identity, Sense Making and Meaning, and Language and Literacy Development
A surprising look at the origins of creativity, and why future innovators are best forged through group collaboration and adaptive social networking. Companies and organizations everywhere cite creativity as the most desirable – and... more
A surprising look at the origins of creativity, and why future innovators are best forged through group collaboration and adaptive social networking.
Companies and organizations everywhere cite creativity as the most desirable – and elusive – leadership quality of the future. Yet scores measuring creativity among American children have been on the wane for decades. A specialist in creative leadership, professor James Haywood Rolling, Jr. knows firsthand that the classroom is a key to either unlocking or blocking the critical imagination. He argues that today’s schools, with their focus on rote learning and test-taking, work to stymie creativity, leaving children cut off from their natural impulses and boxed in by low expectations. Drawing on cutting-edge research in the realms of biological swarm theory, systems theory, and complexity theory, Rolling shows why group collaboration and adaptive social networking make us both smarter and more creative, and how we can design education and workplace practices around these natural principles, instead of pushing a limited focus on individual achievement that serves neither children nor their future colleagues, managers and mentors. The surprising truth is that the future will be pioneered by the collective problem-solvers, making this a must-read for business leaders, educators, and anyone else concerned with nurturing creative intelligence and innovative habits in today’s youth.
Companies and organizations everywhere cite creativity as the most desirable – and elusive – leadership quality of the future. Yet scores measuring creativity among American children have been on the wane for decades. A specialist in creative leadership, professor James Haywood Rolling, Jr. knows firsthand that the classroom is a key to either unlocking or blocking the critical imagination. He argues that today’s schools, with their focus on rote learning and test-taking, work to stymie creativity, leaving children cut off from their natural impulses and boxed in by low expectations. Drawing on cutting-edge research in the realms of biological swarm theory, systems theory, and complexity theory, Rolling shows why group collaboration and adaptive social networking make us both smarter and more creative, and how we can design education and workplace practices around these natural principles, instead of pushing a limited focus on individual achievement that serves neither children nor their future colleagues, managers and mentors. The surprising truth is that the future will be pioneered by the collective problem-solvers, making this a must-read for business leaders, educators, and anyone else concerned with nurturing creative intelligence and innovative habits in today’s youth.
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This introductory primer explores the arts-based research paradigm and its potential to intersect with and augment traditional social science and educational research methods. The arts-based research paradigm may be broadly understood as... more
This introductory primer explores the arts-based research paradigm and its potential to intersect with and augment traditional social science and educational research methods. The arts-based research paradigm may be broadly understood as a flexible architecture of practice-based theory-building methodologies. Within the ontology that supports the practice of arts-based research, theory and praxis co-construct one another in an ongoing cycle of cause resulting in effect and effect regenerating cause. This textbook aims to reveal how the arts lend themselves to blended spaces of naturalistic inquiry, aiding artists and scientists alike in their conduct of research. Lays out the framework for a flexible architecture of analytic, synthetic, critical-activist, and/or improvisational research methodologies.
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Student researchers in a 2007 graduate-level special topics course participated in storyboarding “moving pictures,” preliminary sketches of their emergent theoretical assumptions about arts-based research. These researchers joined the... more
Student researchers in a 2007 graduate-level special topics course participated in storyboarding “moving pictures,” preliminary sketches of their emergent theoretical assumptions about arts-based research. These researchers joined the author in a reflexive search for metaphors guiding scholarly inquiry within an arts-based research paradigm. This chapter represents a paradigm analysis of the characteristics of arts-based research (ABR). It is also an effort to reconceptualize the potential of arts-based methodological practices as a tool for generating new curriculum approaches in K-12 and higher education. As an outcome of the theorizing that emerged during this graduate art education course, ABR models came to be viewed as characteristically poststructural, prestructural, performative, pluralistic, proliferative, and postparadigmatic, offering divergent new possibilities for knowledge creation that augment social scientific approaches.
Research Interests: Philosophy, Teaching and Learning, Improvisation, Social Sciences, Teacher Education, and 14 moreResearch Methodology, Research Design, Qualitative methodology, Educational Research, Learning and Teaching, Arts Education, Qualitative Research, Quantitative Methods, Art and Design Education, Research, Artistic Research, Art Education, Arts-based methodologies, and Arts-Based Research
This chapter is a narrative of arts education advocacy in the midst of a bureaucracy that misunderstood the purpose of art education at the launch of a new elementary school. Contemporary visual arts education practices overlap a unique... more
This chapter is a narrative of arts education advocacy in the midst of a bureaucracy that misunderstood the purpose of art education at the launch of a new elementary school. Contemporary visual arts education practices overlap a unique period of change in neighboring social science disciplines, a turn of the tide that involves the embrace of narrative methods to rewrite prevailing working models and paradigms of social science practice. Here at the start of the 21st century, art education continues to be practiced in the thrall of a scientific paradigm that misunderstands the greater potential of the arts in education, often imposing a ceiling ill-fitted for arts praxis, arts-based research, or arts pedagogy. The author argues that art education is also at a turn of the tide and surmises some of the unexpected outcomes when a “pedagogy of possibility” is more thoroughly explored, allowing practitioners to fully rethink an art education practice without taxonomic ceilings and as a site of resistance.
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Examines my own story of origin as a breech baby. In between performances of identity in a visual culture, there are fallow periods wherein images that augment identity may be collected and charged with new meaning. While the Harlem... more
Examines my own story of origin as a breech baby. In between performances of identity in a visual culture, there are fallow periods wherein images that augment identity may be collected and charged with new meaning. While the Harlem Renaissance, from the 1920s to the mid 1930s, inaugurated the performance of “The New Negro,” the 1960s and early 1970s saw the introduction of the performance of “Black [as] beautiful.” I characterize “The New Negro” as the unintended last vestige in the ad hoc assembly understood as modern Western identity, which typically defines its virtue in contradistinction to alterity or Otherness—in this case, its definition of the archetypal Negro as base and insignificant. In contrast, the evolving effort to convey that “Black is beautiful” heralded something quite different—the burgeoning of a postmodern aesthetic in both art-making and identity-making. “Black [as] beautiful “ introduced a social identity in flux into the visual culture, disturbing the lexicon of modernity, a Cinderella ending to a defining ugliness.
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Examines the phenomenon of my own existential homelessness. The poetry of Derek Walcott helps to address and communicate the paradox of a homeland that does not require belonging and a positionlessness that does not confer exile.
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"Cinderella Story argues that a poststructural and unexpected identity can be created from the charred embers of self-imagery strewn about an ash heap of stereotypes—reinterpreted atop a pyre of modern identity constructs, authoritative... more
"Cinderella Story argues that a poststructural and unexpected identity can be created from the charred embers of self-imagery strewn about an ash heap of stereotypes—reinterpreted atop a pyre of modern identity constructs, authoritative stories, and assigned names. Cinderella Story renders its argument as a work of art, an extended self-portrait—a blending of the lyrical and the analytical, of the prosaic and the poetic, of rigor and revelation.
This new book does not present yet another narrative of the pathology of being Black in America. In fact, the story of being Black in America has always been a story of transformation; as such, this book should be considered a Cinderella Story and is so titled. Blacks are not stricken with a social malady—we have been changing at so fast a rate, we are still awkwardly learning to adjust to our new collective body. Some of the data capturing this transformation stares back at us in the mirror—our own physical bodies, with variations of hue that are astounding if we were to be contained within the single signifier that identifies one as being Black. And that is the point. We are more than we are expected to be. Usually darker-skinned than most but not always, our hair usually more curly, but not always, our noses and lips usually more broad, but not always. Our bodies are still as varied as always—that much has not changed. Yet, the signifier—being Black in America—has been entirely transformed. The data is right in front of us.
In this work I have struggled to depict identity as a continuing and episodic work of art, and the arts as a continuing work of identity—a network of aesthetic organizing systems capturing all we hope for, need, feed upon and desire. Cinderella, who once worked amongst the cinders, was saved from monstrous caricature just as I was, just as any spoiled identity may be overwritten, through a series of episodes, a constellation of reinterpretations."
This new book does not present yet another narrative of the pathology of being Black in America. In fact, the story of being Black in America has always been a story of transformation; as such, this book should be considered a Cinderella Story and is so titled. Blacks are not stricken with a social malady—we have been changing at so fast a rate, we are still awkwardly learning to adjust to our new collective body. Some of the data capturing this transformation stares back at us in the mirror—our own physical bodies, with variations of hue that are astounding if we were to be contained within the single signifier that identifies one as being Black. And that is the point. We are more than we are expected to be. Usually darker-skinned than most but not always, our hair usually more curly, but not always, our noses and lips usually more broad, but not always. Our bodies are still as varied as always—that much has not changed. Yet, the signifier—being Black in America—has been entirely transformed. The data is right in front of us.
In this work I have struggled to depict identity as a continuing and episodic work of art, and the arts as a continuing work of identity—a network of aesthetic organizing systems capturing all we hope for, need, feed upon and desire. Cinderella, who once worked amongst the cinders, was saved from monstrous caricature just as I was, just as any spoiled identity may be overwritten, through a series of episodes, a constellation of reinterpretations."
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The newly released Encyclopedia of Identity, produced by SAGE Publications, is two-volume exploration of definitions, politics, manifestations, concepts, and ideas related to identity formation and negotiation. I served as one of the five... more
The newly released Encyclopedia of Identity, produced by SAGE Publications, is two-volume exploration of definitions, politics, manifestations, concepts, and ideas related to identity formation and negotiation. I served as one of the five Associate Editors, and undertook the assignment of assembling authors from around the globe for the “Visual Arts & Cultural Studies” portion of entries. I also contributed 4 encyclopedia entries. "Stereotypes" are investigated as social constructs that stigmatize some and normalize others by presenting deficient representations--leaving so much of the fuller story about individuals untold, they operate more as a fiction than a reliable portrayal of a given identity. This is also how we create both monsters and supermen.
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The newly released Encyclopedia of Identity, produced by SAGE Publications, is two-volume exploration of definitions, politics, manifestations, concepts, and ideas related to identity formation and negotiation. I served as one of the five... more
The newly released Encyclopedia of Identity, produced by SAGE Publications, is two-volume exploration of definitions, politics, manifestations, concepts, and ideas related to identity formation and negotiation. I served as one of the five Associate Editors, and undertook the assignment of assembling authors from around the globe for the “Visual Arts & Cultural Studies” portion of entries. I also contributed 4 encyclopedia entries. "Self-Image" investigates the complex and mercurial archaeology of our self-concepts. Self-image is explored as a shape-shifting arena of possibilities wherein we figure ourselves out over and over again.
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The newly released Encyclopedia of Identity, produced by SAGE Publications, is two-volume exploration of definitions, politics, manifestations, concepts, and ideas related to identity formation and negotiation. I served as one of the five... more
The newly released Encyclopedia of Identity, produced by SAGE Publications, is two-volume exploration of definitions, politics, manifestations, concepts, and ideas related to identity formation and negotiation. I served as one of the five Associate Editors, and undertook the assignment of assembling authors from around the globe for the “Visual Arts & Cultural Studies” portion of entries. I also contributed 4 encyclopedia entries. "Propaganda" both explores the historical derivation of the term and confronts the oppressive practice of premeditated and deliberate attempts to shape the perceptions, thinking, and behavior of others through a systematic use of language, ritual and images.
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The newly released Encyclopedia of Identity, produced by SAGE Publications, is two-volume exploration of definitions, politics, manifestations, concepts, and ideas related to identity formation and negotiation. I served as one of the five... more
The newly released Encyclopedia of Identity, produced by SAGE Publications, is two-volume exploration of definitions, politics, manifestations, concepts, and ideas related to identity formation and negotiation. I served as one of the five Associate Editors, and undertook the assignment of assembling authors from around the globe for the “Visual Arts & Cultural Studies” portion of entries. I also contributed 4 encyclopedia entries. "The Human Figure" investigates how representations of the human figure are part of a network of symbols in the visual arts and cultural studies, imitations of life through which we define and locate personal and public identities, reminders of who we think we are.
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This book chapter explores the critical and narrative reinterpretation of life story that foments an overflow of incomplete, alternative, and rogue personal and public identities. The de/re/constructive agitation of certainty and the... more
This book chapter explores the critical and narrative reinterpretation of life story that foments an overflow of incomplete, alternative, and rogue personal and public identities. The de/re/constructive agitation of certainty and the familiar through a practice that periodically reinterprets personal narrative has the potential for stirring up even those certitudes longest-congealed, and the power to contest prevailing orthodoxies of social rectitude, politics, and research. Theoretical suppositions are viewed through a filigree of remembrances surrounding a photograph of my confirmation as a member of an Episcopal church in Brooklyn, New York at the age of 12. And what I am supposing is that the rewriting of personal narrative is an un-naming ritual, a contentious act that re-supposes the power of storylines and social expectations to define one’s life.
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Identities are constructed from personal experience, from interpsychological detritus, from cultural debris, from popular residue. Throughout this book chapter I will use the word “identity” in its epistemological sense, as a way of... more
Identities are constructed from personal experience, from interpsychological detritus, from cultural debris, from popular residue. Throughout this book chapter I will use the word “identity” in its epistemological sense, as a way of knowing the self and one’s experience similar in process to products of literary and visual arts. David Novitz suggests that, similarly, individual or collective social identities and works of art both “contain an imaginatively produced narrative core” and “are constructed with a possible audience in mind.” We are familiar with those within Western society who construct our identities upon modern scientific foundations and utilizing rational and mathematical cognitive models. These are models that propose an essential self, progressively realized. But are there other foundations, other tools, utilized in building personal meaning and practical knowledge? Are those who wield an identity that doesn’t fit neatly within the dominant cultural box, forced to build outside of the box? What are the building materials of a marginalized and unpopular identity? How are modern definitions of identity repositioned through postmodern interrogations? This chapter argues that our physical bodies serve as the signs and markers of identity, and that, conversely, visual signs and markers are embodied as they are semiotically inducted from the visual and popular cultures. A discourse in images is free to operate outside the bounds of modern certainties, trafficking the lattice of human textuality connecting minds collaterally across boundaries of time and place. This article examines the transmediation of semiotic interpretants from sign system to sign system, their (de/re)constructive utility in the positioning of human meanings and the crafting of coherence, and in the concerted effort of African Americans to alter the modern landscapes of our identity.
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The artwork presented in this book is a small representation of a very remarkable effort by African Americans in the United States during the twentieth century. Well suited for both individual and classroom use, "Discovering African... more
The artwork presented in this book is a small representation of a very remarkable effort by African Americans in the United States during the twentieth century. Well suited for both individual and classroom use, "Discovering African American Art for Children" pairs great works of art with thought-provoking questions. The author leads this visual exploration and interaction. Children are invited to wake up with Romare Bearden’s "Morning," to explore and join in important ceremonies as revealed in Clementine Hunter's "Baptism," and to stroll along the busy sidewalk in front of Jacob Lawrence’s "Brownstones." They can explore the ideas and the unique struggles of African American artists and their contribution to the culture of the United States.
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This article is a short narrative declaring why anti-racist activism matters in the arts and education.
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This article was written in response to a call for papers reflecting on the narrative of revisiting our arts practices—in this case, both as a means for reinterpreting forced isolation, and as a catalyst for the resilience we collectively... more
This article was written in response to a call for papers reflecting on the narrative of revisiting our arts practices—in this case, both as a means for reinterpreting forced isolation, and as a catalyst for the resilience we collectively need after an unprecedented global health crisis.
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This piece of writing is offered to arts, design, and media arts educators in K-12, higher education, and museum spaces alike as a practical guide for adding creative writing to their toolkit of research and creative practices.
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I was asked to respond to the following questions: For your purposes as an art educator, how do you define 'art' and 'artist'? Some critics argue that, in today's art world, the 'institutional' definition of art reigns. What other... more
I was asked to respond to the following questions: For your purposes as an art educator, how do you define 'art' and 'artist'? Some critics argue that, in today's art world, the 'institutional' definition of art reigns. What other definitions of art seem credible and useful to you as an art educator?
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This invited commentary is intended to prompt both a recognition of the paradigm shifts presently concatenating across contemporary society in the wake of the pandemic, continuing protests for justice, and global economic crises—as well... more
This invited commentary is intended to prompt both a recognition of the paradigm shifts presently concatenating across contemporary society in the wake of the pandemic, continuing protests for justice, and global economic crises—as well as a bold engagement of opportunities suddenly at hand for artists, art educators, and arts policy makers alike to press the reset button and equip our local and professional communities to be more “creatively response-able” than ever before in anticipation of the next formative social paradigms.
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An open letter to the field of my fellow creatives — a field broad enough to include artists and designers who practice in all mediums, those who teach the visual art or design or media arts from kindergartens to colleges, those who... more
An open letter to the field of my fellow creatives — a field broad enough to include artists and designers who practice in all mediums, those who teach the visual art or design or media arts from kindergartens to colleges, those who collect art, those who critique art, and those who curate art in museums — written in one train of thought as a response to the rising clamor for social justice in the United States after the murder of George Floyd.
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An open letter to the field of my fellow creatives — a field broad enough to include artists and designers who practice in all mediums, those who teach the visual art or design or media arts from kindergartens to colleges, those who... more
An open letter to the field of my fellow creatives — a field broad enough to include artists and designers who practice in all mediums, those who teach the visual art or design or media arts from kindergartens to colleges, those who collect art, those who critique art, and those who curate art in museums — written in one train of thought as a response to the rising clamor for social justice in the United States after the murder of George Floyd.
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An essay on the generational social trauma of systemic racism and bigotry in the United States in the context of the murder of George Floyd and the coronavirus pandemic — especially when fear of ongoing police brutality and social... more
An essay on the generational social trauma of systemic racism and bigotry in the United States in the context of the murder of George Floyd and the coronavirus pandemic — especially when fear of ongoing police brutality and social inequities are understood through the eyes of children.
Research Interests: Sociology, Social Change, Black Studies Or African American Studies, Education, Media Studies, and 14 moreSociology of Children and Childhood, Social Sciences, Social Contract Theory, Visual Culture, Arts Education, Politics, Social Justice, Portraiture, Public Health, Trauma, Redlining, Black Lives Matter, Coronavirus COVID-19, and COVID-19 PANDEMIC
An essay on the lasting trauma of racial assumptions and stereotypes on the body and psyche of a young, first-generation college student visiting the Museum of Modern Art with his class in the 1980s to see a special collection.
Research Interests: Creative Writing, Sociology, Cultural Studies, Black Studies Or African American Studies, Social Sciences, and 10 moreVisual Culture, Race and Racism, Arts Education, Visual Semiotics, Race and Ethnicity, Social Justice, Stereotypes and Prejudice, Educational Equity and Justice, Trauma, and Black Masculinity
Part 2 of an open letter written on June 8, 2020 to my field of fellow creatives — a letter challenging all artists, designers, and craftspersons, alongside educators and creative leaders at all levels of instruction, to come together in... more
Part 2 of an open letter written on June 8, 2020 to my field of fellow creatives — a letter challenging all artists, designers, and craftspersons, alongside educators and creative leaders at all levels of instruction, to come together in shaping an effective anti-racist agenda for the 21st century. (See attached website link).
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Part 1 of an open letter written on June 8, 2020 to my field of fellow creatives — a letter challenging all artists, designers, and craftspersons, alongside educators and creative leaders at all levels of instruction, to come together in... more
Part 1 of an open letter written on June 8, 2020 to my field of fellow creatives — a letter challenging all artists, designers, and craftspersons, alongside educators and creative leaders at all levels of instruction, to come together in shaping an effective anti-racist agenda for the 21st century. (See attached website link).
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This narrative essay shares observations and insights about how instructors can use creativity, student voice, and personalized learning to create more responsive educational leadership pedagogy. Three stories, as told by a professor and... more
This narrative essay shares observations and insights about how instructors can use creativity, student voice, and personalized learning to create more responsive educational leadership pedagogy. Three stories, as told by a professor and two former students, explore how students’ narratives can naturally inform educational leadership preparation across international borders. We aim to demonstrate how students’ narrative experiences in education can contribute to existing discourse and research on effective and innovative pedagogical practice in educational leadership preparation.
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This study employs narrative in order to examine circumstances wherein identity constructs and self-image are reconstituted in the face of oppressive circumstances. The authors of this article, both art educa-tors/academics, explore the... more
This study employs narrative in order to examine circumstances wherein identity constructs and self-image are reconstituted in the face of oppressive circumstances. The authors of this article, both art educa-tors/academics, explore the role of narrative processes at the intersection of an " art education of place " purposed to reinterpret extant lifeworlds and mediate premature identity foreclosures. Narrative methods open portals for the authors to express both the challenges and the merit of reconciling our identities as African American males and professional educators who navigate predominantly White institutions. In this article, we juxtapose two selected life episodes narrated in order to examine the spaces between iterations of our lifeworlds; our situational, relational, and oppositional responses to various oppressive conditions; and our navigation of the stigmas and stressors inherent therein. These stories and their analysis are presented as an exemplar of the mediation of contemporary identity and the potential of such mediations as a transgressive form of pedagogy and a significant redress to persistent popular culture mythologies about race and class.
Research Interests: Black Studies Or African American Studies, Education, Media and Cultural Studies, Self and Identity, Narrative, and 16 moreSocial Representations, Arts Education, Stereotypes, Narrative Methods, Narrative and Identity, African American Studies, Critical Race Theory and Whiteness theory, Art Education, Narrative Inquiry, Identity, Identity Construction, Life history research and Narrative inquiry, Counternarratives, Personal Narratives, Self Image, and Place Based Art Education
It all started with a question posted by an art educator on Facebook. In response to the problematic subject of who publishes, we propose that anyone with expertise to share, especially classroom teachers, can share that expertise. At the... more
It all started with a question posted by an art educator on Facebook. In response to the problematic subject of who publishes, we propose that anyone with expertise to share, especially classroom teachers, can share that expertise. At the same time, we stipulate that the reasons busy teachers may not be submitting articles for publication in Art Education has little to do with a lack of content to publish, but rather, it has to do with strongly held—and sometimes conflicting—understandings about how and what articles are “supposed” to be submitted for review to the journal.
Research Interests: Education, Peer Support (Learning and Teaching), Arts Education, Collaboration, Swarm Intelligence, and 11 moreFacebook, Art and Design Education, Professional Development, Teachers' professional development, Peer Review, Art Education, Collaborative Networks, Collaborative Learning, Academic Publishing, Facebook Studies, and Scholarly Publishing
Swarm intelligence is the production of generative social space, the agency to “create and open spaces into which existing knowledge can extend, interrelate, coexist, and where new ideas and relationships can emerge prosthetically.” Swarm... more
Swarm intelligence is the production of generative social space, the agency to “create and open spaces into which existing knowledge can extend, interrelate, coexist, and where new ideas and relationships can emerge prosthetically.” Swarm intelligence is argued to be a liminal, proximal, and distal zone of collective human development wherein memories and experience are made “prosthetic” in both the verb and noun sense of the word—that is, as an adaptive and potentially pedagogical capacity enabling the assimilation of supplemental patterns of behavior and thought, as well as the accommodation of the extant social archaeologies and emerging architectures that might further constitute our identities.
Research Interests: Cognitive Science, Biological Anthropology, Education, Educational Leadership, Creativity, and 14 moreNarrative, Leadership, Complexity Theory, Critical Pedagogy, Arts Education, Natural Law, Swarm Intelligence, Systems Theory, Prosthesis, Art Education, Arts Education and Pedagogy, Arts-Based Research, Prosthesis (posthumanism), and Critial Pedagogy/Art Education
Editorial introducing a special double issue of the journal Visual Inquiry: Learning & Teaching Art on the theme of "Insightful and Creative Leadership within Arts Education: History, Challenges, Opportunities, and Practices." The purpose... more
Editorial introducing a special double issue of the journal Visual Inquiry: Learning & Teaching Art on the theme of "Insightful and Creative Leadership within Arts Education: History, Challenges, Opportunities, and Practices." The purpose of this issue is to examine how to more effectively foster the development of creative leaders within the contexts of arts and design education and cultural institutions. This special issue is aimed towards providing educators, arts practitioners, researchers, and cultural advocates with insights into fundamental skills and organizational strategies required for effective leadership and management across school systems, arts organizations, museums, and community institutions. This volume of invited submissions, published in December 2014, is grounded in theory as well as practice, and features the voices of arts educators, researchers and advocates from multiple contexts, sharing various perspectives. The contributions revolve around the following broad sections:
-Historical Frameworks of Leadership and Advocacy within Arts Education
-The Role of Research and Practice in Arts Leadership
-Curriculum, Arts Integration as an Agency of Change
-Collaborative Practices in Creative Leadership
-Public Policy and Institutional Practices
-Historical Frameworks of Leadership and Advocacy within Arts Education
-The Role of Research and Practice in Arts Leadership
-Curriculum, Arts Integration as an Agency of Change
-Collaborative Practices in Creative Leadership
-Public Policy and Institutional Practices
Research Interests: Organizational Behavior, Education, Museum Studies, Creativity, Curriculum Design, and 13 moreArt Practice as Research, Leadership, Curriculum Studies, Arts Education, Collaboration, Practice-Based Research, Critical Thinking and Creativity, Art Education, Curriculum and Instruction, Arts Integration, Creative Leadership, History and Philosophy of Art Education, and Public Policy
This paper lays out some working tenets for an artistic method of research, one that arguably predates the scientific method and yields multiple strategies for the improvisatory address of researchable ideas and problems. Four overlapping... more
This paper lays out some working tenets for an artistic method of research, one that arguably predates the scientific method and yields multiple strategies for the improvisatory address of researchable ideas and problems. Four overlapping domains of arts-based knowledge, creative practice and teaching will be outlined along with derivative research methodologies that can be alternately framed as critical-activist, synthetic, analytic, and/or improvisatory. In this writing the author lays out the basic framework for an Arts-Based Research Primer (2013) published by Peter Lang, an introductory research textbook that aims to reveal how the arts lend themselves to blended spaces of naturalistic inquiry, aiding artists and scientists alike in their conduct of research.
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"An examination of systems of art-making and design behavior that together comprise a sociobiological response to the need for humanity to perpetuate life-sustaining ways of knowing and doing; these creative systems are characteristically... more
"An examination of systems of art-making and design behavior that together comprise a sociobiological response to the need for humanity to perpetuate life-sustaining ways of knowing and doing; these creative systems are characteristically altruistic, the enactments of our social responsibility to preserve our most effective patterns of behaving together for the common good in the shape of lasting yet ever-adapting cultures. Reframes the popular conception of critical thinking and its purpose.
This article begins with the questions posed by John M. Wilson in his 1998 article, "Art-Making Behavior: Why and How Arts Education is Central to Learning." Wilson asks: The cultural behavior that has most piqued social biologists’ curiosity is altruism. Why does an individual knowingly sacrifice his or her own interest, or even life, for another’s survival?...When survival of the fittest is the law of nature, why would the “fit” on occasions struggle, at their own peril, to preserve the “unfit”?"
This article begins with the questions posed by John M. Wilson in his 1998 article, "Art-Making Behavior: Why and How Arts Education is Central to Learning." Wilson asks: The cultural behavior that has most piqued social biologists’ curiosity is altruism. Why does an individual knowingly sacrifice his or her own interest, or even life, for another’s survival?...When survival of the fittest is the law of nature, why would the “fit” on occasions struggle, at their own peril, to preserve the “unfit”?"
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In this article, I reframe arts practice as agency, the right to represent and reinterpret personal and social significance in a way that contributes a positive self-valuation. A positive self-valuation in turn becomes a berth for the... more
In this article, I reframe arts practice as agency, the right to represent and reinterpret personal and social significance in a way that contributes a positive self-valuation. A positive self-valuation in turn becomes a berth for the beneficial habitus of the individual. Bourdieu (1990/1999) describes habitus as the locus of the capacity to generate reasonable, common sense behaviors that are beneficial to others. Arts practices are herein theorized as a stock of reasonable, common sense behaviors—making marks, making models, and making “special” aesthetic interventions that signal a person, object, artifact, action, event or phenomenon as uniquely valuable, sacred or life-sustaining. These are behaviors that human agents commonly and continually employ in response to social needs, causes, and the imperative to signify. Given the social significance of arts practice, there is also great potential in a broader application of arts education pedagogy as a force for social transformation. Brent Wilson (2005) sketches out a fundamentally democratic and transactional pedagogical framework that socially responsive and responsible educators can make use of in the cultivation of social justice, the ethical imagination, and the transformation of the systems that ill-define us.
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Utilizing the story of an art studio project involving second grade students in a new urban elementary school as they explored and engaged with architectural spaces in their community during their yearlong study of the theme of... more
Utilizing the story of an art studio project involving second grade students in a new urban elementary school as they explored and engaged with architectural spaces in their community during their yearlong study of the theme of “Community,” the purpose of this writing is to theorize and codify some major tenets of a narrative and reinterpretive approach to urban arts & design education pedagogy—one that recognizes and draws upon the colliding experiences and environments of urban living as an asset to the (re)constitution of identity and community.
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This article stems from a story of arts education advocacy in the midst of a bureaucracy that misunderstood the purpose of art education at the launch of a new elementary school. Contemporary visual arts education practices overlap a... more
This article stems from a story of arts education advocacy in the midst of a bureaucracy that misunderstood the purpose of art education at the launch of a new elementary school. Contemporary visual arts education practices overlap a unique period of change in neighboring social science disciplines, a turn of the tide that involves the embrace of narrative methods to rewrite prevailing working models and paradigms of social science practice. Here at the start of the 21st century, art education continues to be practiced in the thrall of a scientific paradigm that misunderstands the greater potential of the arts in education, often imposing a ceiling ill-fitted for arts praxis, arts-based research, or arts pedagogy. The author argues that art education is also at a turn of the tide and surmises some of the unexpected outcomes when new and ex-centric stories of learning and a “pedagogy of possibility” are more thoroughly explored, allowing practitioners to fully rethink an art education practice without taxonomic ceilings and within the shelter of the unexplored labyrinth.
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This article relates a story of art education advocacy in the midst of a bureaucracy that misunderstood the purpose of art education at the launch of a new elementary school. It further argues that in 2010, art education continues to be... more
This article relates a story of art education advocacy in the midst of a bureaucracy that misunderstood the purpose of art education at the launch of a new elementary school. It further argues that in 2010, art education continues to be practiced in the throes of a scientific knowledge paradigm that misunderstands the greater potential of the arts in education, imposing a ceiling ill-fitted for arts education practices and arts-based research. The author surmises some of the possibilities when the imposed ceiling is removed and we rethink art education, concluding with several schematic counter-discourses that lay out an art classroom without ceilings.
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This article represents a paradigm analysis of the characteristics of arts-based research (ABR) in an effort to reconceptualize the potential of arts-based practices in generating new curriculum approaches for general education practice... more
This article represents a paradigm analysis of the characteristics of arts-based research (ABR) in an effort to reconceptualize the potential of arts-based practices in generating new curriculum approaches for general education practice and the development of the learner. Arts-based theoretical models—or art for scholarship’s sake—are characteristically poststructural, prestructural, performative, pluralistic, proliferative, and postparadigmatic, offering the promise of divergent pedagogical pathways worthy of new exploration.
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This article begins with the premise that self-imagery is constituted as a shape-shifting aggregate of symbolic systems that incorporates the human body itself as one of its representations. At intermittent points of the body’s embodiment... more
This article begins with the premise that self-imagery is constituted as a shape-shifting aggregate of symbolic systems that incorporates the human body itself as one of its representations. At intermittent points of the body’s embodiment of visual culture and tacit social experience, alternative representations accrete into varying symbolic systems, the multiple shapes a self-image may take over a lifetime. Given that social identity is derived from the interaction of various symbolic systems, how do some bodies and self-images come to be taken as that of identities incompatible with most others? In this exploration of the self-image and identity, the author reconsiders the purposes of art education in human development, especially when the self-image is given primacy over the objects we typically plan to make in the classroom.
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How do we construe and re:construe (Bruner, 1995) the (archi)textures of (written) life? What is belonging when identities are temporal and where naming remains elusive or unknown (Cixous & Sellers, 2004)? This article plays writing... more
How do we construe and re:construe (Bruner, 1995) the (archi)textures of (written) life? What is belonging when identities are temporal and where naming remains elusive or unknown (Cixous & Sellers, 2004)? This article plays writing collaborative writing, deconstructing textual hierarchies between the “main” text body and footnoted text as a means of interrogating ways identities are written/performed. It is inspired by correspondences between the authors, generated in relation to three previous works published in Qualitative Inquiry, “Messing Around with Identity Constructs: Pursuing a Poststructuralist and Poetic Aesthetic” (Rolling, 2004b), “Searching Self-image: Identities to be Self-evident” (Rolling, 2004c), and “Not Quite Acceptable: Re:Reading my Father in Qualitative Inquiry” (Brogden, 2006). We share correspondences between academics, using spaces created in writing “between friends” (NFB, 1976; Government of Canada, 2002) whilst constantly becoming through the re:writing of our identities from no fixed address.
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This article investigates how representation attaches meaning to bodies, how certain bodies are categorically misrepresented and masked from normativity, and proposes a curriculum theory affording the agency of the misrepresented to... more
This article investigates how representation attaches meaning to bodies, how certain bodies are categorically misrepresented and masked from normativity, and proposes a curriculum theory affording the agency of the misrepresented to demask invisibility. Brief historical narratives of three kinds of invisibility are presented as they are manifested in educational practice and visual culture—masking those deemed to occupy lesser physical bodies, lesser bodies of knowledge, and bodies lesser-than-normal. The author argues the relevance of art education as a transformative pedagogical practice that can inform and promote social significance, or what the author terms as in/di/visuality, the agency to reinterpret misrepresented physical or conceptual bodies. In the face of masking practices that unleash the squalls of invisibility and inequity throughout sites of curriculum practice and contemporary visual culture, the exercise of in/di/visuality acts as a watershed, displacing invisibility and affording a greater breadth of inclusion in educational concerns.
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This white paper reconceptualizes the potential of models of arts practice in generating new curriculum approaches for general education and aiding the development of the learner in our contemporary visual age. High-quality art education... more
This white paper reconceptualizes the potential of models of arts practice in generating new curriculum approaches for general education and aiding the development of the learner in our contemporary visual age. High-quality art education is argued to provide art educators with an adaptable and dynamic framework for curriculum-making and theorizing. Visual arts theoretical models—or art for scholarship’s sake—offer the promise of divergent and yet synergistic pedagogical pathways through which learners may become adept at thinking empirically through a material medium, thinking expressively in a language, thinking iconoclastically within a context—or in doing each simultaneously. Flexible and dynamic thinking is a key to jump-starting the ability of learners to innovate, inform, and network across the artificial divides of disciplinary content. (My paper is the third in the attached bundle of essays).
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This essay shares observations and insights about principles of mentoring in the form of five individual recollections about our experiences with our mentor and dissertation advisor, Graeme Sullivan. Dialogue 1 focuses on the historical... more
This essay shares observations and insights about principles of mentoring in the form of five individual recollections about our experiences with our mentor and dissertation advisor, Graeme Sullivan. Dialogue 1 focuses on the historical and cultural antecedents of the mentor-mentee relationship, whereas dialogue 2 highlights the rich potential of teaching and learning, and the fact that the potential to see things from new perspectives is ever present. Dialogue 3 describes the mentor-mentee relationship that deepened with the idea of intellectual rigor and play, risk and experiment, the practice of art making and the happenstance of serendipity within the context of the research act. Dialogue 4 offers examples of reflexivity in two forms, methodological and interpretive, and argues that it becomes the meta-modus operandi of the relationship among doctoral student/artist, dissertation advisor, and dissertation art practice/research. The concluding dialogue focuses on the language of possibility in mentoring, which shapes the research process and transforms both mentee and mentor. These reflections can also be seen within the spirit of an open dialogue and collaborations between us as our mentor continues to reach us, allowing us to seed the fields we have settled in and as we generate our own reincarnations.
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Un-naming the axiomatic constructs of a named identity—that which is thought to be fitting within a given regime of definition—becomes then an act of secular blasphemy, a performance of decanonizing translation that discursively relocates... more
Un-naming the axiomatic constructs of a named identity—that which is thought to be fitting within a given regime of definition—becomes then an act of secular blasphemy, a performance of decanonizing translation that discursively relocates and reinscribes communicated meaning from power, prefix, and prefigurement to perpetual movement. Departing from Homi Bhabha’s description of blasphemy as a transgressive act, this paper blasphemes the certainty of definition in research writing, illuminating the performance of blasphemy as a source of new social names and the migration of norms and meaning. This paper is the third in a trilogy of research forays exploring the intersection of autoethnography, critical race theory, and performance studies. This new research, written to follow up Messing Around With Identity Constructs (Qualitative Inquiry, 10 (4), pp. 548-557) and Searching Self-Image (Qualitative Inquiry, 10 (6), pp. 869-884), is a continuation of the author’s effort to establish the efficacy of a poststructural and poetic aesthetic in qualitative research writing.
Research Interests: Cultural Studies, Social Sciences, Research Methodology, Performance Studies, Narrative, and 14 moreQualitative methodology, Poststructuralism, Poetry, Critical Race Theory, Identity (Culture), Autoethnography, Social Justice, Identity politics, Narrative Methods, Qualitative Research, African American Studies, Art Education, Arts-based methodologies, and Arts-Based Research
This brief article is written as an introduction to this Qualitative Inquiry special thematic issue exploring the intersection of performance studies, critical race theory, and autoethnography. What do these forms of inquiry look like?... more
This brief article is written as an introduction to this Qualitative Inquiry special thematic issue exploring the intersection of performance studies, critical race theory, and autoethnography. What do these forms of inquiry look like? The guest editor, a visual artist, has chosen the strategy of showing, rather than merely telling.
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In this paper, the author explores the concept of childhood as a social category that impedes the perception of youngsters as critical thinkers in a visual culture. The author interrogates regularities within contemporary public schooling... more
In this paper, the author explores the concept of childhood as a social category that impedes the perception of youngsters as critical thinkers in a visual culture. The author interrogates regularities within contemporary public schooling that work to represent the intellectual and cultural development of youngsters as the project of adult industry. Contrary to this representation, the author recounts the critical awareness and personal agency exercised by a group of 4th graders who engaged in a political cartooning exercise while examining the theme of social justice. The article includes an examination of the social construction of the concept of childhood as it intersects the discourse of Western socio-cultural superiority and the opening of sites of contention as a pedagogical strategy.
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This article addresses the advocacy of organizations like the National Art Education Association that seek greater legislative support, funding and time allocations to be devoted to arts instruction and the development of arts practices... more
This article addresses the advocacy of organizations like the National Art Education Association that seek greater legislative support, funding and time allocations to be devoted to arts instruction and the development of arts practices in the arena of public education. The author argues the timeliness of a reconceived paradigm for understanding and advocating the relevancy of arts practices in the wake of the Information Age. This article seeks to rethink the semiotics defining art in an era of shifting paradigms and as contextualized in contemporary educational policy.
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This study explores the question of “why we teach as we do” through the self-reflexive lens described by several noted curriculum theorists, but perhaps best exemplified in a simple theorem for a reflexive curriculum-making praxis first... more
This study explores the question of “why we teach as we do” through the self-reflexive lens described by several noted curriculum theorists, but perhaps best exemplified in a simple theorem for a reflexive curriculum-making praxis first proposed by aesthetics educator Arthur W. Foshay in his aphorism, “Who is to encounter what, why, how, in what circumstances, under what governance, at what cost?” The efficacy in Foshay’s postulation is not self-evident, but must be revealed in an alternating sequence of engagements with the constituent elements of its syntax. The method for this presentation of living inquiry in curriculum-making is twofold, involving the intersection of an art studio project involving 3rd and 4th grade students in a new elementary school; along with accompanying mixed genre writing that draws upon the artist/teacher/researcher’s autobiographical narrative and poetry. This study argues that Foshay has proposed a qualitative theorem inviting ongoing interpretation in curriculum-making. An alternating sequence of conceptualizing events constitutes a living inquiry, offering the possibility of greater innovation in learning than the more formulaic unit structures designed by mandate.
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This study argues the efficacy of the phenomenological cultural work of a visual culture archaeology that liberates a political and critical identity, resistant to domination, authoring social change and its own agency through multiple... more
This study argues the efficacy of the phenomenological cultural work of a visual culture archaeology that liberates a political and critical identity, resistant to domination, authoring social change and its own agency through multiple and incommensurable positions. Built upon Foucauldian premises, visual culture archaeology is developed as a methodology for discursive un-naming and re-naming, and emerges from the inherence and attenuation of inscripted meanings in the reinterpretation of identity during a postmodern confluence of ideas and images. The hybridized representation of the African American in Western visual culture has been unique in the effort by some to define us over significant periods as less than human, less than American, or less than statistically significant in the purpose to maintain an unequal relation of economic and political power. This paper continues the author’s effort to establish the efficacy of a poststructural and poetic aesthetic in qualitative research writing.
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The author relates the story of an exercise in curriculum-making that took place at The School at Columbia University as 4th graders responded to the erection of The Gates in New York’s Central Park in the winter of 2005, a unique... more
The author relates the story of an exercise in curriculum-making that took place at The School at Columbia University as 4th graders responded to the erection of The Gates in New York’s Central Park in the winter of 2005, a unique installation of conceptual art by artists Christo and Jeanne-Claude. The development of these responses over several weeks surreptitiously afforded each participant in this curriculum experience the opportunity to conceptualize certain methods and meanings most salient to them. This article opens a creative space for reconsidering some notions on what constitutes exemplary content, curricula, and criteria for assessment in art education by drawing upon the metaphor of gateways and the re-search of children.
Research Interests: Education, Creativity, Curriculum Design, Contemporary Art, Educational Research, and 11 moreCurriculum Studies, Arts Education, Child Development, Pedagogy, Curriculum Theory, Curriculum Development, Conceptual Art, Art Education, Arts Education and Pedagogy, Curriculum and Instruction, and Curriculum
This study argues that drawing upon off-site/sight/cite points of reference affords a space for extended trajectories of learning and the cultivation of rich and atypical personal meaning unavailable within the terrain and climes of... more
This study argues that drawing upon off-site/sight/cite points of reference affords a space for extended trajectories of learning and the cultivation of rich and atypical personal meaning unavailable within the terrain and climes of typical schooling frameworks. This paper continues the author’s effort to establish the efficacy of a poststructural and poetic aesthetic in qualitative research writing.
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Naming can alternatively be a definition of identity or a source of stigma. Un-naming can alter a story and serve to unhinge fixed definitions, initiating a democratic discourse that finds its own way of escaping the thrall of hegemony... more
Naming can alternatively be a definition of identity or a source of stigma. Un-naming can alter a story and serve to unhinge fixed definitions, initiating a democratic discourse that finds its own way of escaping the thrall of hegemony and dominating canons. Can qualitative research serve to un-name axiomatic frameworks of identity? This paper is written to follow up to Messing Around With Identity Constructs (Qualitative Inquiry, Volume 10, Number 4, pp. 548-557) and continues the author’s effort to establish the efficacy of a poststructural and poetic aesthetic in research writing.
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How does the named body refigure itself? Bodies are evidentiary. They are documentary. We position our bodies and juxtapose them in foreground to a tableau other bodies; self-images are traced against other images of identity. We... more
How does the named body refigure itself? Bodies are evidentiary. They are documentary. We position our bodies and juxtapose them in foreground to a tableau other bodies; self-images are traced against other images of identity. We position our bodies to tell stories—to tell self-histories, sometimes false, sometimes true, always incomplete. For each of us, our thinking—our image of self—tends to cohere around an identifiable, repeatable pattern of discursive meanings that we first inherit and then overwrite with newly experienced and refreshed meanings. Life stories are structures in flux, deconstructions. The source of injurious self-image appears to be wound up in the cultural construction of “abnormality.” The reconstitution of a spoiled identity is effected in the presentation of extra-normative figures of self, selves outside the boundaries of a normalizing frame, selves less traveled. The author makes the argument that a body tells its own life in spite of all manner of stereotyping and propaganda, offering glimpses of humanity, poetry overcoming monstrosity.
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Winner of the 2006 Roy C. Buck Award, honoring a tenure-track faculty member in the College of Arts and Architecture of The Pennsylvania State University for the best refereed article in a scholarly journal. Kenneth Gergen (1991) sees... more
Winner of the 2006 Roy C. Buck Award, honoring a tenure-track faculty member in the College of Arts and Architecture of The Pennsylvania State University for the best refereed article in a scholarly journal. Kenneth Gergen (1991) sees identity crises as endemic to the current human condition and has termed the malady “multiphrenia.” It is described as being symptomatic of nations with these particular traits of the postmodern era: a populace of multilocal people—people with attachments to more than one place or community, and with increasingly disconnected relationships; cosmopolitan communities with a plurality of cultures, including transplanted colonies from other lands; an explosion of information systems and a multi-media visual culture. Utilizing an autoethnographic framework, this essay examines my own identity crisis after the death of my father and, as reconstituted in this essay, my namesake. I will explore modernist, postmodernist, and poststructural methodologies available for the construction and reconstitution of our identity constructs in the current era.
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This address to a gathering of visual arts, music, theater, and dance educators and administrators in the Boston area offers a rethinking of the role of the arts & design in education reform at the inception of a desperately needed and... more
This address to a gathering of visual arts, music, theater, and dance educators and administrators in the Boston area offers a rethinking of the role of the arts & design in education reform at the inception of a desperately needed and oft-pleaded dismantling of "No Child Left Behind" legislation.
News announcement of my appointment as the next Co-Director of the Lender Center for Social Justice at Syracuse University.
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News announcement of my successful election as the next President-Elect of the National Art Education Association.
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This profile in the August 2015 newsletter of the Cooper Union Saturday Program recounts my experience as an undergraduate instructor from 1986 to 1988 as the foundation for my ultimate career path as an arts & design educator.
Research Interests: Arts Education, Successful High School To College Transition For Students At Risk Of Dropping Out, Art and Design Education, Art Education, Visual Arts, and 5 moreArts Education and Pedagogy, Fine Arts Education, College Preparation and Transition, Creative Leadership, and Community Engagement In the Arts
This special Syracuse University Magazine profile from Summer 2014 introduces my new scholarly focus on the fostering of creative leadership.
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In the wake of growing worldwide protests taking a more unified stand than perhaps ever before against the incessant murder of Black lives both by those sworn to protect life and by those committed to White supremacy, I've written an open... more
In the wake of growing worldwide protests taking a more unified stand than perhaps ever before against the incessant murder of Black lives both by those sworn to protect life and by those committed to White supremacy, I've written an open letter to fellow creatives providing a scaffold to support their own systematic construction of an anti-racist agenda for practicing and teaching the arts in the 21st century.
Research Interests: Social Change, Black Studies Or African American Studies, Education, Race and Racism, Arts Education, and 15 moreSystems Thinking, Race and Ethnicity, Social Justice, Museum Education, Social Activism, Art and Design Education, Art Education, Visual Arts, Arts Education and Pedagogy, Activism, Anti-Racism, Art collectors and connoisseurs, Systems Thinking and Problem Solving, Art and Design, and Black Lives Matter
The “Scientific Revolution” refers to historical, social, and institutional changes in thought and belief that unfolded in Europe between roughly 1550-1700. Given that the scientific method is only several centuries old, why aren’t... more
The “Scientific Revolution” refers to historical, social, and institutional changes in thought and belief that unfolded in Europe between roughly 1550-1700. Given that the scientific method is only several centuries old, why aren’t researchers and scholars just as conversant about those successful pre-scientific and artistic bases for knowledge-building and modeling our understandings that preceded the establishment of early scientific methods and arguably laid the groundwork for the revolution to follow? This article begins by exploring the “missing links” and precursors for the successes of the scientific method which are hidden in plain sight in the various arts of memory and other methodological experiments in the rational preservation and advance of experiential knowledge documented most thoroughly between 1300 and the early 1500s during the Renaissance in visual arts, literature, and other symbolic forms. This analysis concludes with some important speculations about the future of arts-based research in light of its illuminated legacy.
Research Interests: Philosophy of Science, Social Sciences, Research Methods and Methodology, Science Education, Research Methodology, and 21 moreArt Practice as Research, Renaissance Studies, Renaissance Humanism, Qualitative methodology, History of Science, Arts Education, Qualitative Research, History of Art, Art Education, Arts-based methodologies, Scientific Revolution, Arts-Based Research, Arts-Based Educational Research, Ars Memorativa, Arts and Sciences, Ars Memoriae, Arts and Humanities, Scientific Method, Research Paradigms, Scientific Research, and Arts of Memory
To be bereft is the condition of being deprived of an asset—either through underdevelopment, systemic neglect or depraved indifference. The great educational crisis of our era is not the perpetuation of “failing schools.” Arguably,... more
To be bereft is the condition of being deprived of an asset—either through underdevelopment, systemic neglect or depraved indifference. The great educational crisis of our era is not the perpetuation of “failing schools.” Arguably, schools do just what they are intended to do—contemporary schooling underdevelops moral courage, altruism, and creative social imagination in favor of the development of usable citizens who are easy to categorize, easy to warehouse or sort into cubicles, and easy to manage. Hence, the purpose of this writing is to theorize a renewable approach toward a more beneficial public pedagogy—one that recognizes the many profitless exchanges of contemporary living as one of our greatest shared energy resources for the (re)constitution of identity and community.
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This video tells the story of my first encounter with Dr. Graeme Sullivan, describing open fields of play as I first began to construct my academic identity, as well as the early seeds of effective mentorship Graeme planted along the way.
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In October 2012, I was flown into São Paulo, Brazil to fulfill a commitment to speak at the VIII Congresso Internacional de Estética e História da Arte (VIII International Congress of Aesthetics and Art History) in São Paulo, Brazil.... more
In October 2012, I was flown into São Paulo, Brazil to fulfill a commitment to speak at the VIII Congresso Internacional de Estética e História da Arte (VIII International Congress of Aesthetics and Art History) in São Paulo, Brazil. During the week of Oct. 21 - 28, I presented twice, first at the Museum of Contemporary Art of the University of São Paulo, and later in the week at the Brazilian Museum of Sculpture. The subject of both lectures was on arts-based research and associated systems for contemporary art-making. My traveling companion throughout the week was my Syracuse University Art Education colleague Dr. Sharif Bey.
My travels were sponsored by the Interfaculty Graduate Program in Aesthetics and Art History of the University of São Paulo, Brazil's largest university and the country's most prestigious educational institution.
During this period I was interviewed on the theme of "Complicated Conversations: Arts and Design Practice as a Species of Research." Sharif joined in. The questions we were asked to respond to, in order of query were:
1. How do you define yourself?
2. Can you share some words about your visit to Brazil?
3. Is "arts-based research" a new methodology for the production of art?
4. In the context of "arts-based research" you could talk a little more about the relationship between art and science? What are the main differences between arts-based research and scientific knowledge producing methodologies?
Follow-up: How did your interest in arts-based research begin? How did you get started; what caught your attention?
5. When your journey began, was the idea to create a new set of methods for asking questions in research?
6. What kinds of knowledge are acquired from artistic practice that informs the practice of "arts-based research?"
7. What has been the reception to this research paradigm?
8. Can you tell us a bit about your book "Cinderella Story?"
9. Has the arts-based research paradigm been used by contemporary artists in their creative processes?
10. How can scientists benefit from a knowledge of arts-based research?
My travels were sponsored by the Interfaculty Graduate Program in Aesthetics and Art History of the University of São Paulo, Brazil's largest university and the country's most prestigious educational institution.
During this period I was interviewed on the theme of "Complicated Conversations: Arts and Design Practice as a Species of Research." Sharif joined in. The questions we were asked to respond to, in order of query were:
1. How do you define yourself?
2. Can you share some words about your visit to Brazil?
3. Is "arts-based research" a new methodology for the production of art?
4. In the context of "arts-based research" you could talk a little more about the relationship between art and science? What are the main differences between arts-based research and scientific knowledge producing methodologies?
Follow-up: How did your interest in arts-based research begin? How did you get started; what caught your attention?
5. When your journey began, was the idea to create a new set of methods for asking questions in research?
6. What kinds of knowledge are acquired from artistic practice that informs the practice of "arts-based research?"
7. What has been the reception to this research paradigm?
8. Can you tell us a bit about your book "Cinderella Story?"
9. Has the arts-based research paradigm been used by contemporary artists in their creative processes?
10. How can scientists benefit from a knowledge of arts-based research?
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In my final issue as Senior Editor of Art Education, I examine art + design praxis as a means for determining where we are now as practitioners and a profession, and where we must go from here.
Research Interests: Education, Indigenous Studies, Contemporary Art, Arts Education, Chinese Art, and 20 moreReggio Emilia, Artists' Books, Theory and Practice of Visual Arts, Quilts and quilt cultures, Practice-Based Research, Contemporary Indigenous Arts, Global Positioning System, Art Education, Chinese Calligraphy, GPS, Contemporary Sculpture, Global Citizenship Education, African Art, Chinese Art - Calligraphy & Ink Painting, Artist's Books, Arts and Social Justice, Contemporary African art, Quilting, Protest Art, and Artists’ Books
Understanding that art expresses far more than just personal sense or significance, this writing invites readers to reflect on art as therapy.
Research Interests: Visual Studies, Education, Special Education, Art Therapy, Contemporary Art, and 17 moreVisual Culture, Arts Education, Autism Spectrum Disorders, Urban Education, Expressive Arts Therapy, Vulnerability, Humor and laughter in education, Art and Design Education, Inclusive Education, Creative Arts Therapy, Art Education, Adolescent Education (Education), Mathematics anxiety, Restorative Practices, Visual journals, Autism Spectrum Treatment, and Hong Kong Contemporary Art
What is the role of the contemporary classroom art instructor and their preservice teacher educators in creating learning outcomes that provoke policy-makers and legislators to rethink the way they see the art + design practices,... more
What is the role of the contemporary classroom art instructor and their preservice teacher educators in creating learning outcomes that provoke policy-makers and legislators to rethink the way they see the art + design practices, providing more support for the ensuing generation?
Research Interests: Policy Analysis/Policy Studies, Education, Educational Leadership, Teacher Education, Peer Support (Learning and Teaching), and 14 moreEarly Childhood Education, Arts Education, Cognition, Case Study Research, Education Policy, Modeling and Simulation, Drawing, Art and Design Education, Art Education, Preservice Teacher Education, Case Study, Pop Up Books, Drawing as a research tool, and Public Policy
What is the change we need as art + design educators, and how can it be sustained?
Research Interests: Education, Educational Leadership, Contemporary Art, Arts Education, Swarm Intelligence, and 15 moreStudent Centered Learning, Art and Design Education, Assessment in the Creative arts disciplines, Art Education, STEM Education, Collaborative Learning, Elementary Education, Educational Change, Quilting, Choice Based Learning, STEAM Education (Science, Multimedia Art, Assessment In Arts Education, Subjective Assessments, and Choice Based Art Education
The second editorial in a special two-part series on reinventing and rolling out the STEAM engine for art + design education, this issue investigates how we might fast-track advantageous cross-disciplinary changes within our field of... more
The second editorial in a special two-part series on reinventing and rolling out the STEAM engine for art + design education, this issue investigates how we might fast-track advantageous cross-disciplinary changes within our field of creative education and practice.
Research Interests: Education, Design education, Arts Education, Museum Education, English Language Arts, and 19 moreEkphrasis, Art and Design Education, Design thinking, Arts-sciences interdisciplinarity, Art Education, Visual Arts, Constructivism (Education), STEM Education, Elementary Education, English language teaching, Arts Integration, Interdisciplinary Education, Interdisciplinarity in the Arts (experimental poetry, ekphrasis, contemporary art), Ekphrastic Poetry, STEAM Education (Science, Arts Integration In Urban Schools, Community Building Through Arts, Round Robin, and Elementary Chemistry
Tells a story of how art makes us smarter, providing simple principles for behaving together in clusters of socially responsible creative activity that can channel the benefits of our collective genius into any classroom, any workplace,... more
Tells a story of how art makes us smarter, providing simple principles for behaving together in clusters of socially responsible creative activity that can channel the benefits of our collective genius into any classroom, any workplace, and any nation.
Research Interests: Education, Teacher Education, Creativity, Art Therapy, Digital Media, and 18 moreDigital Fabrication, Public Art, Arts Education, Collaboration, Swarm Intelligence, Cultural Identity, Interactive Arts, Art and Design Education, Creative Arts Therapy, Identity construction and cultural production, Critical Thinking and Creativity, Art Education, Curriculum and Instruction, Collaborative Learning, DIY culture, Do It Yourself (DIY), Art in public space, and Art Teaching
STEAM-generated learning situates art + design practices as a powerful engine for educational reform and at the center of initiatives toward more meaningful collaboration across disciplines.
Research Interests: Education, Media Studies, New Media, Educational Technology, Teacher Education, and 17 moreDesign education, Digital Media, Contemporary Art, Arts Education, Media Arts, Media Education, Digital Arts, Art and Design Education, Arts-sciences interdisciplinarity, Art Education, Arts Education and Pedagogy, STEM Education, Arts Integration, Arts and education, Philosophy of Art and Design Education, STEAM Education (Science, and Arts Integration In Urban Schools
Ultimately, the purpose of research is to illuminate and activate the systems that sustain you—those evident and those still hidden. At the crux of this effort are acts of interpretation. Governed by principles, values, laws, and... more
Ultimately, the purpose of research is to illuminate and activate the systems that sustain you—those evident and those still hidden. At the crux of this effort are acts of interpretation. Governed by principles, values, laws, and practices that differ from the sciences, the arts also allow a wholly different character of investigation and interpretation of either our aggregate or granular experiences. In an arts-based research paradigm, just as a system for interpretation may constitute a work of art, it likewise constitutes a strategy for mediating an initial understanding of an encounter or experience with a natural material, human subject, event or phenomenon.
Research Interests: Education, Research Methodology, Contemporary Art, Educational Research, Arts Education, and 11 moreSystems Thinking, Systems Theory, Art and Design Education, Research, Art Education, Arts Education and Pedagogy, Arts-based methodologies, Arts-Based Research, Arts-Based Educational Research, Arts and Sciences, and Arts and education
By prompting the question, "What is my vision for creative leadership?," we may rethink the stultifying rhetoric of failure and discover opportunities for new leadership often hidden in plain sight.
Research Interests: Education, Educational Leadership, Models of Creativity & of Creative Processes, Creativity, Leadership, and 16 moreContemporary Art, Arts Education, Creative Industries, Art and Design Education, Creative thinking, Art Education, Arts Education and Pedagogy, Community Arts, Failure Analysis, Creative Economy, Funding for the Arts, Arts Funding, Arts Partnerships, Creative Leadership, Choice Based Art Education, and National Standards for Arts Education
Prompts the question, “What is my vision for creative leadership?” In this issue I challenge educators to rethink the stultifying rhetoric of failure and awaken to opportunities for new leadership often hidden in plain sight.
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Looking back upon the difficult national dialogues on race matters throughout much of the year 2015, in this Editorial I have framed the assembly of this month's issue as an exploration of the ongoing and complicated conversations that... more
Looking back upon the difficult national dialogues on race matters throughout much of the year 2015, in this Editorial I have framed the assembly of this month's issue as an exploration of the ongoing and complicated conversations that emerge at the intersection of evolving traditions, (mis)perceptions of race, cultural shifts, and entrenched inequalities.
Research Interests: Cultural Studies, Black Studies Or African American Studies, African Studies, Visual Studies, Multiculturalism, and 21 moreEducation, Intercultural Communication, Visual Culture, Critical Pedagogy, Social and Cultural Anthropology, African Diaspora Studies, Arts Education, Critical Race Theory, Race and Ethnicity, Intercultural Education, African American Visual Culture, Multicultural Education, African American Studies, Art and Design Education, Professional Development, Art Education, Visual Arts, Intercultural dialogue, Contemporary Art Teaching, Socially Engaged Art, and Kehinde Wiley
In order to introduce the September 2015 issue of Art Education journal, I present the argument that while tacit knowledge is often first understood or implied in modes and mediums that are not visual, arts & design educators have the... more
In order to introduce the September 2015 issue of Art Education journal, I present the argument that while tacit knowledge is often first understood or implied in modes and mediums that are not visual, arts & design educators have the means to aid learners in transferring the potency of other non-visual or not-communicated systems of meaning into multimodal renderings.
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As arts & design educators, why do we do what we do, for whom, and toward what ends? Over the course of this issue, I present three essential road markers for the professional development of both the artist and the arts & design educator:... more
As arts & design educators, why do we do what we do, for whom, and toward what ends? Over the course of this issue, I present three essential road markers for the professional development of both the artist and the arts & design educator: Paradox, Peer Mentoring, and Purpose.
Research Interests: Education, Peer Support (Learning and Teaching), Contemporary Art, Educational Research, Printmaking, and 9 moreArt and Design Education, Professional Development, Art Education, Visual Arts, Arts Education and Pedagogy, Professional Learning Community, Paradox, Peer Mentoring, and Professional Learning Communities
What happens when art and design educators weave together our various pedagogical models, adapting one to another within a shared embroidery rather than segregating them?
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Issues a challenge to arts & design educators pull back, grasp the bigger picture, and take a more active hand in designing interventions and accommodations that benefit a greater diversity of learners, both in the art classroom and beyond.
Research Interests: Education, Instructional Design, Organizational Change, Teacher Education, Social Entrepreneurship, and 11 moreDisability Studies, Critical Disability Studies, Diversity, Arts Education, Catalysts, Assistive Technology, Altruism, Art and Design Education, Art Education, Learning Disabilities, and Intellectual & Developmental Disabilities and Autism Spectrum Disorders
Identifies the fostering of creative literacies in teaching and learning as a fundamental investment toward the development of creative leadership capacity in 21st century urban society, and an apt theme for my inaugural issue as the new... more
Identifies the fostering of creative literacies in teaching and learning as a fundamental investment toward the development of creative leadership capacity in 21st century urban society, and an apt theme for my inaugural issue as the new Editor of Art Education.
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Editor’s Note: Throughout my term as Senior Editor, not only have I had the assistance of a hard-working Editorial Board of reviewers, but also I have had the benefit of the expertise of James Rolling, Jr. as the Studies Editorial... more
Editor’s Note: Throughout my term as Senior Editor, not only have I had the assistance of a hard-working Editorial Board of reviewers, but also I have had the benefit of the expertise of James Rolling, Jr. as the Studies Editorial Assistant. At the recent NAEA convention we not only talked about our Studies editorial work, but also as James was preparing for his dissertation defense of his study of the construction of African-American identity, our adviser-student conversations continued. It seems appropriate that James continues the dialogue in his words. —Graeme Sullivan
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This is a review of Elliot W. Eisner’s 2002 book, "The Arts and the Creation of Mind," which aims to dispel the persistent policy-making notion that regards the arts “as nice but not necessary” (p. xi). Eisner argues that the “complex... more
This is a review of Elliot W. Eisner’s 2002 book, "The Arts and the Creation of Mind," which aims to dispel the persistent policy-making notion that regards the arts “as nice but not necessary” (p. xi). Eisner argues that the “complex and subtle” intellectual demands of the arts have “distinctive contributions to make” in schools and to the overall process of learning, contributions that are not situated at the periphery of the educational experience, but squarely at its core (p. xii).
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This is a review of Arthur D. Efland’s 2002 book, "Art and Cognition: Integrating the Visual Arts in the Curriculum," which sets for itself the admirable task of coherently mapping variously situated theories of cognition, and from an... more
This is a review of Arthur D. Efland’s 2002 book, "Art and Cognition: Integrating the Visual Arts in the Curriculum," which sets for itself the admirable task of coherently mapping variously situated theories of cognition, and from an integration of those theories, modeling a rationale for the necessary integration of arts learning in general education curriculum.
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Ugliness. Why does it seem to cleave so painfully to the flesh and blood, hair and bone of black folk? We are possessed, it seems, by the symbols of social stigma. Or have we embodied the stories and images that have discredited us within... more
Ugliness. Why does it seem to cleave so painfully to the flesh and blood, hair and bone of black folk? We are possessed, it seems, by the symbols of social stigma. Or have we embodied the stories and images that have discredited us within a modernist reductive discourse? If the latter, what has been our agency for undoing the (ab)normative texts that have ferociously named us? This study explores a transgressive postmodern research methodology that interrogates modernity. I will make the argument that the de/re/construction of collective African-American identity from categorical ugliness toward a constitutive role in Western social discourse was also one of the early movements into a contemporary postmodern condition. The evidence for this repositioning is a part of Western visual culture. Thus a new methodology, a visual archaeology, has been derived for the deployment of this study. The data for this project are autoethnographic, both collected and created; the text is itself an argument for a hybridized arts-based, arts-informed process. Texts, embodied in personal memory, blend with those ensconced within America’s visual culture. Both memory and culture are the target sites of an epistemological paradigm shift and a poststructuralist repositioning. In spite of the dominating archaeology of Western scientific modernity, this study shows that rogue narratives of social acceptability—a matrix of anomalous and ultimately transgressive (re)configurations of identity and methodology—have been employed to mediate the stubborn texts (re)presenting African-American stigma, freeing us to explore the borders of a postmodern “normality.”
Research Interests: Critical Theory, Visual Studies, Self and Identity, Social Identity, Performance Studies, and 15 moreNarrative, Popular Culture, Art Practice as Research, Visual Culture, Poststructuralism, African Diaspora Studies, Arts Education, Critical Race Theory, Identity (Culture), Race and Ethnicity, Autoethnography, Identity politics, Narrative Methods, African American Studies, and Art Education
This article investigates how representation attaches meaning to bodies, how certain bodies are categorically misrepresented and masked from normativity, and proposes a curriculum theory affording the agency of the misrepresented to... more
This article investigates how representation attaches meaning to bodies, how certain bodies are categorically misrepresented and masked from normativity, and proposes a curriculum theory affording the agency of the misrepresented to de-mask invisibility. Brief historical narratives of three kinds of invisibility are presented as they are manifested in educational practice and visual culture – masking those deemed to occupy lesser physical bodies, lesser bodies of knowledge, and bodies lesser-than-normal. The author argues the relevance of art education as a transformative pedagogical practice that can inform and promote social significance, or what the author terms as in/di/visuality, the agency to reinterpret misrepresented physical or conceptual bodies. In the face of masking practices that unleash the squalls of invisibility and inequity throughout sites of curriculum practice and contemporary visual culture, the exercise of in/di/visuality acts as a watershed, displacing invisib...