Page 1


pg. 10

Department Chair Karen Hutzel grabs a selfie in her office.

1 2 3 4










13 14 15 16 18





FROM THE CHAIR’S DESK I am extremely pleased to present our second annual newsletter from the Department of Arts Administration, Education and Policy. Let me start by offering my thanks to the faculty, staff, students and alumni for a wonderful start to my role as department chair. Continuing the tradition of our annual newsletter, this year’s edition explores issues of social identity, access, economic empowerment and international scholarly exchange. Our department’s diversity of programs, activities, ideas and people is unique and I’m inspired by all of you. To see the impact our department community is making on the arts and society through our teaching, community engagement and research reminds me why I came to Ohio State 11 years ago as a young scholar. Some of the many accomplishments this past year are highlighted here, including: Professor Joni Acuff’s expertise on social justice; Schweitzer Fellow Allison Paul’s classroom research focusing on social justice through image making; our scholarly exchange with Aalto University in Finland; alumnus Patrick Callicotte’s inclusive art program; and alumnus and program coordinator Ruth Smith’s community outreach. These accomplishments are possible because of exceptional scholarship and tireless efforts of our faculty, staff and students, whose commitment of our department’s mission is profound. “The mission of the Department of Arts Administration, Education and Policy is to critically engage cultural meaning through excellence in research, policy, teaching, and leadership that fosters social change and advances the public interest through the arts and visual culture.” Our department continues to uphold the reputation of a tier one research institution, with our distinguished faculty at the forefront of scholarship for Art Education and Arts Policy and Administration. This clearly puts Ohio State on the global map as one of the top places to study the role of the arts in society. And let us not forget what we have in common — we represent a diverse community of scholars who share an unwavering commitment to the arts, challenging societal norms, disrupting traditional narratives, embracing creativity and innovation, thinking critically about and engaging with the world through the arts and ultimately engaging in rigorous teaching and scholarship about arts and society. I am honored to be part of this community. With admiration,

Karen Hutzel, PhD Associate Professor and Department Chair

Arts Administration, Education and Policy students on a study abroad program to explore arts and cultural practices in schools, colleges, museums and cultural institutions in Jamaica, take a moment to strike a dramatically backlit O-H-I-O.


FROM AALTO UNIVERSITY TO OHIO STATE: TWO PERSPECTIVES ON AAEP’S SCHOLARLY EXCHANGE The intention for spending a semester in Helsinki was to explore the ways through which Aalto’s Department of Art particularly engages with practice-based research. Most of its art education offerings are geared toward students who are focusing on careers as educators and as practicing artists. This form of experiential learning though artmaking became immensely beneficial in forming pathways that led to the completion of my dissertation. The most unexpected turn in my research came when I discovered Aalto University’s base for biological arts, Biofilia, which is a physical laboratory for transdisciplinary engagement between the life sciences and artmaking. This experience allowed for my background as an artist working along the borders of art and technology to resurface through the questions raised by my research as an art educator. It served as a turning point in my research toward ethical and cultural questions surrounding the manipulation of life and technology through critical perspectives in contemporary art and education.

Tim Smith teaches interdisciplinary science and art courses in Helsinki, Finland.

by Tim Smith, PhD 2016 For several years, art education programs of The Ohio State University and Aalto University in Helsinki, Finland, have forged a strong academic and professional relationship, collaborating through conferences, study abroad courses and visiting scholar opportunities. When I enrolled as a PhD student in art education in 2013 I never imagined I would spend a semester of research in Finland. I met several students from Aalto University who had come to study at Ohio State, including Juuso Tervo, Iida Jääskeläinen and Iida Nissinen. The conversations with Finnish scholars laid the framework for becoming the first student from AAEP to spend a semester in Helsinki at Aalto University. I arrived in Finland during the midpoint of winter 2015. As I adapted to the Nordic lifestyle, the illuminating warmth and inclusiveness of the faculty and students more than made up for the relative coldness and lack of light. There is a great energy of collaboration and engaging discourses both within and outside the walls of Aalto’s School of Art, which includes art education, Nordic visual studies (NoVA), visual culture and contemporary art (ViCCA) and curating, managing and mediating art (CuMMA).



This renewed pursuit of my science and art-based research in education has continued in Helsinki following the completion of my PhD. In September, I began a two-year appointment as postdoctoral researcher in the Department of Art at Aalto University, where I am further investigating the relationships between art and science education, and will be working with an experimental high school program in Helsinki that brings together artistic and scientific learning into an interdisciplinary classroom environment. If I had not been afforded the opportunity to participate as a visiting scholar through AAEP I would have never built the academic and professional relationships in Finland that led to this incredible opportunity.

The comprehensive set of philosophical, cultural, educational and aesthetic perspectives and practices I was introduced to at Ohio State certainly made this possible.

by Juuso Tervo, AAEP Visiting Scholar, PhD 2014 Post-Doctoral Researcher, Department of Art, Aalto University While my BA and MA studies at Aalto University, Helsinki, Finland (which was then called University of Art and Design Helsinki) provided a well-rounded and personally meaningful introduction to art education, it was at Ohio State where I learned to study, that is, to theorize and write in a way that not merely expresses what I would like to say, but puts the very thought of art and education in question. Indeed, the object of one’s study should be an enigma; a challenge one takes over and over again. My studies at Ohio State offered precisely this: to balance between knowing and not-knowing, eventually halting the movement between them, and transforming their tension into research and writing. The comprehensive set of philosophical, cultural, educational and aesthetic perspectives and practices I was introduced to at Ohio State certainly made this possible. I recently started my second two-year postdoctoral research appointment at Aalto, during which I’m participating in planning and developing university-wide courses on artistic and creative practices for all Aalto students. Since Finnish universities do not generally offer GE courses (especially in the arts), we have the intriguing opportunity to envision what a transdisciplinary art education could look like in higher education and what kind of curriculum it would entail. In addition, I continue my research on the intricacies of political theorization of art and education, focusing especially on how cultural histories of capitalism and nationalism have affected the ways that the sociopolitical promise of art education is articulated in Finland and in the United States.

ONLINE MA: PILOT COHORT LEADS THE WAY AAEP relaunched the Online Master’s in Art Education with a pilot cohort of seven students from the United States and Jamaica in June 2016. The previous Mostly Online Master’s in Art Education was the first online art education program in the country. This program is the first online program in the College of Arts and Sciences, and with college support, has led the way in marketing online programs, designing online study abroad courses and providing a model for developing other online programs. The Online Master’s is designed for practitioners in the classroom, museum and community. Our renowned faculty teach all the classes, and offer electives including Universal Design for Learning: Disability Studies, Indigenous People and Visual Culture, and Technology and Digital Texts. This is just one of the reasons that Niche ranked Ohio State’s faculty the best among online art education programs. Nicole Winter, a visual arts teacher at Wolmer’s Trust High School for Girls in Kingston, Jamaica, began our program in June. “The online master’s program has been very instrumental in my journey in becoming a more creative and effective teacher,” she said. “The assignments and discussions are insightful, thoughtprovoking and practical. What I admire most is the practicality and relevance of the program. I am already implementing some of the strategies in my lessons and as a result, my lessons are more engaging and enriching for my students.” Gregory Lawrence, a digital art teacher at Watkins Middle School in Southwest Licking Schools in Pataskala has also started to incorporate what he is learning into his curriculum. “One thing I have really enjoyed out of the program has been the ideas on creativity and play. I have been using a lot of these ideas already but it has been really great to have the theory and research at my fingertips,” he said. “When I am asked to write explanations and justifications, I have found that I can talk much more fully about what I am doing and more importantly why I am doing it.” Students blog throughout the program, a way to share their journey through the online master’s with colleagues, friends, faculty and students. “Online learning has its challenges but one of the best parts about being online is that all the learning is done with my own students,” added Lawrence. “I spoke openly with my students and let them know that they are learning from Ohio State at the same time I am learning. They understand that they get to help me become a better teacher and that together we get to create a better learning experience and environment together.” Visit Nicole’s blog at

Juuso Tervo continues his research while teaching transdisciplinary art education courses and exploring his research on the politics of art in Helsinki, Finland.

and Greg’s blog at Learn more about the Online Master’s in Art Education at


AAEP STUDENTS AND ALUMNI LOBBY FOR THE ARTS ON ARTS ADVOCACY DAY For more than 10 years, the Department of Arts Administration, Education and Policy has had a long-standing commitment to sponsoring student attendance and participation at Arts Advocacy Day, a national meeting of arts advocates, convening in Washington, D.C., and sponsored by Americans for the Arts. This event brings together a broad cross-section of America’s cultural and civic organizations along with more than 500 grassroots advocates from across the country, to underscore the importance of developing strong public policies and appropriating increased public funding for the arts and arts education. Attending this event gives students practice in communicating a unified message about the critical importance of the arts to policy makers, members of Congress and other key stakeholders.

Demonstrating their passion for the arts and their knowledge of key policy issues, 28 AAEP students (12 graduates and 16 undergraduates) and seven Columbus Emerging Arts Leaders convened at this event March 6-8, 2016, thanks to support from the department, the Ohio Arts Council and Greater Columbus Arts Council, and the organizational efforts of Central Ohio Student Advocates for the Arts (COSAA) advisor Jim Sanders, alumnae Gretchen McIntosh (PhD, 2015) and Elle Pierman (MA, 2016), and faculty Deborah Smith-Shank and Sonia Mañjon. These hands-on experiences create vital opportunities for students to learn about National Endowment for the Arts (NEA) funding, policies affecting arts education, records for each member of Congress and their stance on arts issues, as well as statistics and strategies to forge strong arguments in support of arts education. Teams of

AAEP CO-SPONSORS ACADEMY AWARD-WINNING DOCUMENTARIAN AND ACCLAIMED MUSICIAN by Curt Vance, PhD 2013 On March 2, 2016, AAEP co-sponsored a visit by Barbara Kopple, director and producer of the Academy Award-winning documentary film, Harlan County, USA. The film depicts the conflict between coal miners attempting to organize a union and the company’s opposition. While working on the movie, Kopple immersed herself into the community directly affected by struggle. Her work informed and educated countless people of the struggles faced by the people of Harlan County. This work was recognized by the Library of Congress; it was named to the National Film Registry and designated an American Film Classic. Following the screening of her film, Kopple led a discussion for guests that included Ohio State students, faculty and staff, and members of the community. The discussion focused on film and of documentary film making. The evening included a performance by legendary musician David Morris, who contributed music to the documentary, and his son, Jack Ballengee Morris. Before the screening, the two performed



music featured in the film. Morris spoke to the value of performances such as this, as “they provide a sense of community and allow us to pass the tales on to the next generation. If we can understand the struggles of those before us, we better understand what brought us to where we are today”. David Morris’ history as an artist, educator and activist makes his contribution to the evening especially important. In addition to his work on the film, Morris appeared at the 1972, 1976 and 1979 UMWA International Conventions, and provided the music for the BBC’s documentary about Arnold Miller, In A Dead Man’s Shoes, following the assassination of the Yablonski family. Morris was the subject of a French National Television Film, Appalachian Lifestyles in West Virginia with David Morris, which won the French equivalent of an Emmy in 1975, and twice served as Artist in Residence for the Kanawha County, West Virginia, school system.

students and working professionals were scheduled to meet with two members of Congress or their legislative aides. Teams were encouraged to share personal reflections on what the arts mean to them, and to explain their position in support of arts education. “Luckily for my group, both of our Congress members (Steve Stivers and Marcy Kaptur) were already members of the Congressional Arts Caucus, so their aides were excited about what we had to say,” Pierman said. “I felt very empowered when I lobbied, and I realized how important it is to come together as a nation and really make an effort to advocate for what you believe in.” Gretchen McIntosh continues to make this trip a priority postgraduation. “I believe it is a priority to meet with our representatives and tell them what is important to us. I also believe it is a priority to provide this opportunity to the next generation of arts leaders,” she said. “My involvement after graduation is a communication of my passion; I think it is empowering as an American citizen to express your voice and have it heard.”

It is one thing to be in school and study the arts, and it is quite another to go to Capitol Hill and speak to the people who make the laws. I learned a lot about how the arts affect the economy, education and communities, and I plan to use the information I gathered in my future endeavors. — Elle Pierman, PhD student in Art Education


Arts administrators and educators can help shape the cultural context in which their careers will unfold, when actively advocating for public support of arts education, rather than entering the field disgruntled that elected officials aren’t grasping the public value of investing in our society’s cultural health and well-being. COSAA Washington, D.C. excursions are opportunities for students to learn about the advocacy agenda of Americans for the Arts, develop skills in

communicating the value of our field’s work, and play an active role in shaping the environment in which they’ll hopefully be working once completing their studies. Ohio legislators are impacted by hearing from student constituents with informed standpoints and contributing to the state’s economy and educational advancement. Sanders, currently in his fourth term on the Ohio Citizens for the Arts board of directors, has long valued serving as faculty advisor to COSAA.

He also spent four years in the nationally acclaimed North Carolina Visiting Artist program. The evening was regarded as a tremendous success. One attendee said, “It gave me more insight into the area where I was born and I learned of the struggles people faced around the time I was born.” By sponsoring this and other projects, AAEP provides students with first-hand accounts of the arts, art making and arts administration. This program was made possible through the Barnett Center for Integrated Arts & Enterprise.

IN MEMORIAM Since this article was written, David E. Morris, beloved husband of AAEP faculty member Christine Ballangee Morris, passed away Oct. 14, 2016, after an intense battle with brain cancer. David was truly larger than life: an epic storyteller, a touching musician, a charming man, the life of the party and someone who could make you laugh and cry all in the same conversation. David was a regular fixture of our department and he will be sorely missed by all.

David Morris (seated) with (L to R) Christine Ballengee Morris, Jack Ballengee Morris, Barbara Kopple and Gus the dog.


I learned a lot from Riya, but I feel like the most important thing she taught me was building my confidence — Marian “Asia” Nuur

Community artists taking photographs at Dublin Arts Council during their photography workshop with artist Riya Jama.



Marian “Asia” Nuur puts together her new Canon Rebel T6. Cameras were given to the community artists as part of their scholarship to encourage the pursuit of photography as a career and opportunities to impact their communities through artmaking.

FROM THE AAEP COMMUNITY TO THE SOMALI COMMUNITY: CREATING URUR DHEX-DHEXAAD AH: COMMUNITY IN-BETWEEN by Ruth Smith, PhD 2014 In summer 2015, I approached fellow alumna Gretchen McIntosh, director of evaluation and stewardship at Dublin Arts Council, about a project idea. Qorsho Hassan, a former research participant and close friend and I wanted to share the ways that young Somali Americans are building community through story and photograph. Gretchen shared the project idea with Dublin Arts Council executive director and AAEP alumnus, David Guion. Columbus, Ohio, is home to 45,000 Somalis, the second-largest community in the United States. A recent article in 614 Magazine said the Somali community in Columbus was still in the process of integrating, the same position Roble and Rutledge assessed in their 2008 publication, A Journey Away. Despite the challenges identified — disparity in average household incomes, lack of political representation, and cultural barriers — my experience working with the young adults I have worked with over the past seven years, who are 1.5 and 2nd generation Somali-Americans, has led me to a different conclusion: young adults in the Somali community in Columbus are actively building community amid the transition from preparing to participate to actively participating.

We offered a photography scholarship for high school Somali girls and in July, three winners received a Canon Rebel T6 and attended a three-day photography workshop with Torontobased artist, Riya Jama. Two of our community artists completed the project. Riya said, “There’s something to be said about the sacredness of working exclusively with the daughters of Araweelo (A Somali folklore Queen), to see these Somali girls, and to know that I get to work with them, to know that my skills are being utilized by the community I’m a part of.” We spent time at Dublin Arts Council, taking portraits of project participants and the Somali community in Columbus, and working in AAEP’s computer lab. The girls learned technical skills like shooting in manual and editing photos. However, it was Riya’s mentorship and encouragement that meant the most to them. “I learned a lot from Riya,” Marian “Asia” Nuur said, “but I feel like the most important thing she taught me was building my confidence and to open up more with my clients or the people I work with.”

Since the workshop, the three young women have led photography sessions with project participants and started their own photography initiatives. Faduma is working with her uncle, local photographer Tariq Tarey, on a project focused on hijab, and the three girls have started a collaborative Instagram project as well as individual initiatives to bring Muslim and Somali girls together through blogging and photography. In this scholarship, we were able to cultivate a supportive space for Somali women to create art in a male-dominated field. It was an opportunity to create representations of people who looked like them, by them, and to develop their craft under the mentorship of a professional artist. And it is an opportunity to publish their work in an exhibit at Dublin Arts Council and the forthcoming book published by Ohio State’s Trillium Press. Urur Dhex-Dhexaad Ah: Community in Between will be on view at Dublin Arts Council Aug. 8 – Nov. 3, 2017.

We decided to interview and photograph 15 individuals under age 40 who are leaders, mentors and connectors in Columbus about their work in fields such as economics, education, nursing, screenwriting and community organizing. Dublin Arts Council has supported this idea with funding, space, resources and brainstorming. It was during one of our initial planning meetings that the idea for a photography scholarship came about. Qorsho and I decided we wanted Somali photographers to take portraits of our participants. All the local Somali photographers we were familiar with were male; we decided we wanted to encourage female artists. Dublin Arts Council supported this decision.


THE CRITICAL IMPORTANCE OF COUNTER NARRATIVES Racialized groups in America have experiences profoundly shaped by visual and social imagery, creating tremendous hardships in the quest for identity. The media has represented Blacks as weak, subservient, ignorant and uneducated. This canonized narrative feeds implicit biases that impact Black people in every facet of their lives. Counter-narratives question this master narrative to affect positive social change. — Joni Acuff, Assistant Professor, AAEP

Joni Boyd Acuff, assistant professor in the Department of AAEP, was invited twice this year by the Wexner Center to contribute her expertise. Acuff’s research agenda and scholarship attends to critical multicultural art education, critical race theory in art education, community-based art education and culturally responsive teaching

On Feb. 23, 2016 the Wexner Center invited Acuff and Townsand Price-Spratlen, associate professor in the Department of Sociology, to offer two perspectives on the role of social justice and arts-based community building in the work of Noah Purifoy.

and curriculum development. Acuff has built her career around asking important questions to advance social justice and foster positive change, seeking to give voice to excluded groups through the critique and acknowledgement of dominant power structures.

PHOTO: Christopher Michel


Noah Purifoy’s work is a story, a narrative, of not only a man and his artistry, but his understanding of humanity and the continued struggle for some people to gain and maintain humanity while others rest comfortably in theirs. It communicates a social consciousness that is subtle in appearance, yet the undercurrent is loud. His work deals with life and its messiness, its grittiness. Purifoy addresses social justice through arts-based community building with the goal of healing, but also questioning. Explicitly identifying issues, naming them, and finding ways to critique, combat, resolve, then heal. I see Purifoy’s work as being multidimensional; as his work, even outside of this gallery exhibition, speaks to varying systems of oppression. I find it easy to make connections to his work by simply considering the contemporary social and economic structures of today, as this narrative is just as relevant and transferable to our current social crises. Revisiting Purifoy’s work as a narrative unfolds a storyline that speaks to the advancements, or in some cases decline, of American, Close up of Purifoy’s desert studio. particularly, African American and Black life, the lingering effects of which continue to The Wexner Center featured a retrospective of Noah Purifoy’s work, impact us today. February 2016.



L to R: Wendy Smooth, Leslie Alexander, Joni Acuff and Jennifer Beard

BIRTH OF A NATION: On Sept. 14, 2016 the Wexner Center held a Director’s Dialogue for Art and Social Change with a panel discussion on the release of the new film, Birth of a Nation with Joni Acuff, Sharon Davies, professor; Gregory H. Williams, Chair in Civil Rights and Civil Liberties and director of the Kirwan Institute for the Study of Race and Ethnicity; and Wendy Smooth, associate professor in the Department of Women’s


Gender and Sexuality Studies. The dialogue examined the controversy surrounding Birth of a Nation, a powerful historical epic about Nat Turner, the literate slave and preacher who led an 1831 slave rebellion in Virginia. Nate Parker’s directorial debut won both the Grand Jury Prize and Audience Award at this year’s Sundance Film Festival. But the film’s success was clouded by controversy surrounding its director.


ARE YOU GOING TO SEE THE MOVIE? by Joni Acuff, Assistant Professor, AAEP

It took me about a week to even click on the article that expounded on Nate Parker’s 1999 trial. I had seen the article links popping up on all of my social media timelines, opinion editorials, critical scholarly responses, feminists, artists, fellow actors, but I ignored them. I wanted so much to see this movie that I wanted to distance myself from the media attention of this past event. With the current state of events in the U.S., I wouldn’t be surprised if every person of color was experiencing racial battle fatigue. I was looking forward to just two hours in the theatre where I did not feel so helpless in my Black skin. But after opening that link and

reading, I could not unread. I was not in disbelief—this story is typical, happening most recently here in the last few months where men (White) have gotten minimal sentencing for violence against women’s bodies in an unconscious state. I was left confused, both morally and artistically, in my feelings about the sexual assault. Would I support going to see the film or not? On one end, I need my mind and soul, my psyche, nurtured by this story. But I must also consider how, in supporting this film, I am implicated and complicit in the violence against women. The conflict of my own intersectionality between being Black and female left me emotionally spent.

It is inconceivable to be asked to choose one oppression over another, especially if you are in the position of a double minority. In the end, I had to reconcile myself with my anger and disappointment about the artist’s actions as a human violating and imparting violence upon a woman. But I was also yearning to hear and see the imagery that illustrates a dynamic, shelved narrative of a Black man validating my Black body as one that is strong and resilient and autonomous. As an educator, I support being in a space of confusion, a location of not knowing how to feel or how to process information and experiences. I believe the greatest questions are birthed

from that ubiquitous location. This is the space that I continue to occupy as I consider this dilemma of the artist and his work, questioning whether or not I can separate the two. Ultimately, I have decided to view the film; however, my viewing the film is less about supporting Nate Parker and more about supporting myself. My Black self needs the nourishment of a visual and artistic counter-narrative. I have therefore made a conscious choice to separate the artist from the art. Parker’s actions don’t disqualify the narrative of the film. Simultaneously, Turner’s story does not bury Parker’s actions.



by Patrick Callicotte, MA, 2016 Visual Art Educator, Chapman Elementary School Dublin, Ohio August 27, 2013 Ellen walked to art class on the first week of school, trailing five feet behind a line of third graders because her paraprofessional felt awkward walking in a line with 8-year-olds. Excited smiles, enthusiastic waves and an occasional high-five pushed vibrant energy into the classroom as the single-file line passed through a door disguised as a giant U.S. passport. As they walked across the shiny layer of wax recently applied to the light gray linoleum floors, they took note of each small remnant of paper and deserted washable marker, physical evidence of the activities that had previously taken place in this space. As students navigated across the classroom and sat upon a 9 x 12foot olive green area rug, Ellen’s paraprofessional thought it would be more convenient for Ellen to not have to cross the room and instructed her to sit on the first metal stool she saw. Beams of light, stained green by the cellophane-covered windows, fell upon her solemn face as she sat at the end of a 3 x 6-foot table. The classroom transformed into a beehive as the students spread their portfolios across the tables and floor and began converting their imagination-filled ideas into vibrant drawings of marker and crayon. As Ellen scanned the room of students creating artworks, her paraprofessional waved her hand in front of her face and told Ellen to look at her portfolio. As she turned her gaze to the manila portfolio, Ellen saw that her paraprofessional had taken a marker and



A NOTE FROM ASSISTANT PROFESSOR SHARI SAVAGE Patrick completed his BAE with licensure in 2012, and his MA in Art Education in 2016. I’ve been honored to advise him through both degrees and delighted to watch him impact students at Dublin Chapman Elementary School since he was hired directly out of our program. Patrick became a leader in designing inclusive classroom experiences for his specialneeds students, creating adaptive art-making equipment, and implementing progressive “fading” of paraprofessional involvement in student art-making. His presentations and hands-on demonstrations of adaptive art making were a highlight of the 2015 Arts & Autism Conference, introducing teachers, parents and community partners to innovative ways to engage special-needs students. Patrick also shares his inclusive pedagogy to our undergraduate BAE cohort, inspiring teacher candidates to embrace Ohio State’s social justice mission and become change agents in their own classrooms. Named Dublin’s Chamber of Commerce Community Champion in 2013, Patrick was also the 2015 and 2016 Chapman Elementary PTO Champion for his dedication to his students. I could not be more proud of his accomplishments, and know his students benefit from his passionate teaching. I invite you to enjoy this excerpt from his MA thesis, “Adaptive Artmaking Tools, Visual Supports, and Resources for Paraprofessionals: My Journey of Building a More Inclusive Art Classroom” (2016).

created a sloppy drawing of The Little Mermaid and surrounded it with colorful hearts. This was the current solution to Ellen’s intensive fine-motor needs. Her paraprofessional examined Ellen’s face hoping for expressions of joy or excitement, but found none. My time in the AAEP department at Ohio State was filled with an overwhelming amount of invigorating inspiration, transformative experiences, and soul-searching questions. With each new class I was mentored, encouraged and challenged by the some of the most revolutionary and accomplished scholars in art education. My mentors filled me with the drive to pave new roads, push boundaries and explore the uncharted areas. This desire for social change that Ohio State ignited in me has been the most significant driving factor behind my success in challenging and expanding upon the current status quo of inclusion in the art education classroom. Over my four years of teaching, this journey to build a more inclusive art program has taken the form of designing and constructing custommade adaptive artmaking tools, visual supports and resources for paraprofessionals. I have AAEP at Ohio State to thank for giving me the realization that as an educator, I am an agent of change and I have the ability to make my classroom, my community and our world a better place for my students.

Energy shot down into the small tool, causing a paintbrush to send pink paint spinning across her paper in tornado-like fashion. Her eyes lit up and her cheeks lifted to accommodate the huge smile that occupied the lower half of her face. Ellen looked straight into my eyes and although she didn’t speak verbally, I understood her clearly. Tears of pride rolled down my face as I watched Ellen throw her head toward the ceiling and arch her back, with laughter that bounced off every wall in the classroom. My education from Ohio State is with me every day. It is in the young, laughing voices that fill my classroom, in the drips of colorful paint that splatter across my linoleum floor from paintbrushes held by students, and in the warm hug one student gives another as a communication of love that transcends verbal language. It supports fragile hands, excites beating hearts, calms anxious minds and challenges young explorers to live their lives thinking like artists.

Patrick Callicotte works to build a more inclusive art program at Chapman Elementary School and has designed and constructed custom-made adaptive artmaking tools like these (above).

January 8, 2015 Ellen felt the warm squeeze of her peer’s hand as she entered the classroom in the middle of a line of children while her paraprofessional walked in the back of the line. Ellen’s paraprofessional stopped at her seat while Ellen walked with the other students onto the large, green rug. As she independently walked back to her seat, Ellen saw a visual schedule with small, laminated icons that visually described the sequence of art activities for the day’s lesson. Ellen’s intertwined fingers began to pulse, squeezing her hands together tighter and tighter as I placed a painting tool in front of her. Hesitant at first, Ellen scanned the bright red, 3D-printed walls of the tool and then looked at me, seeking approval to bring the tool to life. As I smiled and nodded, Ellen unclenched her hands and reached out with her right hand, triggering the motion-activated device.

On the cover:

LOCAL ELEMENTARY SCHOOL ARTISTS SPREAD LOVE AT OHIO STATE THROUGH WORRY DOLL PROJECT With many close connections to the Ohio State community, the attack at Ohio State left his students fearful, anxious and wanting to be part of the solution. In response, Patrick Callicotte and his class created worry dolls for the Ohio State community. As a way to process tragedy through art making and spread love during this difficult time, Patrick’s fourth grade students at Chapman Elementary School in Dublin, Ohio, created worry dolls for students and faculty at Ohio State. Worry dolls, originating in Guatemala, are small handmade dolls composed of wires, strings and fabrics. Tell your dolls your worries at night, then hide them under your pillow. The next morning the dolls will have taken part of your worries away. (see cover)



IN/VISIBLE IDENTITIES EXAMINES STUDENTS’ SOCIAL, CULTURAL AND PERSONAL IDENTITIES by Kristen Breitfeller, PhD Student in Art Education As an instructor for the course, Art Curriculum and Concepts for Teachers, I work with undergraduates who will soon be educators themselves. Many future elementary and middle school teachers, and many students are new to the studio environment. They enroll in this class to learn more about arts integration and the valuable role of the visual arts in schools. We also spend time experimenting with a range of visual media. In October 2016, I approached my classes with a half-formed idea for a collaborative artwork. During the weeks preceding the project, we spent time thinking about the importance of critical multiculturalism in art education. Looking at the work of Joni Acuff, we examined ways in which educators often unwittingly perpetuate bias, homogenize distinct social groups and misrepresent cultures. Touching on the concept of culturally relevant pedagogy, such as that practiced by Ohio State educator Timothy San Pedro, we considered the rich tapestry of identities students bring to the classroom. Growing out of these discussions, In/Visible Identities, a work that was on view in the AAEP Gallery Oct. 31 through Dec. 1, 2016 included aspects of each student’s social, cultural and personal identity. We left materials for viewers to add their own identities to our collective work. Many people added to the installation, and even went so far as to write caring commentary on portions of the artwork. The effect was “overwhelming”— to borrow the words of a student. I hoped this collaboration would be an opportunity for students to think critically about their pedagogical practices. Instead, or perhaps in addition, this experience pushed me to reflect more deeply on my own teaching. I began asking old questions with a new sense of urgency. As In/Visible Identities revealed, we educators must continue to ask ourselves — how well do we know our students? How can we support pluralism and challenge inequity in our classrooms?

Kristen Breitfeller’s In/Visible Identities installation included social, cultural and personal identities, and was developed with BAE pre-service teachers. Close-up of In/Visible identities



The 2016 Barnett Symposium on the Arts & Public Policy, Planning Creative Cities: Global Trends, Local Action, took place May 12 at the Columbus Museum of Art. This year’s symposium featured a keynote by President and CEO of CEOs for Cities Lee Fisher, titled “The Secret Sauce of the Creative City.”

2016 BARNETT SYMPOSIUM ADDRESSES GLOBAL THEME OF CREATIVE PLACEMAKING CHINA CONNECTIONS AAEP faculty Margaret Wyszomirski and Shoshanah Goldberg-Miller traveled to Beijing, China, in summer 2016 to teach and to present at the University of International Business and Economics (UIBE), which hosted the two Ohio State faculty members. Wyszomirski taught a two-week course entitled, “Creative Sector and Creative Cities,” and Goldberg-Miller’s course was, “Cultural Plans for Creative Cities.”

With more than 285 attendees, this full-day symposium explored cultural entrepreneurship, urban planning and heritage placemaking, and how the intersection of these three disciplines sparks new ideas for nurturing the creative city, a topic at the forefront of global urban development. Fostering conversations about the role of artists and creative communities in cities today, the symposium brought together nationally and internationally known plenary speakers from three different sectors of the community — the public, private and nonprofit — to further the conversation for strategic goals to ensure sustainability and social inclusion in urban centers worldwide. In conjunction with the symposium, a gallery reception took place May 11, titled “Creative Placemaking Now,” at the Arts Initiative’s Hopkins Hall Gallery. This year’s interdisciplinary format was made possible through the collaboration between Ohio State’s Department of Arts Administration, Education and Policy, the Department of City and Regional Planning at the Knowlton School of Architecture and the German Village Society. This event would not have been possible without a generous endowment from the estate of Lawrence and Isabel Barnett, whose commitment to educating and preparing students for successful careers in the arts and related entrepreneurial fields is unsurpassed. Since 1993, the Barnett Symposium provided an in-depth inquiry and analysis of public, private and non-profit sector policies and practices. The symposium gives Ohio State students the opportunity to network with key leaders in the public, private and nonprofit fields.  

the paper, “Illuminating the Dragon: Multiple Streams Framework as a lens to examine Beijing’s 798 Arts District, National Centre for the Performing Arts, and Today Art Museum.” Goldberg-Miller said, “Having the chance to present this paper, which was co-authored with AAEP doctoral student Yan Xiao, to a group of Chinese scholars was an unforgettable experience. Because the scholars were primarily from Beijing, and the paper detailed three cultural entities in that city, the research and findings resonated especially well with the audience.”

“This was a wonderful opportunity for me to bring the concepts of planning arts districts and cultural destinations to these students,” said Goldberg-Miller. “Their outstanding final group projects in the class showed me that the students have integrated both cultural policy and creative urban planning strategies into future ideas for the development and enhancement of China’s hyper-accelerating creative economy.” UIBE hosted the Fourth Annual International Cultural Administration Conference, at which Wyszomirski presented the paper, “Touring as International Cultural Exchange,” and Goldberg-Miller presented Goldberg-Miller and her class from the UIBE in Beijing, China, visit the 798 Arts District.



Emma dances in New York City while training in the Broadway Dance Center’s summer 2016 Professional Semester program. Emma waves to the crowd after winning the solo national title at the U.S. Collegiate Championships on April 16, 2016.

by Emma Baranski, Undergraduate Student, AAEP

Two summers ago I interned at the Paul Taylor American Modern Dance Company in New York City in the marketing and communications department. I walked into the internship not knowing what to expect and came out of the summer learning more than I have ever learned in my life. I was able to use my arts management major and dance minor at Ohio State to complete difficult tasks. Once the summer ended I discovered what happens behind the scenes of a major, internationally known dance company. The Paul Taylor American Modern Dance Company was created by Paul Taylor, now 86, who began dancing under Martha Graham and is heralded as one of the most decorated choreographers of his time. Under Paul’s request, the company consists of only 16 dancers; eight men and eight women. In addition to the major company there is the Paul Taylor 2 company consisting of six dancers. The major company performs in large performances across the world and annually in Lincoln Center. Taylor 2 is more education-based, taking on residencies at schools all over the country to educate people about the Taylor style. As an intern, I was given the difficult task of completing a graphical cost analysis of group ticket sales across the previous 2015 performance season. My work product was ultimately used by my boss’s boss to set ticket prices for the 2016 season. I analyzed different marketing channels, including flyers and postcards, online marketing pieces and small performances to attract interest and sell tickets.



I wrote descriptions for courses, photographed young students and finalized the print process before distribution. Ultimately, I will be able to leverage these experiences toward my career in arts management. A great benefit I had during the internship – and supplement to my dance minor – was that I had access to weekly professional classes all summer. Dancing alongside professional dancers in the company was nerve-wracking at first, but I found both dancers and teachers extremely encouraging and mindful of developing my creative faculties. When I got to work with the director of the Taylor School I thought her job was amazing. She got to teach and manage all of the teachers and programs in the studio. With this job she talked to people all day and oversaw classes. I love teaching dance and sharing my love for the arts with others. I hope that one day I can direct a dance school program! Emma Baranski is a member of the second cohort of Bachelor of Arts, Arts Management majors, due to graduate in May 2017. She competes as a varsity scholar-athlete on the Ohio State Women’s Synchronized Swimming team, and has captured three synchronized swimming gold medals and one silver medal on the international stage at the Pan American Games.


One of my first stops was Whistler, Vancouver, BC. I attended the British Columbia Museum Association Annual Conference whose focus was “Begin. Build. Re-Invent: All in a Day’s Work.” I listened to stories of engagement by museum professionals, some of whom work in very small communities. Nearby, the exhibitions at the Squamish Lil’wat Cultural Centre museum tell the stories and exhibit the artwork of the Squamish and Lil’wat First Nations who have lived in this area for thousands of years. This was my first trip to this part of Canada, and I was amazed by the colors of the autumn landscape, almost as much as with the amazing artwork.

I am grateful to the college and the department for the opportunity to enjoy an administrative leave during Autumn semester 2016 after serving as chair and acting-chair of AAEP for six years. I am very grateful to Karen Hutzel for assuming the chair position, bringing her creative energy to the department leadership. The gift of time away from university duties has given me an opportunity to reflect on, revisit and revise the focus of my research and teaching. This visual essay is an attempt to highlight my experiences and facilitate reflection on the concept of journeying as research. Artwork, material culture and story-telling, with a feminist and semiotic flavor, has been the foundation of my research for more than 25 years. Because I am an art teacher and a teacher of art teachers, I am challenged to teach about multiple cultures, objects and histories sensitively and hopefully, without privileging my western and hegemonic traditions. I travel as a learner, attempting to gather insights that prepare me to be a better and more ethical teacher of art teachers.

and dialectical activities about resource extraction and collaborative art-making.

Taking a ferry to Galiano Island was an adventure in and of itself! The stormy weather and amazing waterscapes are imprinted in my visual memory.

From Galiano Island to Victoria Island for the Canadian Society for Education Through Art annual meeting hosted by the University of Victoria, I heard wonderful presentations including a keynote by visual contemporary artist and author Michael Nicoll Yahgulanaas (google him!). I also met with former students and colleagues for fabulous discussions.

Insert Photo #6

Next stop, Delta, BC. I met with a community of artists who are interested in building lifelong-learning, international collaborations and I participated in art-making with the group based on natural phenomena.

I worked with art educators and printmakers on an international middle-level printmaking project that focused on selfportraits and nature.

A trip to the Shetland Islands of Scotland for the Relate North symposium, Practicing Place: Heritage, Art and Design for Creative Communities, gave me the opportunity to reconnect with my colleagues who are part of the Universities of the Arctic. Multiple conversations included stories of place and what “home” means, issues of immigration and mobility,

One of the most important things I accomplished on this journey of self-discovery was a renewed interest in making art and facilitating art-making for students. The notion that artwork can be a component (and data) in research and facilitate thinking about a topic of inquiry will prove very useful as I consider my engagement with undergraduate and graduate students.

Self-portrait with Dog and Friend


Photo collage by Sarah Lagpacan. |


My research and teaching interests include community partnerships and collaborative artmaking, socially-engaged art, participatory action research, memory work as arts-based narrative inquiry, place-based education, culturally relevant pedagogy, and educating for citizenship and global consciousness. My teaching philosophy is grounded in an Art for Life model that emphasizes art as communication about what counts across cultures and time, and embraces art as a tool for cultivating senses of self, place and community.

Photo collage by Yingying Hu. |



Photo collage by Cam Householder. |

One of the most meaningful opportunities to grow as an art educator has been the opportunity as a graduate teaching associate to facilitate “Digital Artmaking & Service-Learning,” a course offered to undergraduate students as a GE visual and performing arts course. This course engages students in arts-based servicelearning, collaborative artmaking and the social turn in contemporary art through introductory study and production of digital photography, films and comics with middle school students. The ultimate goal is to highlight local voices through the use of the computer to create collaborative art. A series of micro-projects emphasized art as an opportunity to express personal and cultural meaning and dialogue about identity, sense of place and community. The Socially Conscious Selfie Project engages students in storytelling that contributes to relationship-building; concurrently, students are learning about socially engaged art, which aims to be participatory, meaningful and confront a specific social issue. While developing basic digital arts skills through the use of GIMP, iMovie and Comic Life, students are also honing their capacity to critically consume and produce media, intentionally crafting the message behind their artwork and sharing stories that reflect senses of self, place and community. Some of these messages directly connect to cultural identity as in the case of Sarah Lagpacan’s selfie, in which she examines her experience feeling split between multiple identities: “It represents my love-hate relationship with my racial and national identity. I am half white and half Asian, and I don’t really look like either of those. I have been asked if I am Spanish, Persian, Egyptian and many other things, and I can’t really blame people for looking at my last name, looking at me and asking, ‘What are you?” I often ask myself that very same question and wonder where exactly my place is on the spectrum of racial and national identities. What I’ve intended to represent is how I feel pulled in different directions in terms of the communities I associate with, race and nationality.” Another student, Yingying Hu, considered human relationships with the natural world and the both imagined and actual violence that humans and nature inflict upon the other. “Just like bird being in a cage, nature is sometimes also caged and controlled by human beings. Both human beings and nature are fighting

against each other...I doubled my face to show the dizzying condition of me struggling in thinking of the relationship between human and nature.” A third example is Cam Householder’s focus on standards of beauty portrayed by the media, reinforced through family and peer expectations, and self-imposed judgment. She said, “My original story is about how beauty is over-analyzed and over emphasized, especially for teenage girls. There is this quote from Eleanor & Park; ‘She never looked nice, she looked like art, and art wasn’t supposed to look nice, it was supposed to make you feel something.’ My message evolved with the added elements to embrace our wild, unique and absurd personalities and focus on presenting those to the world rather than working on emphasizing our physical features... Beauty begins when we begin to see ourselves as art, beautiful in our own unique ways.” This capacity to think critically about oneself and the world through artmaking is a foundation of my teaching philosophy and art for social justice stance as a teacher researcher. Students are developing critical consciousness as well as skills as critical consumers and producers of media, which is particularly relevant this election season in a polarized political climate that seems to have reached a crescendo of divisive rhetoric. As part of our autumn semester servicelearning partnership, I engaged college students and their middle school partners in a project to honor everyday people who make a positive difference in their communities. I asked local artists and art educators Jean Pitman at the Wexner Center for the Arts and Omarthan Clarke, AAEP graduate student whose Tomorrow Again Mural can be seen in the Short North, to share their recent projects celebrating local voices. They gladly shared their time with the students during an art walk and artist visit. Contextualizing artmaking in the local community is an opportunity to position learning within the realities of community members’ lives and cultivate a sense of place. Art education that is grounded in a sense of place aims to engage and connect students and participants to their local community contexts in ways that promote interconnectedness. After being introduced to the work of Columbus street artist Stephanie Rond and well-known street artist Shepard Fairey,

A series of micro-projects emphasized art as an opportunity to express personal and cultural meaning and dialogue about identity, sense of place and community.

(continued on following page)


(continued from page 17)

university and middle school partners are developing their own local hero posters in the style of Fairey’s Obama Hope Poster to re-interpret it with positive messages about family, friends and community members who make a difference in our lives. This is an opportunity to make small choices about whose stories and what issues we acknowledge as important in our communities today. Sharing and listening to each other’s stories is a fundamental way to acknowledge and discover our interconnectedness across race, ethnicity, gender, sexuality, class and differing abilities. From this we have the opportunity to dialogue across difference and enter into larger conversations about issues of equity and justice.

A Voice A voice that show justice A voice that show us our Blindness in the wildness A voice that keep us out of the shadow when they come crawling She my VOICE — Tiana Faith Gisele Ferguson Nieves

Recently, I was provided with the opportunity to expand my community arts teaching and research through the support of the Albert Schweitzer Fellowship, a national interdisciplinary fellowship addressing community health. During this year of service, I will be supporting the health and well-being of young people in the Gem City by facilitating youth-driven community art. Teen artists will act as leaders and ambassadors utilizing the arts to raise awareness, build relationships that encourage dialogue across difference, and motivate action toward positive community change. Teen artists in Dayton will cultivate skills to design and implement public art such as mobile murals that address mental health, teen suicide and other youth-identified concerns. This project celebrates young people’s strengths as emerging artists and emphasizes a participatory process involving arts-based reflection, dialogue, inquiry, and critical consciousness. I am currently volunteering with a talented group of teen artists in the Artists-InTraining Program, directed by TEJAS Director Rebecca Sargent. As part of my role as a Schweitzer Fellow, I will be co-facilitating the development of an art action plan to address youth-identified issues through collaborative artmaking. Ultimately, this project aims to support youth as leaders and ambassadors who utilize the arts to raise awareness, build relationships that encourage dialogue across difference, and motivate action toward positive community change.

SONIA MAÑJON EXPLORES ECONOMIC EMPOWERMENT AND GLOBAL LEARNING IN RURAL KENTUCKY by Sonia Mañjon Associate Professor, AAEP The summer was busy for me and a team from the Barnett Center for Integrated Arts and Enterprise. Receiving a $6,700 Discovery Theme Travel grant from the College of Arts and Sciences, I traveled with a team of five to Whitesburg, Kentucky, July 14-18 to participate in a five-day institute, “Performing Our Future,” on cultural and economic revitalization efforts in the mountains of eastern Kentucky. Hosted by Imagining America, a consortium of more than 100 college and university members and community partners, and Appalshop, a non-profit cultural arts and educational organization located in the heart of the central Appalachian coalfields, the Barnett Center crew joined 11 other teams from around the country to explore two essential questions:


Graham Expeditionary Middle School (GEMS) student Tiana Nieves with Ohio State college partner Lisa Heddleston creates a digital portrait of her everyday heroine in the style of Shepard Fairey’s iconic Obama Hope Poster.



Professor Margaret Wyszomirski presented at the 2016 International Conference on Cultural Policy Research (ICCPR) July 5-9, 2016. ICCPR is an international conference exploring the theory and practice of cultural policy and related fields, such as social influence, roles and meaning of cultural policy through multidisciplinary investigation. In addition to presenting on International Touring and Cultural Exchange and co-presenting on Professionalism

Professor Mañjon works with students to produce a broadcast program as part of Appalshop’s economic development project, making traditional Appalachian music accessible to the community.

• How can arts and culture promote individual voice and collective agency, unbounding a community’s imagination and ambition to create the conditions for economic development? • How can a community organize itself to build an economy that’s broad-based and sustainable? The group of more than 67 individuals representing 12 colleges and universities, and 10 Whitesburg community partner sites, collaborated on development of community cultural and economic plans. The Ohio State team was interested in understanding the specifics of how cultural-lead economic development worked as a foundation for economic revitalization in rural America. Appalshop offered the perfect case study

with its artistic and business partners working collaboratively to revitalize Main Street in the town of Whitesburg, Kentucky. Working with Gladstone “Fluney” Hutchinson, associate professor of economics, founder of the Economic Empowerment and Global Learning Project at Lafayette College, and university partner with Appalshop, we were able to experience first-hand how a university/ community partnership is able to create an arts and culture based development plan. A result of our participation in the “Performing Our Future” institute, the Ohio State team was securing the firstround acceptance of a $25,000 Ohio State Connect and Collaborate planning grant. We are now working with a steering committee consisting of Ohio State

Extensions, Outreach and Engagement, Service-Learning and the Center for Folklore Studies to develop a new approach to community engagement. This would incorporate arts and culture in economic development strategies in three locations in Fayette County, Ohio, including Washington Court House, the Village of Jeffersonville and the Village of Bloomingburg. The Ohio State University team also included Cassie Patterson, assistant director, Center for Folklore Studies; Godwin Tayese Apaliyah, community development educator, University Extension; Raven Lynch, graduate student in social work; and Katlyn Perani, undergraduate student in education.

and the Arts with WoongJo Chang, Prof Wyszomirski networked with AAEP Korean alumni. Assistant Professor Shoshanah Goldberg Miller also presented at the Conference on ‘Unwrapping Urban Policy: the City, Economy, and Culture,’ which she co-authored with Prof Rene Kooyman. Back row: (L to R) Nakyung Rhee (current PhD candidate), Insul Kim (PhD 2011), JungEun Song (PhD 2010), Hyesun Shin (PhD 2015), Rawon Lee (PhD 2016) and Jiyeun Lee (doctoral student on leave). Bottom row: (L to R) WoongJo Chang (PhD 2011), Margaret Wysomirski, DaHyun Lee (PhD 2013).


AWARDS & RECOGNITION UNDERGRADUATE STUDENTS Amaal Shehabi received the 2016 Beverly Baer Endowed Scholarship Award, established in 2003 by William D. and Thomas N. Baer for art education majors who demonstrate strong social consciousness and utilization of art for the betterment of society. Lisa Heddleston, Jenny Davison and Tonya Foss received 2016 Aida Cannarsa Snow Endowment Fund scholarships to assist with their student teaching practica. Brittany Gray received the 2016 Sara Jane Pyne Memorial Scholarship Award, established in 1981, for students who demonstrate exceptional promise and potential for service in the visual arts. Brittany also received an Ohio Art Education Association Foundation Student Scholarship award in recognition of her contemporary artistic practice and ambition in the field. Alumna Trina Langsenkam (BAE ’16) was accepted into the Harvard Graduate School of Education, where she is currently pursuing a master’s degree in arts in education.

GRADUATE STUDENTS AND ALUMNI PhD student Verónica Betancourt received the 2016 Manuel Barkan Dissertation Award, which honors a PhD candidate with the most promising first three chapters of a dissertation as determined by the faculty. Verónica presented her doctoral dissertation research, Visiting while Latina/o: An Intersectional Analysis of the Experiences of Subjectivity among Latina/o Visitors to Encyclopedic Art Museums, to an audience of department graduate students, faculty, alumni and community members at the 2016 Barkan & Marantz award ceremony. Verónica was also selected as a panelist for the Museums category of the National Endowment for the Arts. Alumna Rachel Branham (BAE ’08), an art educator in the Marblehead Public Schools, Massachusetts, has received critical acclaim for her 2016 graphic novel, “What’s So Great About Art, Anyway?,” which addresses such topics as classroom life and education policy reform with humor and anecdote. Alumna Vittoria Daiello, PhD, received the 2016 Kenneth A. Marantz Distinguished Alumni Award, selected by the current AAEP graduate students for her inspiring work on transdisciplinary scholarship and creating arts opportunities amidst the uncertainties of academe.



PhD students Kathleen Goodyear, Ahran Koo and Stephen Morrow represented Ohio State at the October 2016 Graduate Research in Art Education conference in Syracuse, New York. Kathleen, Ahran and Stephen presented their respective dissertation research on “Using Arts-Based and Auto-/Duoethnographic Activities to Support Undergraduate Students’ Exploration and Development;” “Being and Becoming in the Space Between;” and “The Art (Education) of Recklessness.” PhD students Divya Janardhan, Christopher Jeansonne, Youngaah Koh, and James O’Donnell earned competitive 2016-2017 University Fellowships from the Graduate School. PhD student Elle Pierman was selected by the University Center for the Advancement of Teaching to serve as a 2016-2017 Graduate Teaching Fellow in the department. She will continue to develop unique programming to support Graduate Teaching Associates through the academic year. She also served as the student representative for the 2016-17 faculty search committee, and as editorial assistant for the Journal of Cultural Research in Art Education. PhD students Hyunju Kim and Allison Paul have been named 20162017 Albert Schweitzer Fellows, representing the only fellows in the College of Arts and Sciences. Each will develop, plan and implement projects to address the health and well-being of people and communities through community-based arts projects. Allison’s work will take place with teenagers in the Dayton community while Hyunju will continue her work with teenage refugees in Columbus. PhD student Sujin Kim was awarded a 2016 Graduate Scholar Award by the Inclusive Research Network to support her research presentation, Shifting the Stance: Inviting Non-Visitors as Experts in Art Museum Experiences, at the Ninth International Conference on the Inclusive Museum in Cincinnati. Sujin also received an Arts and Humanities Small Research Grant to co-present Welcome to the Museum Field, but Not at the Entry Level at the 2016 NAEA National Convention in Chicago with fellow PhD student Ahran Koo. MA students Chelsea Conway and Kris Roberts, and PhD student Katie Owens were awarded 2016-2017 Barnett Fellowships for distinction in the Arts Policy and Administration field. First year doctoral student Divya Janardhan’s paper Knowledge-Centric Arts Organizations: Connecting Practice to Performance was recently published in the International Journal of Arts Management (Volume 19, no. 2). This research was also presented as a conference paper in June 2015 at the Conference of the International Association of Arts and Cultural Management (AIMAC) in Bogotá, Columbia and was named among the top three papers of the conference.

FACULTY AND STAFF Associate Professor and Department Chair Karen Hutzel was invited to deliver the Korean Art Education Association Research Conference keynote lecture at Seoul National University on Aug. 12, 2016, as merited by her research in the field of community-based art practices. Assistant Professor Shoshanah Goldberg-Miller was featured as an urban development expert in a 2016 piece about the best small cities in America, by financial savings resource WalletHub, and has also been invited to serve as academic advisor to the City of Toronto’s Department of Economic Development and Culture.

Associate Professor Sonia Mañjon (center, above) was awarded an OAA Connect and Collaborate Planning Grant and Discovery Theme Travel Grant to support the Barnett Center Graduate Student Think Tank’s economic and cultural revitalization project in Fayette County, Kentucky. Mañjon also received a STEP Faculty Grant to support her continued mentorship of 22 second-year students toward developing aptitudes in academic, intellectual and community engagement. The department welcomed new 2016 staff members Lauren Pace and Mark McGuire. Lauren applies her background in education licensure, data analysis and workforce development to her position of graduate program coordinator. New Director of Field Experiences Mark McGuire, MA, MLS, comes to the department with 26 years of experience as an educator with Columbus City Schools. Associate Professor and affiliate faculty in Disability Studies Jennifer (Eisenhauer) Richardson delivered the Studies in Art Education Invited Lecture, awarded to an individual who has made significant contributions to research in the field of art education, at the 2017 NAEA National Convention in New York City. Her presentation explored Jacques Rancière’s writing on dissensus and the distribution of the sensible as it relates to disability studies. Professor Jim Sanders was elected president of the Arts and Sciences Faculty Senate for the 2016-2017 academic year.

Professor Deborah SmithShank received the 2016 NAEA Women’s Caucus June King McFee Award for exceptional lifetime achievements in art education. In addition Smith Shank was elected president of the Semiotic Society of America. Senior Lecturer Clayton Funk was a recipient of the Book Launch grant. Chosen by a cross-functional team within the Office of Distance Education and eLearning, Funk created a digital supplement to the course AAEP 1600, eliminating the need for students to purchase textbooks for this popular course.

Assistant Professor Shari Savage (center above) was invited to serve as a panelist at DePaul University’s Humanities Center on Jan. 20, 2016 for her research on the moral complexities regarding visual narratives seen on 185 different Lolita (Vladimir Nabokov) book covers. Savage also exhibited three research-based art productions selected for the Envisioning Pedagogical Inquiry: The Making of Arts Based Educational Research show at Macy Gallery at Columbia University, Teachers College. The exhibition features art works that have been published and/or created in conjunction with art education research projects. Arts-based research (ABR) seeks to illuminate data in new ways, exploring tactile and digital materials in visualizing research problems and adding layers to qualitative and quantitative data analyses. Artwork from Dr. Savage’s articles “Mapping Tenureland: A Researcher stalled” (2015), “The visual rhetoric of innocence: Lolitas in popular culture” (2011), and a forthcoming article, “Through the looking glass: Sally Mann and wonderland,” were on display from Feb 27-March 29. Savage also participated in an ABR artist talk on March 3, 2017 at the National Art Education Association Conference in New York City.


Department of Arts Administration, Education and Policy 231 Sullivant Hall 1813 N. High St. Columbus, OH 43210-1307

CONGRATULATIONS TO THE 2016-17 BARNETT FELLOWSHIP RECIPIENTS The Lawrence and Isabel Barnett Fellowship Fund provides tuition, fees and an annual stipend to promising arts policy and administration students. Funding is provided to recipients for a total of two years. The purpose of the Barnett Dissertation Fellowship is to assist advanced doctoral students specializing in cultural policy & arts management to finish their dissertation and launch their professional careers. Since its inception, the Lawrence and Isabel Barnett Fellowship Fund has funded 45 fellows.

Katie Owens is a second year Barnett Fellow and student in the PhD program specializing in cultural policy and arts management. Her work targets how the arts can be utilized to improve adolescent literacy and reading comprehension in the general education classroom. Specifically, she is interested in developing sustainable arts-based reading interventions for urban schools with highrisk, high-poverty, minority student populations.

Chelsea Conway is a second year Barnett Fellow and student in the arts policy and administration MA program. Chelsea has worked as both an intern and exhibition assistant at the Columbus Museum of Art and has been inspired by the potential of art museums to build local artistic communities.

Biyun Zhu is a Barnett fellow and first year PhD student. She is from Beijing, China, and earned her master’s degree from King’s College London. She also has worked as an intern in the Ministry of Culture in China and UN ESCAP in Bangkok, as well as for the Half the Sky foundation. These experiences have enabled her to gain an interest in cultural diplomacy and management of arts non-profit organizations.

Kristopher Roberts is a first-year Barnett Fellow and student in the arts policy and administration MA program. His research interests include demographic-related variations in arts patronage, volunteerism and the arts and social practice.

Karen Munnelly’s research focuses on notions of successful careers, career ideals and career expectations of undergraduate music majors. She surveyed more than 200 undergraduate music majors about the jobs they associate with success, their ideal jobs and the jobs they expect to hold. Munnelly is the 2016 Dissertation Fellowship awardee.

Chiaroscuro 2017  

News from the Department of Arts Administration, Education and Policy at the Ohio State University.