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Department Chair Karen Hutzel grabs a selfie in her office.

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FROM THE CHAIR’S DESK For more than 50 years, the Department of Arts Administration, Education and Policy (formerly the Department of Art Education) has offered a transdisciplinary course of study that critically engages students through excellence in research, policy, teaching and leadership, fostering social change and advancing the public interest through the arts. This is a commemorative year for both the department and its recurring Barnett Symposium, which celebrates 25 years of providing unique opportunities for students to engage with innovative arts leaders nationwide. The Barnett Symposium, as well as the department’s Barnett Center for Integrated Arts and Enterprise, engages students in forging professional connections and addressing issues concerning arts policy and practices through topics such as: globalization and international cultural relations; technology, globalization and the creative trades; urban development and creative cities initiatives; and the arts and heritage preservation. A significant gauge of our department’s success is measured through job placements of graduated students. Our undergraduate students who earn licensure in art education have a near 100 percent placement record into full-time teaching positions. Of those students who completed a PhD in the past five years, 28 percent moved into tenure track positions at higher education institutions, 48 percent became lecturers, postdoctoral researchers, instructors and directors of programs at universities, and 12 percent went into nonprofit positions. This high rate of placement in a wide variety of arts sectors speaks volumes to the credibility of our program and the value of our alumni contributions in supporting the arts in society. In reflecting back over the year, I am filled with gratitude for the Barnett family, whose legacy continues to support and uphold the highest standards of research, teaching and scholarship, as well as our core values of social justice, access and leadership through education. This issue features multiple examples of these core values at work, from Eric Murray’s project Loud: Mind and Music which leveraged performing artists to raise awareness of mental health within the broader community, to doctoral student Sharbreon Plummer’s research redefining access and representation within cultural institutions, to Clara Davison’s work on creative placemaking and Jessica Pissini’s exploration of embodied creativity within virtual reality spaces considering the broader implications of what it means to feel real — all of this exceptional student work as well as other important projects mentioned throughout the issue ultimately define who we are as a department. Many faculty among our community of scholars integrate our core values of teaching, entrepreneurship, innovation and scholarship. Dr. Jim Sanders recently published a book intersecting queer theory and art education; Dr. Shari Savage provides leadership on mentoring, which has resulted in three GATA Award Winners in the past three years; Dr. Dana Carlisle Kletchka recently published a book on innovative strategies for professional development in art museums; and Dr. Richard Fletcher writes a critical blog, “Minus Plato,” drawing inspiration from ancient philosophers to spark dialogue about the role of contemporary arts in politics. Every faculty member in AAEP contributes to a robust research profile that critically examines the role of the arts in society, which resonates throughout our vibrant campus community and reaches beyond the academy through community-engaged scholarship and teaching at the local, national and international levels. With admiration,

Karen Hutzel, PhD Associate Professor and Department Chair

Jessica Pissini’s dissertation research creates a collaborative, educational and immersive virtual reality art installation centered around the themes of identity, dreams and memories within the subconscious and unconscious mind. [read more on page 14] 3

MULTI-ANNIVERSARY YEAR KICKS OFF THE 2018 BARNETT SYMPOSIUM The year 2018 marked the 50th anniversary of the Department of Arts Administration, Education and Policy, the 25th anniversary of the Barnett Symposium, and the fifth anniversary of the Barnett Center for Integrated Arts and Enterprise. It was a year filled with significance and synergy that culminated in the 2018 Barnett Symposium, “Illuminating Creativity: The Anniversary Celebration.” This studentled symposium on public policy and the arts brought together more than 125 students and alumni. Keynote speakers and panel discussions featured national and international arts leaders, local innovators and dynamic conversations, representing the best of the past and catalyzing the future of the arts. Gretchen McIntosh, who earned her PhD in 2015, brought her unique vision to the Barnett Symposium by incorporating aspects of design, planning and implementation into a three-semester class, which she designed for arts and public policy students seeking to gain experience in a hands-on project. The students personalized the symposium to

their research and professional interests, which resulted in heightened student engagement as well as more art exhibits and performances than in previous years. The experience gained by students planning and implementing the symposium provided the framework to research project-based learning in arts administration. This culminated in a journal article submitted for publication. “It’s an opportunity to produce a real product because, often, [our classes are] very theoretical or academic, and you don’t get to actually execute something,” said

Clara Davison, a fourth-year student in arts management and business. The symposium kicked off September 27 with a red-carpet screening of Decades of Enrichment: The Story of the Barnett Program and Symposia, directed and edited by current art education doctoral student Dan Shellenbarger. Featured in the film were AAEP Professors Margaret Wyszomirski, Wayne Lawson (emeritus) and Christine Ballengee Morris, who discussed the history of the Barnett Symposium and the legacy of the Barnett family, highlighting successful alumni from the program.

It’s an opportunity to produce a real product because, often, [our classes are] very theoretical or academic, and you don’t get to actually execute something. — Clara Davison Barnett Symposium Student Coordinators: Clara Davison, Drew Halford, Miranda Rife and Zoë Zwegat



After the film, guests congregated in the rotunda to view “PROFILE | Illumination,” a student art exhibition curated by AAEP faculty Joni Acuff, Dana Carlisle Kletchka and Christine Ballengee Morris. The exhibition included 13 works by 11 undergraduate, graduate and professional students from arts management, art education, geography, public affairs and music education, among others. On September 28, JiaJia Fei, director of digital at The Jewish Museum in New York, opened with a keynote address on the digital identities of museums and arts institutions. Fei is considered one of the founders of the movement to incorporate social media in art museums, leveraging technology in ways that are practical

and affordable for cultural institutions. Following Fei were two panel discussions titled “Illuminating Social Responsibility: Community Action & Impact” and “Illuminating Connections: Globalization through the Arts.” There were multiple musical performances throughout the day in the Sullivant Hall rotunda, including “Tracing Shadows,” an original score written by Binshan Zhao, a doctoral student in Ohio State’s music composition program. The score was performed by members of Chamber Brews. The rotunda also featured an art installation, commissioned from The Visible Invisible, a student organization dedicated to creating art-making experiences for homeless youth at Star House, a drop-in center for homeless youth in Columbus. The closing keynote was

delivered by Joseph Conyers, assistant principal bassist at the Philadelphia Orchestra and cofounder of Project 440, a nonprofit dedicated to creating access to underserved inner-city children through music education and mentorship programming. Conyers spoke about the intersection of artistic and social entrepreneurship driven by his passion for the arts. The Barnett Symposium ended with STARTUP, Ohio State’s first arts entrepreneurship competition. Iuka Productions, a student group that aims to represent diverse stories through filmmaking, won the competition and received $1,000 to make its project a reality.

What resonated for me throughout the symposium was the idea that certain careers and job positions in the arts may not be established yet. From JiaJia Fei’s Director of Digital position, to arts policy alumni who have created professions for themselves, to the ambitious student STARTUP participants, many of our featured guests either created positions for themselves, or the art world evolved to address changes. In the creative sector this should be the case. We should be innovative and find the best way to use art to build community, bridge gaps and challenge social issues. — Zoë Zwegat


FOCUS ON PHD: SHARBREON PLUMMER By Sharbreon Plummer, Doctoral Student It’s not often you are afforded time and space to incubate ideas, take risks and craft your creative voice. Granted, graduate school isn’t an all-expenses-paid residency, but there are opportunities for growth and exploration throughout the experience. Coming from what I consider to be a transdisciplinary background (e.g., artist, administrator, curator, etc.), I had a desire to blend my studies with my collaborative, project-based nature. For me, this meant challenging myself to seek out new people, places and opportunities outside Ohio State that would allow me to stay connected to my goals and other elements of my creative practice. One of these places ended up being the Tate Modern in London.

TATE INTENSIVE I was selected as one of 24 participants representing various countries across almost every continent (sorry Antarctica!) to attend the 2018 Tate Intensive. The annual convening focused on key questions facing art galleries, cultural institutions and museums in the 21st century while having participants contribute to peer-led discussions throughout the week, drawing on their own experiences and case studies from our respective organizations as well as exploring new ways of thinking and working. This year’s theme, “Making Space, Holding Space, Giving Space,” was centered on topics such as decolonization and


power within visual arts spaces, equity in curatorship and art for social change. During the application process, I shared three key areas of inquiry I felt were important to bring to the conversation: 1. Erasure and race: How do we continue to break away from monolithic or colonized understandings of the arts, especially when faced with the resurgence of supremacist ideologies and blatant racism? What are examples of innovative methods that can be applied to interpreting and understanding the spectrum of materiality/visual culture within both contemporary society and nonWestern cultures? 2. Alternative pedagogies and epistemologies: What do the support and utilization of culturally specific or alternative ways of knowing and learning look like? Who is responsible for implementing and guiding these conversations? What are the considerations and struggles curators and other presenters face when addressing hierarchy and colonization within longstanding institutions, while also negotiating the ways their identity or subconscious biases inform this process? 3. Initiatives and programmatic development: What does true investment in change look like? While institutions cannot realistically take on the responsibility of being “everything to all people,” how do they ensure the permanence of initiatives


Sharbreon Plummer on a cultural excursion at the Royal Pavillion in Brighton, England.

related to issues of equity, accessibility and inclusion rather than viewing them as an ephemeral point of social relevance? How does continued education, direct communication and deep feedback from the communities organizations serve become structurally embedded into how they develop programs and strategies? Over the course of the week, we were not only able to immerse ourselves in the city of London via guided activities and tours, but we also were given the opportunity to participate in intimate forums and discussion groups with local curators, artists, and Tate Modern and Britain staff – including Tate director Maria Balshaw. Being able to speak candidly about the concerns and issues I faced back home in a room full of peers who could empathize and offer insight was invaluable. As a product of the African diaspora and graduate student, I feel a sense of obligation to be a global citizen and scholar. The domestic challenges we encounter in the U.S. are only a microcosm of what has happened and is currently developing worldwide. My time at the Tate Intensive both confirmed this and offered a deeper look into the troubles and injustices others faced: political treason,

Sharbreon Plummer (pictured second from left) poses with Tate Intensive participants after a visit to the Hayward Gallery, London. Pictured is work by Njideka Akunyili.

land and knowledge dispossession, and racial/ethnic discrimination with artistic spaces and society as a whole. The ideas and inspiration that blossomed from that experience carried over into the toolkit I’d begun developing five months prior as a fellow in the YWCA Columbus’ 2018 Leadership for Social Change Cohort.

YWCA Over the course of 10 months, the YWCA’s Leadership for Social Change Program has allowed me to reflect on the type of leader I wish to be and how I can use my areas of research and expertise to contribute to causes I believe in. The program is dedicated to recruiting and empowering a diverse group of emerging advocates and leaders who feel passionately about social justice and want to better equip themselves to create strategies to meet the needs of their communities. Being new to Columbus, I knew this would not only allow me to meet new people and start finding my footing, but it’d also connect me with other women whose values and interests overlapped mine. Once a month, we gathered to hear from a diverse set of facilitators that offered best practices in areas such as social justice advocacy, leadership, entrepreneurship and even selfcare. We engaged in open and transparent conversations about the effects of racism, sexism and other forms of discrimination on our work and personal lives. As I reflect

on my time as a fellow, I believe one of the most valuable benefits I received was the space to fine-tune my voice and how I spoke about my views and position as a Black woman through both a personal and professional lens. Consequently, I’ve seen growth in my ability to think deeply about my academic work and the direction that I’m headed in.

RESEARCH AND INSTRUCTION My current area of focus is artistic work produced by Black women, specifically fiber work and textiles. The foundation of my research is my identity. I consistently make a point to share my story as a young Black woman born and raised in the South and its significance in the work that I do. Coming from a place with such a troubled history rooted in enslavement, discrimination and other forms of racism and injustice (e.g., environmental, reproductive, economic), I am invested in sharing the stories that counter falsified narratives about my community and others like it. I view my homeplace as an extension of the global South and African diaspora as a whole. Therefore, given my field of study, I am always in pursuit of ways to support the artistic and cultural production of these groups and fight against the displacement of their legacies and contributions. Lived experience, relationship building and intimate conversations are key elements of my research process, which is why the

aforementioned exchanges and events have been so invaluable. By connecting my external work with the theories and methodologies that will be used in my dissertation process, I am strengthening my praxis as a scholar, artist and instructor. For example, as I thought about my interactions at the Tate Intensive, I realized many of them were forms of narrative interviewing. By inserting my voice and using my platform to empower other Black women, I was putting Black Feminist thought into practice. Furthermore, co-creating spaces where I, along with other community members, brainstormed ways to heal and address issues of social justice could be categorized as a kind of “emergent strategy,” as described by author and activist Adrienne Maree Brown. Additionally, if I am dedicated to being an instructor that is invested in equity, art for change and restorying visual culture, it is my responsibility to stay connected to what is taking place locally, nationally and internationally. The friendships and peers I’ve gained at both the Tate and YWCA are now a part of a network that aids in keeping me informed.

CONCLUSION The past year has proven that anything is possible when you’re willing to have courage and dive into unknown territory. I encourage my fellow students and peers to think expansively about their areas of research and what untraditional opportunities could open doors for new ideas and points of connection. Use the time you have to take calculated risks and forge a path that will carry you beyond your time in the ivory tower. You’ll thank yourself later. I’d like to extend a special thanks to The Department of Arts Administration, Education and Policy and the Council of Graduate Studies for their financial support!


USING ART AND MUSIC TO RAISE AWARENESS OF MENTAL HEALTH By Eric Murray, Bachelor of Arts Management Graduate According to a 2018 study by Mental Health America, nearly one in five adults in the U.S. currently live with some form of mental illness. In addition, rates of anxiety, depression and suicide have drastically increased among youth in recent years. While healthcare programs for mental health are improving and increasing, there are still many people, young and old, who are suffering and do not know how to best address their needs. Additionally, there is a widespread societal stigma attached to mental illness that makes it difficult for many people to accept and open up about their issues. Last spring, a team of students within the Department of Arts Administration, Education and Policy (AAEP) at Ohio State decided to put their creative minds together to come up with a solution to the critical societal issue of mental health. With a class project, students in the AAEP class “Developing Arts Careers: Positioning Passion” had an opportunity to take an idea and put it into action. As the project’s executive director, Eric Murray, said, they wanted to use this opportunity to do something that would have an impact. “A few years prior to taking this course, I had a vision for creating a music festival on campus that would not only be

enjoyable and entertaining, but uplifting and empowering for those who attended,” Murray said. “When I heard our professor, Gretchen McIntosh, say that we were going to be able to pitch project ideas, my vision became even more clear. I really appreciated having an opportunity to take that idea and put it out into the real world.” After years of studying the creative sector and learning how it can have significant impacts within the rest of society, these AAEP students rallied around Murray’s idea and started a festival called “LOUD: MIND & MUSIC.” The festival uses the platforms of music and the arts to raise awareness for mental health, as well as encourage people to have more conversations surrounding the topic. In just two months, the team of 17 students organized, promoted and managed the festival, which turned out to be more of a success than any of them could have imagined. Over the course of five hours, seven different performers took the stage, multiple artists displayed their artwork and on-site mental health professionals educated people on various key points of mental health. In the two months that the students worked on creating LOUD, more than $3,000 was raised through fundraising

Murray said he is still amazed at what the LOUD team was able to accomplish. “I had this simple idea for a campus event that would promote mental well-being and show fellow students that it’s okay to talk about this topic. I had no idea that it would turn into an entire movement and something that can potentially, and hopefully, continue to grow and impact lives for years to come.” When asked where he thinks the festival will be in the future, Eric said, “We had this festival back in April, and I still see people walking around wearing the green wristbands we created with the LOUD: MIND & MUSIC name on them. That tells me that other people agree that this is an important topic to be thinking and talking about. And it’s really encouraging to see that. Ultimately, I see this festival growing into something that can enrich lives on a national and maybe even global scale.” For more information and updates on LOUD: MIND & MUSIC, please visit: LOUDOSU and

Through inspiring performances, art-making workshops and mental health resource booths, LOUD provides people with a starting point to better understand mental health, and aims to show those struggling with their mental health that there is a community that cares about and supports them — including LOUD mascot Good Vibe Gary (bottom). Festival performers included Captain Kidd, The Heisey Glass Company (top), The Roundabouts, Sing N’ Support and Juty Gurl (middle right).


efforts. The proceeds remaining after festival expenses were donated to “I Will Help You,” an Ohio State College of Nursing initiative to spread awareness for mental health.



FOCUS ON UNDERGRADUATES: FROM AAEP TO NEA By Clara Davison, Arts Management Student

Walking into the National Endowment for the Arts for my first day as an intern in Design and Creative Placemaking was terrifying. Surreal, but terrifying. But my academic coursework in the Department of Arts Administration, Education and Policy at Ohio State gave me the knowledge to be confident. This was the independent federal agency I’d studied for years in my arts management classes. We had defended and celebrated the NEA during Americans for the Arts’ Arts Advocacy Day in 2016 and 2017. The opportunity to support the NEA’s mission as an intern was a dream come true.


I spent the summer living, working and studying in Washington, D.C. with the Washington Academic Internship Program run by Ohio State’s John Glenn College of Public Affairs. I interned four days a week at the NEA and attended study tours with other Ohio State students on Fridays. On study tours, we visited the Pentagon, the National Museum of African American History and Culture, and the Library of Congress. We met with alumni leading in industries from agriculture to security. Throughout the week, we attended a policy analysis class on Monday evenings, professional development workshops, and special events — like a recognition


ceremony where we met former Vice President Joe Biden. Over the course of the summer, we wrote capstone research papers. I wrote about the history and current challenges of creative placemaking. As a full-time student, I continued planning the 2018 Barnett Symposium with my peers and Dr. Gretchen McIntosh over the summer. Monday mornings began early with my sprint through the Supreme Court garden to the south of the Capitol, where I’d swim against a stream of Capitol interns (known as Hillterns). I’d metro to the Hirshhorn Sculpture Garden, where I used the Smithsonian’s Wi-Fi for our weekly Barnett Symposium calls. Discussing catering and the logistics of an arts entrepreneurship pitch competition while looking out at Kusama and Lichtenstein sculptures was a memorable way to start the day. The NEA is located in an imposing federal building above L’Enfant Plaza surrounded by HUD, FEMA and the Department of Education. The National Mall is just blocks away. After work, on my walk to class, I could take a quick spin through the National Air and Space Museum, the Hirshhorn Museum and Sculpture Garden and the U.S. Botanical Garden. The world-class exhibits and frigid AC on the swampiest D.C. afternoons never ceased to amaze me.


The Washington Academic Internship Program added a public affairs dimension to my education. The rigorous combination of classwork, internship and professional development challenged me to expand my perspective and do the work. I learned quickly how to manage my time — waking up early, grabbing some coffee and getting my class and Barnett Symposium work done before heading into the office.


In West Philadelphia, Pennsylvania, Lancaster Avenue is an underserved urban district struggling with vacancy. Through the Neighborhood Time Exchange, funded by an NEA Our Town grant, the community gives studio space to selected artists-inresidence. In return, artists contribute time and effort to community-identified projects. Artistic and community collaborations included a sensory room for children with behavioral disorders, banners for community events, and art installations in vacant homes and empty lots. The Neighborhood Time Exchange harnessed creative placemaking, building the capacity of artists to their community and empowering local neighbors to articulate and create change in their neighborhood. “It is no longer ask what your country can do for the arts, it is ask what the arts can do for your country”, explained former NEA Chairman Rocco Landesman, who made creative placemaking a priority

of his term. In 2010, the NEA identified creative placemaking, the integration of art and culture into community development practice, as a new discipline and funding priority. The NEA’s Our Town grant program funds creative placemaking projects nationwide. In collaboration with major private foundations, the NEA established ArtPlace America, a 10-year, publicprivate partnership dedicated to creative placemaking. In 2015, the NEA began supporting practitioners with Knowledge Building grants, funding learning and research to grow the creative placemaking field. When former President Lyndon B. Johnson established the National Endowment for the Arts in 1965, he noted that the agency would address “not only the needs of the body and the demands of commerce, but the desire for beauty and the hunger for community.” The economic and social utility of the arts has always been in the agency’s DNA. To achieve equitable outcomes, creative placemaking must be created by and for the community living or working in the defined geographic space. Creative placemaking is cross-sector work, engaging artists, community development, social services, city planners, local governments, developers and businesses in conversation.


Clara Davison spent the summer working for the National Endowment for the Arts as an intern in Design and Creative Placemaking.

The grant review process for the NEA is not for the faint of heart. Arts organizations must complete a rigorous application through the federal government grants portal. NEA staff review all applications for eligibility and arrange discipline-specific panels to review the grants. These panelists — arts experts from across the United States — review dozens of grant applications and score them before final review and recommendations. The NEA staff finalizes the recommendations before turning them over to the National Council on the Arts for final approval.

cultural organization and local government entity. Our Town projects must improve lives in the local community. As an intern, I drafted monthly e-newsletters from the Office of Design and Creative Placemaking to 10,000 subscribers, sharing resources and opportunities with practitioners nationwide. I created case studies of successful creative placemaking and design projects that NEA staff present to potential applicants and stakeholders through webinars and conferences across the country.

The primary grant program of the NEA, Art Works, rewards grants based on artistic excellence and merit, artistic contribution of the project and capacity of the organization to execute the project. The Our Town grant program requires a partnership between a

I built a data matrix from Knowledge Building grants applications and reports, helping the Design and Creative Placemaking team understand the impact of the grants on the creative placemaking discipline nationwide. This work informed a

convening of creative placemaking grantees and service organizations, held by the Kresge Foundation and the NEA. Throughout the summer, I soaked in as much as I could about other organizations and disciplines. I attended panel review conversations for theater, opera and design. I supported the NEA’s Office of Accessibility and interviewed two pioneers of DeafSpace, which are architectural design guidelines by and for the deaf, created at Gallaudet University. Interning at the NEA strengthened my conviction that art makes our lives worth living. I’m confident that the arts are alive and well and improving our country in every city, town, tribal nation and village. I know that I’ve picked the correct major.


Miranda Koffey (pictured center) demonstrates an activity for students. Ramseyer 039 recently underwent a renovation that transformed the space into a flexible, modern hub for creative art teaching.

FOCUS ON MA: FROM JAMAICA TO OHIO STATE — NICOLE WINTER BUILDS ON HER TEACHING CAREER By Nicole Winter, MA in Art Education (2018) I am Nicole Winter, a Jamaican ceramist, lecturer and aspiring entrepreneur, and I am a proud 2018 graduate of the Master of Arts online degree program in Art Education at Ohio State. The Ohio State University. Yeahhh! Wowww! For some, a career in visual arts isn’t considered a rewarding endeavor. However, my life’s journey contradicts this belief. I found fulfillment in the call to be an artisteducator, and every step of my journey has brought me closer to my goal as I strive for upward mobility and self-actualization. I view myself as a pleasant and purposeful individual who inspires my friends and encourages them to aim for excellence. I am passionate about learning and gaining deeper understanding about life and issues surrounding the arts. Therefore, I believe that, along with a strong sense of faith, was what propelled me on this journey. There were many challenges and setbacks along the way, but through it all, I never gave up. However, I am extremely grateful for the help and encouragement I received from all the kind-hearted individuals who supported me. My artistic journey started in Jamaica, where I attended the Edna Manley College of the Visual and Performing Arts, earning a Bachelor of Fine Arts in 2010 and a Bachelor of Art Education in 2014. I began practicing my craft from my home studio and taught immediately after completing my teaching diploma. After teaching for two years at my alma mater, Wolmer’s High School for


Nicole Winter is an artist-educator based in Kingston, Jamaica.

Girls in Kingston, Jamaica, I realized the need to pursue further studies. I desired to empower myself with a higher education so I would be fully equipped to take students to a higher artistic plane as well as to develop professionally as an artist-educator. Therefore, I inquired about art MA programs and learned about Ohio State’s online program. Through the program, I gained insights I had never anticipated. My life has been impacted holistically. I am truly privileged to have partaken in the program. The combinations of courses were thorough and effective, and the program covered all aspects of art education. The concepts explored were essential, relevant and applicable. I was immediately able to employ all of what I was taught. In addition, the impact it had on the classes I taught in Jamaica was incredible. I matured both as an educator and an artist, my mind transformed intellectually and I gradually became more confident as a teacher. The vast amount of content covered, issues explored and ideas shared in the weekly class discussions expanded my knowledge


and impacted my views about life issues and ideologies surrounding the art world. I am now more cognizant of biases, stereotyping and inequality, and I know more about the details surrounding the art education field. Overall, I am better equipped to take on the challenges that comes with the territory. Finally, what made the program exceptionally spectacular for me is that it catered to every need of the students in the cohort. For example, I was able to bring my challenges as well as my ideas to the forum in discussions while exploring various solutions and testing them in real time. Since graduation, I accepted a position as lecturer at Edna Manley College, which is a dream come true for me. Lecturing offers a less stringent schedule, and I am grateful for the time it has afforded me to now practice my studio art. Personally, I am enjoying every moment and I am taking everything in stride. However, my journey will continue as I am committed to my passion for the arts and a quest to obtain the highest level education I can attain as a life-long learner.

FROM BRUSHES TO 3-D PRINTERS: RENOVATION REVITALIZES AAEP’S ART TEACHING CLASSROOM By Patrick Callicotte, MA in Art Education (2016) Many art educators following in the footsteps of Regio Emelia’s philosophy recognize the important role that classroom environment plays in education. Educators are exploring how the physical design of a classroom can support or discourage a variety of learning activities. Most students enter the physical space of a classroom before they ever meet an instructor or hear about a class’s curriculum. What can the classroom tell students about the learning that will take place within its walls? As a group of educators sat at a deteriorating folding table in the middle of Ramseyer 039, they looked around at an art classroom that had failed to keep up with the vast and rapid evolution of art education pedagogy over the years. What did this room communicate to the students who walked through those two wooden doors each semester? It certainly did not tell them of the abstract, creative thinking they would be asked to do while pushing and pulling gobbets of wet paint across stretched canvases. It did not tell them about the deep conversations, exploring of perspectives and the disparate ideas from peers whom have walked vastly different paths, ultimately leading them to this semester, in this classroom. Ramseyer 039 was dripping with potential as a real-life learning opportunity for the students in Ohio State’s art education program to develop ideas and follow the process of redesigning an outdated art classroom.

To start the redesign process and ignite idea generation and imagination, students used a variety of media, ranging from pencil drawing to digital design, to develop and present their ideal classroom. Creating these designs was a time for students to forget about uncertainties and generate ideas without the restrictions of budget or available resources. After a multitude of ideas were produced, students used post-it notes and pieces of butcher paper to sort and prioritize their ideas as they evaluated the potential impact that a particular one might have on learning and weighed that impact against the obtainability of the idea. Once all ideas were sorted and prioritized, students began to draw connections between them and created four categories: expansion of seating options; flexibility and functional systems of organization; technology; and home improvement.

Students elaborated upon each category to explain the role that the proposed renovations would have on learning in the classroom. These ideas were then translated into a digital design that was presented to staff and students for feedback and revisions. The collaboration of students, staff, a project manager, a contractor, furniture representatives and a construction team resulted in a vibrant space filled with multiple seating options, flexible arrangements, modern technology and energetic colors that serve as visual representations of the creative ideas that fill the space each and every day. Ramseyer 039 is now a space that not only supports the innovative art education pedagogy of which students are exposed to, but gives preservice educators the tools and inspiration to envision how they might construct learning spaces for their future students.

As an educator in this space, I have had the opportunity to see 039 evolve from a blank, colonized space with failing technology to a vibrant, welcoming, dynamic and comfortable space for students to learn and create in. As 039 continues to develop, we have bolstered theory with practical real-world experience to ensure students and educators can purposefully use the space, rather than occupy it. — Miranda Koffey, PhD Student, Ramseyer Art Room Supervisor


RUPTURING THE REAL: EXPLORING EMBODIED CREATIVITY WITHIN VIRTUAL REALITY By Jessica Pissini, PhD Candidate My background as an artist and designer has pushed me in and out of several disciplines and industries, all contributing to this nonlinear and nontraditional collection of professional and academic experiences. Since starting graduate work at Ohio State, I finally believe I have found a home in a scholarly field — arts education — which has welcomed and celebrated my diverse resume in addition to giving me the encouragement and freedom to seek multidisciplinary work with our neighboring center, the Advanced Computing Center for the Arts and Design (ACCAD). Throughout the last several semesters, I have occupied two separate realities or realms of academic research, both of which differ in so many ways. Yet, I found a way to bridge the fields of art, design, technology and education, creating the exact type of multidimensional environment needed to develop my research. So, what exactly am I researching? In a nutshell, my dissertation research aims to explore embodied creativity within


virtual reality. More specifically, I plan to research and design a collaborative, educational and immersive virtual reality art installation centered around the themes of identity, dreams and memories within the subconscious and unconscious mind, all while attempting to foster creative inquiry, divergent thinking and embodied learning through virtual art-making. Virtual reality has come a long way since the advancements made around the 1970s by the early pioneers of the technology. Modern hardware and software developments give us the power to track motion and rotation in six degrees, allowing viewers to walk and interact with hyperrealistic virtual content they see through the headset as if it were directly in front of them in the physical space. To rotate one’s head and simply view a virtual environment is an incredible experience from which one can learn a lot and gain many new visual perspectives. But, to physically move one’s entire body within a virtual environment


is an entirely different type of embodied experience I plan to create with my project. The hard part has already been done for me by talented programmers and designers who created the virtual reality app called Tilt Brush, now owned and operated by Google. Tilt Brush has been marketed as an art-making platform that most viewers use as a virtual blank canvas for recreational purposes. However, I question if an artmaking VR platform can be used in an educational way and if it is possible to make it collaborative. Virtual reality is and can be an incredible platform for educational experiences. But, many VR installations display and transfer content in a one-way direction to the viewer – as in, the viewer passively receives the information from the technology instead of the viewer using the technology to actively generate their own ideas and create their own experience. Virtual reality installations are typically linear and

Jessica Pissini has designed a collaborative, educational and immersive virtual reality art installation centered around the themes of identity, dreams and memories within the subconscious and unconscious mind, all while fostering creative inquiry, divergent thinking and embodied learning through virtual art-making.

designed in a way that shuffles the viewers through predetermined content, stories or spaces with a beginning, middle and ending. And after that ending, the viewer will have gained some type of knowledge by completing the tasks or by viewing the virtual thing. Instead, what happens if we create an open-ended VR experience that equips viewers with nonhuman abilities and creative tools and leaves them to explore, make art and actively generate their own content? I believe VR has the potential to do and become anything, especially regarding educational experiences. In my project, viewers will not only view a virtual space created by the designer (me), but they will also create their own content and artistically communicate with past and future viewers through their original contributions to the virtual environment. While the installation and the viewer’s experiences are the top priorities for this project, I have to admit that part of my research has been conducted for selfish reasons and has been an extremely important learning and growing opportunity for me. Throughout the early stages of this project, I struggled to find my researcher voice — not because it wasn’t inside my head, but because there was a screaming match between my internal artist and designer voices, and by extension a newly acquired educator voice, all trying to communicate and be heard. I think many scholars and aspiring scholars can relate to this internal dialog and struggle. I have found through this early process that sometimes it is important to just sit back, listen and let the conversation evolve.

At some point, I began to decipher the voices and realized that what I initially thought were four voices — artist, designer, researcher and educator — were actually three hybrid voices. Everything I do in my life personally, professionally and academically is approached from the perspective of a designer. The voices in my head are actually a Designer-Artist, Designer-Educator and a Designer-Researcher, all of which have very specific goals regarding the virtual platform, the content and the viewer's experience. Each internal voice or role has so far presented and asked different sets of research questions during the initial concept phases of this project: • The aim of the Designer-Artist role is to understand how the virtual reality Tilt Brush app can be used as an artistic medium, a creative platform and a design tool for digital artists to create from within the medium as opposed to across or outside of the computer — in addition to finding ways for virtual reality to be a social and collaborative experience.

• The aim of the Designer-Educator role within this project is to investigate the limitations, issues, risks and benefits of the virtual reality platform, specifically regarding how it can be implemented effectively within museum installations as a platform for creative inquiry, divergent thinking and embodied learning. • The aim of the Designer-Researcher role is to investigate embodied cognition theories in conjunction with the participants’ perceptions of self, visual culture and space through observation and documentation of participant movement, interaction and artmaking in VR. I am extremely fortunate to be in this position, nestled between the arts and technology, at a time of transitions, new developments and new perspectives. Similar to my lifestyle, I could not imagine my research being anything but multidisciplinary and multidimensional.

Jessica Pissini tests out a virtual reality headset and software on AAEP employee Brian Javor. Jessica worked in the Advanced Computing Center for the Arts and Design (ACCAD) to create her multidimensional research project, which sits at the intersection of art and technology.


WHAT WILL SUCCESS LOOK LIKE FOR YOU, AND HOW WILL YOU MEASURE IT? By Jarred Small, MA in Arts Policy and Administration (2015)

What will success look like for you, and how will you measure it? It’s a fairly standard question nearly every prospective grantee faces when crafting an application to receive support from the Ohio Arts Council (OAC), a state government agency dedicated to supporting the arts throughout Ohio and for which I hold the position of arts learning coordinator. OAC applicants responding to this prompt typically cite planned evaluation and assessment techniques — the quantitative and qualitative efforts that will be used to track growth and improvement and that will (hopefully) demonstrate during final reporting that the investment of OAC dollars was a worthwhile and successful effort. Answers to this seemingly basic question range from well-articulated and compelling responses backed by evidenced-based practices to the superficially agnostic and everything in between. Having read through many different organizations responding to this same question as part of my standard workload, it’s become evident that those who present a clear and articulate plan bode well in their projects and outcomes while those lacking definition, vision and appropriate procedures bare the opposite fate. This concept of defining success and determining appropriate measures has enwrapped me in my personal and professional lives and one I see being a through line before, during and after my time as a graduate student at Ohio State. ••• After graduating from Ohio State with my MA in Arts Policy and Administration in 2015, I had little notion of where life and career would take me. Like many individuals who spent the last 20-plus years in school, the future was foggy with only a vague sense of direction. I only knew


that experience was necessary in order to have even a little control in where I found myself, and so I took to the bright lights of New York City followed by the polished marble facades of Washington, D.C., during which I spent two years working as an arts management consultant with organizations big and small, located in communities coast to coast, on projects intended to chart new courses and directions. Such initiatives often included managing multimilliondollar capital campaigns, creating strategic plans that pushed the boundaries of the status quo, undertaking organizational management and programmatic audits, and overseeing programs offering capacity building opportunities for national and international clients. Was this where I had seen myself following graduate school? Not terribly so. The work was wholly new to me, oftentimes unsexy and focused on researching and comprehending entire artistic sectors with which I had little experience (public broadcasting and media production, Latinx printmaking and Native American community arts centers, to name a few). This, however, I found was necessary toward my development as an arts manager, and at the same time, I was learning the ins and outs of what it takes to run a successful arts organization while being exposed to industry professionals who were oftentimes forward-thinking in their approaches to programming, marketing, fundraising and leadership. Even though I still wasn’t entirely sure where I wanted to end up in my career, I found myself gaining valuable experience and connecting with professionals who wanted to see me succeed, and by that standard, I found my time spent working as a consultant to be a gratifying endeavor. At that time, success meant diving headfirst into the world of development, marketing, etc. and soaking up the knowledge I felt was necessary in continuing my career in arts management and allowing to remain focused in the present.


While continuing to work as a consultant in Washington, I learned of an opportunity available at the Ohio Arts Council, an institution with which I had become familiar through frequent discussions and interaction during my time at Ohio State with faculty and community members. The open position — arts learning coordinator — struck a chord with me, as it involved the knowledge, experience and passion I had (an education background, understanding of the nonprofit sector, familiarity with grant writing, etc.) and led toward knowledge and experience I hoped to garner from continued work in the field. It was an opportunity to redefine what I considered as “success” and position my career in a direction where I could continue to find enjoyment and engagement. I applied and was awarded the job, and back to old Columbus I went, this time with a clearer picture of what I wanted and where I was headed. ••• In my role with the Ohio Arts Council, I have the privilege of working with Ohio’s schools and school districts in connecting them with resources and grant opportunities to help support projects with arts-learning at their core. These primarily include artist residencies, partnerships between schools and community arts organizations, field trips to arts experiences, and various other project-based activities. We’re also working diligently on various initiatives, which — at the time of this writing — includes planning for the OAC’s statewide conference in Columbus, targeted efforts to fund arts activities in all of Ohio’s 88 counties and preparations to release a new set of grant guidelines and applications for the 2020 grants cycle. It’s a full plate of work, and I’m continuing to learn what it takes to succeed in arts administration from a funding and education perspective. For now, I remain

Dr. Shari Savage stands between her two doctoral advisees Rebecca Turk and Chris Jeansonne.

focused on gaining appropriate and relevant experience to continue using my skills in using the arts as a catalyst in communities across Ohio. ••• And so, I’m not saying I’ve found the magic formula for success suitable for inclusion in a grant proposal. Quite the contrary; I’m aware that my journey has only just begun. But I wonder if we may work together in discovering what success looks like for you and determining how you will measure it. During my relatively short time postgraduate school, I’ve learned that the definition of success often changes, sometimes very rapidly, and it’s incumbent upon me to determine what it is. We all know things happen and priorities shift. But for me, life has thus far hinged on being able to identify what will make me successful, happy, satisfied in my choices and take the next step in order to make it so. It’s been an ongoing affair, and one that I’ve only recently begun, but AAEP has taught me that it’s OK to be uncomfortable with new ideas and experiences, and that oftentimes it’s not about the problem at hand but how you react to it that makes you or a project or an experience a true success. My time spent in graduate school at Ohio State demonstrated the need to take risks, be bold, revel in uncertainty, keep an open mind, cherish and fortify relationships, but also hold steady the need to define a path and take the steps necessary to move forward. And so wherever you and I find ourselves in life and career, it’s my hope we can continue using our experiences inside and outside Ohio State to be a success in the ways we each best see fit.


By Shari Savage, Associate Professor

The Department of Arts Administration, Education and Policy (AAEP) has a longstanding commitment to mentorship, one that creates a culture of support and care for our students, staff and faculty. Mentoring begins early, as soon as a student is admitted to our programs, and continues throughout their time at Ohio State — and in many cases, beyond. As educators, we implicitly subscribe to the idea that strong mentoring relationships help our students feel supported in their own educational journeys. For art education licensure undergraduates, this assistance takes place through the triad of faculty, cooperating teachers and university supervisors, who mentor teacher candidates through the student teaching practicum. For arts management majors, robust internships with local and national arts organizations and community partners work in tandem to allow students a truly authentic work experience. For students who serve as graduate teaching associates (GTAs), mentorship is central to their developing roles as instructors in the department. AAEP starts mentoring before school starts, bringing new GTAs to campus early to participate in a special orientation day. Shari Savage, Undergraduate Education, Teaching and Assessment chair, along with graduate teaching fellow Audrey Reeves, work together in our college teaching course to make sure new GTAs get the information, activities and practice to grow as new teachers and scholars. Teaching in our large selection of general education (GE) courses, GTAs gain training and experiences — invaluable preparation for careers in the academy, in arts administration or as policymakers. In addition, each GE faculty

supervisor mentors their cohort of GTAs throughout their time as a course instructor, often working on curriculum refreshment and assessment of student learning outcomes. Faculty advisors add to the culture of mentoring through the work they do directing research activities, thesis and dissertation writing, and career placement. All of these actions lead to extraordinary student advancement in their respective fields. In the last two years, three AAEP GTAs have been awarded the prestigious Graduate Associate Teaching Award (GATA), the highest honor the university can bestow on a teaching associate. Out of 3,000 GTAs, 10 GATA winners are selected each year. Having three GATA awardees from our department is exceptional and confirms the value of mentoring for both our GTAs and the GE students they teach each semester. Likewise, faculty advisors seek opportunities for our graduate students to present their research in larger settings. This year, three PhD students were selected to present their dissertations-in-progress at the Graduate Research in Art Education (GRAE) Conference hosted by Columbia University’s Teachers College. GRAE, a multi-university event, brings faculty and graduate students together to network and share information in a larger mentoring community. Ohio State is a large place, but our commitment to mentoring makes it feel smaller and more supportive for our students. For faculty, the reciprocity of these relationships reminds us of our time as graduate students and of the special mentors that helped us find success in our eventual careers.



This past fall 2018, I moved across the Oval from University Hall and the Department of Classics. This short journey in space was the culmination of several years of migration away from my formation as a classicist toward my work with and for contemporary artists. Originally from Leicester in the Midlands region of the U.K., I moved to London as a teenager, attending Highgate School where an encounter with Virgil’s Aeneid, the epic Latin poem by the poet Virgil about the mythical foundation of ancient Rome, turned me into a classicist. After studying classics at Cambridge University for my BA, Master of Philosophy and PhD, I took up the position of assistant professor in the Department of Classics (then Department of Greek and Latin) at Ohio State in 2006. My research as a classicist focused on the transmission of Greek philosophy into

Roman literature and culture, specializing on the multifarious literary corpus of the North African Platonist Apuleius of Madauros, culminating in my first book, Apuleius’ Platonism: the Impersonation of Philosophy (Cambridge University Press, 2014). As well as writing several book chapters about Roman philosophy and literature, I also coedited the volume Creating Lives in Classical Antiquity (with Johanna Hanink) (Cambridge University Press, 2016). Already in these projects were the seeds of my interest in contemporary art, specifically the way in which creative people would engage with ancient ideas in their trailblazing work. Starting in May 2012, I started the blog Minus Plato, which I have used as an archive for my innovative research into the dynamic between ancient Greek and Roman culture and contemporary artistic practices. These interests led me

to curate exhibitions across campus and Columbus, including the 2015 exhibition “Myths of the Academy” using the support of the inaugural 2014 Ronald and Deborah Ratner Distinguished Teaching Award. The culmination of this kind of work was the collaboration with the artist Paul Chan on a book and exhibition called Hippias Minor or the Art of Cunning in 2015. While there are exciting and experimental scholars working in the discipline of classics, both at Ohio State and beyond, I nonetheless felt constrained by writing about contemporary art for classicists as well as complicit in the hegemonic hold of the patriarchal white Western canon on my teaching and work on diverse, radical artists and their contemporary audiences. For example, even as I strained against this canon when reading the Roman poet Ovid’s Metamorphoses in tandem with contemporary feminist art, I still wondered if I really needed Ovid after all? What would it mean to abandon classics altogether and let the artists take the lead in my work and teaching? The question was: How could I do it?

Using the pseudonym Minus Plato and inspired by ancient philosophers and poets, new faculty member Richard Fletcher ponders the condition of global politics and examines everyday life under the administration of President Donald Trump in his new book No Philosopher King: An Everyday Guide to Art and Life Under Trump.



The answer came from visiting the exhibition, “documenta 14,” which took place in both Athens, Greece, and Kassel, Germany, in 2017. The curators and artists of “documenta 14” taught me how the legacies of ancient Greece could be re-situated in terms of vital questions of decolonization, Indigenous knowledge, feminism and post queer politics as contemporary Europe struggled with upheavals of immigration, debt crises and surging nativism and white nationalism. My experience at the exhibition made me realize that I had to relocate — intellectually, institutionally and creatively — and directly ignited my move to AAEP. Now I feel better placed to transform and unlearn this classical education and situate living artists at the center of my research, teaching and creative work. I am interested in art thinking, global exhibition culture, artist writings and digital culture and an artist-centered approach art and education institutions. While it may be too

soon to know what precisely I bring to the department, I can already appreciate how much my new institutional home has taught me. For example, teaching the “Criticizing Television” course, I have learned how taking students who are already engaged in an activity (e.g., watching television) and getting them to think critically and creatively about it, is a truly rewarding and provocative pedagogic enterprise. Furthermore, by challenging them to see the connection between the representation of social diversity in popular television and the radical projects of artists working in the medium, I have been able to see how the arts are all connected and the avant garde and mass media are in constant, productive dialogue, especially when it comes to fundamental issues of social and cultural identity and creative freedom. This semester I am continuing this learning curve by not only teaching for the Department of Philosophy in the course

“Philosophical Problems in the Arts,” but also taking up the challenge of the “Contemporary Theory and Art Education” graduate course for AAEP. As for my research, my book (under the alias Minus Plato) No Philosopher King: An Everyday Guide to Art and Life under Trump, will be published by the AC Institute in 2019. I am dedicated to working across departments — with and beyond the arts — in thinking about the core curriculum of the university as he chairs the ASC Faculty Senate as it reconfigures the GE as well as continuing in my role as Advocate for Equity with the Women’s Place. As we speak, I am sowing the seeds of an ambitious book, exhibition and teaching project 2043, whisper it into a hole. Watch this space! (And if you see me in the department, you can ask about the goat!)


PhD student Ketal Patel, one of the department members appointed to the National Task Force on Equity, Diversity & Inclusion.

Drs. Joni Acuff, Jim Sanders and PhD student Ketal Patel have been appointed to the National Arts Education Association’s (NAEA) new National Task Force on Equity, Diversity & Inclusion. Last fall, selected NAEA diversity leaders in the art education field drove a thoughtful, thorough review process to determine who best met the criteria for service on the Task Force and who represented a demographic crosssection of the community. Based on their recommendations, NAEA President Kim Defibaugh appointed 18 art educators to the Task Force. Sixty NAEA members applied, underscoring the interest in the effort. The Task Force met for the first time this past January, launching a key initiative to nurture and sustain a diverse, vibrant and professional community. It is part of NAEA’s focus to ensure that its professional community is inclusive and open to all. It is the charge of the Task Force to review NAEA’s history through the lens of equity, diversity and inclusion; identify similar initiatives underway with other professional organizations and study implications for NAEA’s work; and understand the demographics of the professional across the NAEA community and throughout the field as a whole. The Task Force will develop a final report that makes recommendations to the NAEA Board of Directors that includes sustainable strategies for change. To see all members of the Task Force, visit this link ( Congratulations to Drs. Joni Acuff and Jim Sanders and Ketal Patel on this honor!


AAEP CONGRATULATES TWO FACULTY MEMBERS ON THEIR RETIREMENTS CANDACE STOUT Candace Stout retired December 31 as full professor and professor emeritus. Stout’s service to the department has spanned 18 years, over which she has taught and mentored hundreds of students. Stout is an internationally known scholar in the field of art education, has been widely published in national and international journals, and has contributed to numerous anthologies. She served as senior editor of Studies in Art Education. Through Ohio State’s Humanities Institute, she has co-sponsored the campuswide Qualitative Inquiry Working Group. Supportive of experimental writing, Stout pioneered courses in qualitative research methodologies as well as the course, “Reimagining Writing Through Creative Inquiry,” supporting and mentoring countless students. She continues her studio work as a photographer, incorporating photography into research and teaching. Stout will continue to advise students in her role as professor emeritus. It is with deep gratitude that we recognize and thank her for her years of service in the department and her contributions to the profession.

DEBORAH SMITH-SHANK Deborah Smith-Shank retired July 1, 2018, as full professor and professor emeritus. Smith-Shank’s service to the department spanned eight years, during which she served as department chair for six after previously retiring with emeritus status from Northern Illinois University. Smith-Shank is an internationally known scholar in the field of art education, demonstrated by her robust body of research and her leadership contributions around the world. Smith-Shank’s research focuses on material culture and social justice examined through semiotic and feminist lenses. She was president of NAEA’s Women’s Caucus and LGBTQ Caucus, has served on the executive board of the International Society for Education through Art for over a decade. SmithShank was co-editor and founder of Visual Culture & Gender, an international, freely accessed, multimedia juried journal. She served as associate editor of the International Journal of Semiotics and Visual Rhetoric, reviews for several other journals, and was president of the Semiotics Society of America. She has mentored numerous students who are now leaders in the field. Smith-Shank is a practicing artist and continues to explore visual ideas in retirement. It is with deep gratitude that we recognize Smith-Shank and thank her for her years of service in the department and her contributions to the profession.




“She can’t possibly be a serious academic, can she?” This thought ran through my mind a few times during my initial encounters with Deborah Smith-Shank. Her generous laugh, irreverent winks and frequent anecdotal segues didn’t fit my mental image of an accomplished academic — grounded, direct, somber. Watching her lead our graduate seminar, she just seemed to be having too much fun. While the start of every other course seemed to bring yet another push to refine one’s dissertation topic and align reading choices with a future article literature review, Debbie’s class was an invitation to try out something new, with no predetermined agenda as to how a reading or project might be useful down the road. Her prompts — to consider the history of a particular object, to unpack the signs in a poster, to find something of great ugliness and bring it to class — seemed odd, disconnected, perhaps trivial. And yet, from these starting points, she guided us to weave interesting encounters with semiotics and material culture — encounters that would have a lasting impact, even as the specifics fade away. Ultimately, that exploratory spirit — captured so perfectly in Debbie’s class — came to characterize the best of my time at Ohio State. Coming from a dance education background, I often felt like the odd one out among my visual-art-oriented colleagues,

yet the chance to immerse myself in new discourses and draw connections across ways of knowing is precisely what drew me to art education in the first place. If efficiency was a goal, my PhD program could be characterized as a disaster. It was nonlinear, full of time spent considering artworks, theories and approaches with no direct connection to my stated goals. But with richness, surprise and unpredictable connections as the measure, working with Debbie at Ohio State was a fruitful exploration of possibilities. After completing the art education doctoral program at Ohio State, I took a position in the dance program at East Carolina University, where I am primarily responsible for teaching the dance pedagogy courses that lead to North Carolina teaching licensure. Certainly, the preparation I have had at Ohio State led me to think critically through my curriculum designs, teaching, and research. It is hard to trace influences and outcomes directly, but my return to creating choreography — something I hadn’t done much of while my attention was on teaching and research — has probably been influenced by my work with Debbie as well. While we never discussed my artmaking directly, and she never saw my original concert choreography, I see traces of past conversations with Debbie in the ways I’ve been creating dances recently. In the past few years I have found myself fascinated

Nahodishgish, choreography by Marissa Nesbit, East Carolina University Dance 2018. Photo by John Dixon.

with the choreographic possibilities of interactions with physical objects and have created works using desks, paper, plastic tubes, milk crates, neckties and rocks. Objects present opportunities for clear tasks, a physical brainstorm that I find very helpful in the choreographic process. Working with dancers, tangible objects invite movement possibilities we might not think of otherwise, where weight, structure and texture alter the way we navigate space and physicality. At the same time, objects invite performers and viewers to construct meanings based on our readings of the objects and the people on stage interacting with them. Signs spin, invoking new associations—some of which we pick up in the choreographic process and build upon, others of which we leave present in the work without extensive exploration. In this way, choreography is much like research, and the insights I gained studying semiotics with Debbie surface in different ways regardless of the project I am working on, whether it is teaching, research or choreography. And if you are wondering: yes, she is a serious academic.


AWARDS & RECOGNITION UNDERGRADUATE STUDENTS Senior Arts Management graduate (BA, 2018) Diego Arellano served as 2017-2018 vice president of Future Arts Managers and Entrepreneurs (FAME) and external vice president of Alpha Psi Lambda National Fraternity Alpha Chapter, the nation’s oldest co-ed Latino interest fraternity. He delivered a presentation titled “Digitization as Language and Cultural Democratization in the Andes and Amazonia” at the Quechua Student Alliance Meeting at New York University in November 2017; presented on “Improving Accessibility, Audience, and Appreciation with Andean and Amazonian Cultural Artifact Collection” at Ohio State’s Denman Undergraduate Research Forum in spring 2018; and was awarded a student research fellowship with the Collaborations for Humane Technologies project of Ohio State’s Humanities and the Arts Discovery Theme Grants in autumn 2017. Arellano is also a proud recipient of the Harold A. McIntosh Scholarship for his leadership and service to the Ohio State LGBTQ community. Arts management major Clara Davison was selected for a Design and Creative Placemaking Internship and John Glenn Fellowship at the National Endowment for the Arts this past summer in Washington, D.C. Clara was also named as one of 25 Ohio State Buckeye Leadership Fellows and was inducted into the 112th class of SPHINX Senior Class Honoraries at Ohio State. In autumn 2018, Clara Davison received the Maya Angelou Award for contributions to social change in the creative arts from the Office of Student Life, and she also received the Panhellenic Scholar Award from Alpha Chi Omega. BAE students Daniel Higuera and Ashley Littlefield were awarded 2018-2019 Barbara Strutin Schwartz and Stanley Schwartz Scholarships as merited by their academic performance, demonstration of strong social consciousness and utilization of art for the betterment of society.


In December 2018, graduating senior Naomi Kennedy became the second-ever student to earn a Research Distinction in Arts Management by conducting practical research through curating the autumn 2018 Bachelor of Fine Arts show at Urban Arts Space. This year, Kennedy also founded and directed Your Arts Mag (YAM), an interdisciplinary, digital publication focused on showcasing the work of Ohio State community members. In early 2018, arts management major Maria Luiza “Malu” Marzarotto cofounded Marcd, a hyper-multidisciplinary design studio based out of Columbus. Marcd specializes in installation design, brand identity, product design and creating experiences in both physical and digital space. Visit to learn more. In April, Beatrixz Spikes was crowned Miss Black Girl Magic of 2018 by Alpha Kappa Alpha Sorority’s Theta Chapter at The Ohio State University. BAE student Courtney Tinnel received the 2018 Aida Cannarsa Snow Endowment Fund Scholarship to assist with her student teaching practicum. Tinnel also received the 2018 Sara Jane Pyne Memorial Scholarship Award, established in 1981, for students who demonstrate exceptional promise and potential for service in the visual arts.


GRADUATE STUDENTS AND ALUMNI Associate Professor of Art Education at the University of Texas at Arlington Amanda Alexander, PhD 2010, received the 2018 Kenneth A. Marantz Distinguished Alumni Award, selected by the current AAEP graduate students for her compelling scholarship on international and local community-based arts research, sustainable social and culture development, and social justice. Alexander presented an invited lecture on “Artopia: Creative healing with veterans” in Sullivant Hall in April 2018. PhD candidates Terron Banner, Jimin Cha, Wen Guo, Min Kyung Kim and Akhona Ndzuta were awarded Barnett Dissertation Fellowships to support their PhD work in the field of Cultural Policy & Arts Management. Phoenix elementary school art teacher and BAE alumna Emily “Ms. Beez” Biesemeier was profiled on ABC15 Arizona for her selection as one of “Queer Eye” star Jonathan Van Ness’ #10featuredteachers on Instagram. Within hours, Jonathan’s followers donated en masse to fulfill Biesemeier’s classroom wish list, financing the paint, paper and pencil sharpeners she would ordinarily purchase out of pocket.

Alumni Caitlin Butler, MA ’11; Janelle Hallett, MA ’09; and Jason White, PhD ’16; chaired the “Illuminating Social Responsibility: Community Action & Impact” panel at the 2018 Barnett Symposium, moderated by Connie De Jong, PhD 2008. PhD student Alyxia Caragiu and master’s student in art education Shannon Thacker earned competitive 2018-2019 University Fellowships from the Graduate School. Caragiu was selected as Distinguished University Fellows. Art education MA students Layla Muchnik-Benali, and Aleya Peete received Graduate School Graduate Enrichment Fellowships. Both University and Graduate Enrichment Fellowships are awarded based on merit, to recruit new, incoming talent to Ohio State. Alumni Patricia Dewey Lambert, PhD ’04; Rawon Lee, PhD ’16; and Sarah Cortell Vandersypen, MA ’11; chaired the “Illuminating Connections: Globalization through the Arts” panel at the 2018 Barnett Symposium, moderated by Professor Emeritus Wayne Lawson.

PhD candidates Christopher Jeansonne, Audrey Reeves and Rebecca Turk represented Ohio State at the October 2018 Graduate Research in Art Education (GRAE) conference at Columbia University Teachers College in New York. Jeansonne, Reeves and Turk presented their respective doctoral research on “Superheroes in the Classroom, Or: An Autoethnography of Power, Responsibility, and Community in a Critical Media Pedagogy;” “Compassion Fatigue: Stories/ Artworks of an Art Teacher with a TraumaInformed Pedagogy and Curriculum;” and “Costuming as Inquiry: An Exploration of Women in Gender-Bending Cosplay Through Practice & Material Culture.” PhD candidate Christopher Jeansonne presented on his in-progress dissertation, “Superheroes in the Classroom, Or: Power, Responsibility, and Community in a Critical Media Pedagogy,” in both the 2018 Wellington School Research Competition and the 2018 Edward F. Hayes Graduate Research Forum. He received an Ohio State College of Arts and Sciences Graduate Research Grant to present on his dissertation at the 2018 International Critical Media Literacy Conference in Savannah, Georgia, and received a Career

Development Grant from the Ohio State Council of Graduate Students to attend workshops and focus his dissertation project at the 2018 International Congress of Qualitative Inquiry at the University of Illinois at UrbanaChampaign. He presented a paper on the use of critical media pedagogy in popular culture studies at the 2018 Popular Culture Association National Conference in Indianapolis and at the 2018 Midwest Popular Culture Association Conference presented a paper called “’Do I Have a Say in This Matter?’: Peggy’s Performance of Anachronistic Feminism in Marvel’s Agent Carter." Christopher Jeansonne’s multipanel video project called “What Am I Doing Now?” was included in the 34th Quarterly Columbus Moving Image Art Review. Jeansonne was also a member of an invited panel called “Orphans are Everywhere! An Epidemic That Has Taken Over Popular Entertainment” at the Wizard World Comic Con Columbus convention, and an invited guest on Episode 2: “Do You Remember Nostalgia?” of the podcast Vox Populorum.


AWARDS & RECOGNITION PhD student James O’Donnell received the Production Award for his presentation titled “Authentic Assessment in the Studio-Based Classroom” at The Art of Ed 2018 Online Summer Conference. This award recognizes a scholar’s attention to sound, lighting and visual aesthetic in their presentation. O’Donnell also presented “The Art of Togetherness: Pedagogy, Power & Artistic Practice” at the 2018 USSEA Regional Conference at Wichita State University, and he represented AAEP at the 2017 Ohio Art Education Association Convention in Toledo, Ohio, where he presented “Creating Culture,” a hands-on artmaking and intercultural simulation workshop. James O’Donnell was an invited guest on three podcast episodes in 2018. Tim Bogatz of Art Ed Radio interviewed him on the subject of his KillYourColorWheels. com blog and his views on teaching art in Ep 105: “Art Ed Should Thrive, Not Just Survive.” He was also featured on Ep 9: “Killing Your Color Wheels with Jim O’Donnell” and Ep 18: “Art in Times of Tragedy” of The Art Class Curator Podcast with host Cindy Ingram. In 2018, PhD student Ketal Patel was honored and awarded for being an NAEA 2017 School for Art Leaders graduate alongside 24 other national leaders in the field of art education. Also, in July 2018, Patel delivered a presentation titled "Leveraging Community to Inform Practice: An Art Educator’s Journey and Exploration of Design Thinking" at the USSEA/InSEA Regional conference in Wichita, Kansas.

with Autism: BalletMet’s Brain-Based Developmental Movement Residency” at the Accessible Creativity Transforms (ACT) Dis/ability Conference in September 2018. ACT aspires to increase access to creativity for people of disabilities, connect people and provide essential training for facilitating inclusion. PhD student Sharbreon Plummer led an experimental participatory session titled “Discussion of Applied Research and Questioning of Institutionalized Epistemologies” at the 11th Annual IU/ OSU Student Conference in Folklore and Ethnomusicology in February 2018, and moderated a panel titled “Lived Experience: Creatives Speak” at the 2018 Alliance of Artist Communities Conference. She was selected to craft learning modules for a course administered by Americans for the Arts' ArtsU – an online education forum for arts professionals to gain new skills, knowledge and connections to further their personal and organizational goals. The course, "Arts Administrator's Essentials," was developed for mid-level arts administrators to learn how to better support individual artists. Additionally, Plummer was chosen to participate in the YWCA Columbus Leadership for Social Change Program, a 10-month learning experience led by community experts from local social justice organizations. Plummer received a Research Fellowship Grant from the

PhD candidate Elle Pierman was awarded a 2018 Graduate Associate Teaching Award (GATA), the highest recognition of graduate teaching excellence at Ohio State, by Dean of the Graduate School Alicia Bertone. Additionally, the Graduate Studies Committee named Pierman as AAEP's 2018 Outstanding Graduate Teaching Associate in its second year for the award. PhD candidate Elle Pierman and MA in Arts Policy and Administration Linzey Rice presented on “Dance for Children



Embroiderers’ Guild of America and a Global Gateway Grant from the Ohio State Council of Graduate Studies to support her scholarly endeavors. PhD student Audrey Reeves was selected by the University Center for the Advancement of Teaching to serve as the 2018-2019 Graduate Teaching Fellow in the department. In this capacity, she developed programming to support graduate teaching associates throughout the academic year. PhD student and executive director of The Ohio Channel Dan Shellenbarger shot and edited the film “Decades of Enrichment: The Story of the Barnett Program and Symposia,” which debuted in a red-carpet screening at the department’s 2018 Barnett Symposium. In the film, Professors Margaret Wyszomirski, Wayne Lawson and Christine Ballengee Morris engage in a dialogue about the history of Lawrence R. and Isabel Bigley Barnett and their contributions to The Ohio State University that have resulted in the Barnett Fellowship Program, Barnett Symposium and Barnett Center. Dan Shellenbarger presented his paper, “The Invisible Hand: The Emancipation of Practice,” at the 2018 SECAC Conference in Birmingham, Alabama. SECAC, formerly the Southeastern College Art Conference, is a national nonprofit organization that

promotes the study and practice of the visual arts in higher education. Kelsi Stoltenow Petersen, PhD ’18, received the 2018 Manuel Barkan Dissertation Award, which honors a PhD candidate with the most promising three chapters of a dissertation as determined by AAEP faculty. Petersen presented her doctoral dissertation research, “YouTube Beauty Vlogs: How Social Media Blurs Social Boundaries,” to an audience of department graduate students, faculty, alumni and community members at the 2018 Barkan & Marantz award ceremony. PhD student Yingchong Wang was awarded 2018-2019 Barnett Fellowship for distinction in the Arts Policy and Administration field. PhD candidate Rebecca Turk received a Critical Difference for Women Professional Development Grant to present a session at OAEA titled “Costuming as Engineering: Student-Focused Arts Integration.” Doctoral student Yifan Xu received a 2019 career development grant from the Council of Graduate Students, which she will apply toward building connections with professionals and academics in arts festival management. Yifan was also awarded a 2018 Arts Festival Legacy Scholarship to attend the 63rd Annual International Festivals & Events Association (IFEA) Convention in San Diego. PhD student Biyun Zhu was awarded the Emily D. Mulcahy Award for exemplary graduate student research by the International Conference of Social Theory, Politics and the Arts’ organizing committee for her November 2, 2018, presentation on “The Adaptation of Soft Power in China – The Many Purposes of Cultural Diplomacy” in Manchester, England.

FACULTY AND STAFF The National Art Education Association named Associate Professor Joni Boyd Acuff the 2018 J. Eugene Grigsby, Jr.

Award recipient. This prestigious award, determined through a peer review of nominations, honors an individual who has made distinguished contributions to the field of art education in advancing and promoting education, investigation and celebration of cultural and ethnic heritage within our global community. Chair of the Committee on Multiethnic Concerns and Ohio State PhD alum Hazel BradshawBeaumont Young presented the award to Acuff. Professor and Director of the Barnett Center Christine Ballengee Morris received the 2018 College of Arts and Architecture Art Education Alumni Award from her alma mater, Pennsylvania State University, and presented an invited lecture at the Palmer Museum of Art in November. The Arts and Architecture Alumni Awards were established more than 30 years ago with the purpose of recognizing the career achievements of alumni in the arts and design disciplines. Christine Ballengee Morris co-authored the book Transforming Our Practices: Indigenous Art, Pedagogies, and Philosophies, published this year by the National Art Education Association, with Northern Illinois University Professor of Art and Design Education Kryssi Staikidis.

Assistant Professor Dana Carlisle Kletchka co-edited and -published the innovating anthology, Professional Development in Art Museums: Strategies of Engagement Through Contemporary Art, with fellow author B. Stephen Carpenter II, professor of art education and African American studies at Pennsylvania State University. Professional Development in Art Museums explores the research and practice of professional development for preK-12 teachers in art museums, with emphasis on curricular possibilities, conceptual considerations, historical precedents, learner-centered teaching, critical teaching strategies and communities of practice.


AWARDS & RECOGNITION In March 2018, Associate Professor and Faculty Director for the Online MA in Art Education program Jen Richardson was featured on Ohio State’s website in a Q&A article titled, “Meet Your Future Instructor: Jennifer Richardson, PhD.” Associate Professor James Sanders III’s book, Disciplining Eros: (homo)Sexuality Subjects Explored Through Art Education, was published by the National Art Education Association in 2018.

Assistant Professor Dana Carlisle Kletchka traveled to Espoo, Finland, in June to deliver a presentation titled “After Critical Theory, Then What? A Post­museological Perspective.” The talk was part of Interventions, the 2018 European Regional InSEA Congress, held at Aalto University. As part of his research on the artist Cy Twombly, Richard Fletcher published the essay ‘Three Lessons at Twombly’s Academy’ in the book Cy Twombly: Fifty Days at Iliam (Yale University Press, 2018) edited by Carlos Basualdo. The book is the culmination of a long-term collaboration, dating back to 2012, between Fletcher and the Philadelphia Museum of Art, the home of Twombly’s epic work inspired by Homer’s Iliad, including an academic panel, gallery tours, public presentations and a podcast for the museum. Fletcher was also interviewed for The Modern Art Notes Podcast about the book and his work on Twombly. Assistant Professor Shoshanah GoldbergMiller was accepted into Ohio State’s Digital Flagship Educator Program, through which she will pioneer new classroom technology and engage in course design centered around active-learning strategies and assessment models. Goldberg-Miller is also celebrating her second year as chair of the Urban Affairs Association's Ad Hoc Committee on Fundraising.


Dublin Arts Council Executive Director and Adjunct Assistant Professor David Guion, PhD, was invited to attend Americans for the Arts’ annual Executive Leadership Forum, a convening of 16 top-level arts executives from across the United States in Sundance, Utah, from September 12-15, 2018. Participants brainstormed, reflected and strategized on the future of arts administration, while preparing their respective organizations to benefit locally from national trends in the arts world. A wide range of topics, including equity, cultural democracy, community development and long-term visioning were explored. David Guion and Dublin Arts Council Director of Engagement Janet Cooper were also invited to present at the 2018 Social Theory, Politics & the Arts Conference in Manchester, England, in November. Guion and Cooper’s presentation, “A Voice for All: Using Technology in Socially-Focused Arts Practice,” provided a case study in Dublin Arts Council’s use of innovative technology to illuminate myriad perspectives, strengths and relevance through the powerful voices of the overlooked and unheard. Guion and Cooper also visited Dublin, Ohio’s Friendship City of Dublin, Ireland, to meet with arts leaders to explore potential arts and cultural collaborations.


Professor Margaret Wyszomirski was awarded the Lifetime Achievement Award at the International Conference of Social Theory, Politics and the Arts (STP&A) for her considerable contributions as a scholar, educator and mentor in the fields of cultural policy, public policy, and arts policy and administration over the past three decades. Wyszomirski has served in leadership roles at the National Endowment for the Arts and Foundational Center, as director of the Graduate Public Policy Program at Georgetown University, as chairman of the Research Task Force of the Center for Arts and Culture in Washington, D.C., and she is a founding member of the Research Advisory Committee of the American Council for the Arts. Many of Wyszomirski’s former students have become leaders in the field across several world continents.

CONGRATULATIONS TO THE 2018-2019 BARNETT FELLOWSHIP RECIPIENTS! The Lawrence and Isabel Barnett Fellowship Fund provides tuition, fees and an annual stipend to promising arts policy and administration students, for two years.



Zoë is a second-year master’s student in the Department of Arts Administration, Education and Policy and a Barnett Fellow. Originally from northeast Ohio, Zoë enjoyed visiting the Cleveland Museum of Art as a child. It was visits to museums across the country and her family’s interest in the arts that influenced Zoë’s own passion for visual culture. Zoë graduated from The College of Wooster with a BA in anthropology and a minor in art history. Her current research interests include board governance and diversity, leadership in nonprofit arts organizations, corporate support of the arts and museum accessibility. Her field school experience at The Barnett Center focused on developing a mentor/mentee program with alumni, increasing student access to professional development opportunities.

Barnett Fellow Ying Wang is a student in the Department of Arts Administration, Education and Policy’s PhD program. She is also a first-year Barnett Fellow. Wang received her bachelor’s degree in English language and linguistics from Tsinghua University in Beijing, China, and obtained her master’s degree in arts management from Carnegie Mellon University. Wang has study and research experience in China, the U.S., England and Italy. She is interested in cultural heritage, creative placemaking and cultural diplomacy. Her field school experience at The Barnett Center focused on developing and executing a spotlight section within the newsletter about our graduate students’ research, accessible to both students and alumni. FUN FACT: YIng is addicted to classical music, antique architecture and…egg tarts.

FUN FACT: Zoë studied abroad twice during her undergraduate education. She spent a summer in Siena, Italy, and a semester at the University of Edinburgh in Edinburgh, Scotland.


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

AAEP LAUNCHES BARNETT CENTER INTERNSHIP PROGRAM AS PART OF THE BARNETT CENTER IP COMMUNITY The Department of Arts Administration, Education and Policy is excited to announce the expansion of the undergraduate internship program through the Barnett Center for Integrated Arts and Enterprise. Internships have continued to be a pillar of the BAAM major and all undergraduate BAAM majors are required to take an internship course for credit to complete the major. Through this expansion, BAAM majors will receive increased individualized attention, access to additional professional development resources, and be joined into the Barnett Center IP community; a community that will continue to support them as they transition into workplaces after graduation. The IP community will officially launch for summer term 2019 as BAAM students head off for exciting summer internship experiences. The Department of Arts Administration, Education and Policy and the Barnett Center are excited to pilot the experience with the partnership of the Urban Arts Space as we collaborate to foster valuable experiences for our BAAM majors. Any questions regarding the IP community and the new internship experience in the Department of Arts Administration, Education and Policy can be directed to Dr. Gretchen McIntosh at

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