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Art and Art Education
Teachers College, Columbia University
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Art and Art Education

FACULTY WORK

FACULTY RESEARCH

Iris Bildstein
As an art-teacher educator and researcher Iris Bildstein is interested in the ways in which art-teacher education programs prepare pre-service candidates for the rigors of in-service teaching in contemporary schooling. She is equally interested in ways in which art teachers can inform and help bridge the gaps that often exist between practice and theory in art education. Additionally her work focuses on issues that emerge in and through art teachers’ reflections through narrative portraiture as it brings the individual’s experiences and voice to the forefront of discussion about art teachers and art education reform. 

Other areas of research interest include ways in which art teachers build sustainable practices over many years and the role of mentor in pre-service candidates’ development and preparation.

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Judith Burton
Professor Burton's research interests have, until recently, focused on attempts to understand the cognitive, affective and socio-cultural underpinning of artistic-aesthetic development in young people from birth to early adulthood. She argues that artistic-aesthetic development is a natural proclivity of the human mind intimately connected to the construction and representation of personal and cultural meaning. Her work has led her to challenge some of the more narrow claims of stage theory, arguing instead for a conception of development that moves forward into early adulthood in smaller overlapping phases forming a kind of non-linear continuum within which individuals moved back and forth according to the challenges offered by their environments and their experiences with materials. Recently, Dr. Burton's interests set this continuum within a more complex “ecological" conception of artistic-aesthetic development within which mediators such as teachers, school environments, cultural spaces, peers and parents move in and out of the developmental continuum intervening as shapers of individual interests, skills and narrative journeys. Currently Dr. Burton is exploring new ways of thinking about digital materials and their role in artistic-aesthetic development and the impact this has not only on children and adolescents but also on the education of artists and art educators in higher education.



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Mary Hafeli
Professor Hafeli’s research examines the ideas, ways of thinking, decisions, and judgments that characterize the practices of visual and performing artists, both adults and children, as they produce creative work. Her research also investigates the teaching environments in which students' art works are created. Current projects include a study of youth and adult perspectives on “good” teaching, studio and literary forms and practices as methodologies for qualitative research, and an exploration of the qualities and communicative potential of art materials and processes, with implications for teaching. She received the NAEA’s Mary Rouse Award, Manuel Barkan Award, and Marilyn Zurmuehlen Award, all for scholarly contributions to the field. Professor Hafeli currently serves as chair-elect of the NAEA Research Commission and as a member of the Council for Policy Studies in Art Education and the editorial board of Studies in Art Education. An active artist, her studio work has been shown in galleries and museums across the country.

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Olga Hubard
Professor Hubard is interested in the humanizing power of art and in how educators can help promote meaningful art experiences for all learners. Most of her scholarship to this point has focused on museum settings. Through studies and conceptual essays, she has addressed questions including: How are different ways of knowing (rational thought, emotions, perception, kinesthetic responses) relevant in people’s relationship with works of art? What forms can dialogues about artworks take in museum education? How might museum educators help negotiate contemporary viewers’ personal responses with the contexts that framed the creation of works of art? In what ways are art experiences educational?

Her commitment to nurturing meaningful art experiences for all learners has also led her to conduct research on the role of studio learning in non-art graduate education. She is particularly interested in sustained, “free-standing” studio courses (vis-à-vis activities where art is integrated into other subjects), and in students’ perspectives on how such courses contribute to their overall graduate education.

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Richard Jochum
Dr. Jochum’s art practice is accompanied by research into the role of art schools, new media art and media art education, and art as a social practice. His scholarly practice is reflected in his writings as well as through his projects. The community building aspect of art as well as the interaction between audiences and the arts is pivotal in his work and has been exemplified through several of his recent art exhibitions. Doing and Undergoing, a college-wide art exhibition of site-specific works, for example, made the entire architectural structure of a graduate school become the site of interactive learning experiences for its community. The intersection of art making and art teaching is another core element of his scholarly and artistic practice. Cognizant of the dual identity of teaching artists, his research aligns artistic practice and pedagogy in order to rethink art as a form of education. His research focus on teaching and learning studio art in higher education has led to the Remixing Art Education symposium in 2014, which will continue in 2015. Cognizant of changes in the learning environment, including the hybridization of media and digital technologies, Dr. Jochum integrates a broad variety of media into his practice. He is currently devising a curriculum concentration in Creative Technologies that explores how new media can be best integrated in the meaningful teaching, learning, and making of art.

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Lisa Jo Sagolla
Lisa Jo Sagolla’s research interests revolve around the making, history, and teaching of integrated arts genres, such as the Broadway musical, physical theatre, and various forms of American popular culture and entertainment. She has written three books: The Girl Who Fell Down: A Biography of Joan McCracken (Northeastern University Press, 2003); Rock ‘n’ Roll Dances of the 1950s  (Greenwood Press/ABC-CLIO, 2011); and a forthcoming book on Zena Rommett’s floor-barre technique. Sagolla has also written book chapters, scholarly journal articles, and encyclopedia entries on topics ranging from Busby Berkeley to Twyla Tharp, tap dance, the Rockettes, and the influence of modern dance on American musical theatre choreography. Her writings appear in American National Biography, The International Dictionary of Modern Dance, The St. James Encyclopedia of Popular Culture, The Back Stage Actor’s Handbook, Frank Sinatra: The Man, The Music, and the Legend, Italian-American Politics: Local, Global/Cultural, Personal and The Italian American Experience: An Encyclopedia. The author of multi-disciplinary CultureMaps for the website mediander.com, Sagolla has written more than 600 arts reviews for trade and popular periodicals including Back Stage, The Kansas City Star, Dance Teacher, Pointe, The Resident, and New York Dance Fax. She is currently researching a book on the comprehensive history of dance in the Broadway musical.

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