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Graeme Sullivan

Professional Background

Educational Background

Dip. Art Ed. (Hons); M.A., Ohio State University; Ph.D. Ohio State University

Scholarly Interests

Visualization, cognition and artistic practice and research methods for arts disciplines.

Selected Publications

Books

Sullivan, G. (2005). Art Practice as Research: Inquiry in Visual Arts. Thousand Oaks, CA: Sage

Sullivan, G. (1994). Seeing Australia: Views of Artists and Artwriters. Annandale: Piper Press. (Second reprint 1996)

Sample Book Chapters
Sullivan, G. (2007). Creativity as Research Practice in the Visual Arts. In L. Bresler (Ed.) International Handbook of Research on Arts Education, Part 2, (pp.1181-1194). Dordrecht, The Netherlands: Springer.

Sullivan, G. (2007). Painting as research: Create and critique. In J. G. Knowles & A. L. Cole (Eds.), Handbook of The Arts in Qualitative Research: Perspectives, Methodologies, Examples, and Issues. (pp. 239 – 250). Sage Publications.

Sullivan, G. (2007). Continuing conversations outside the circle. In Irwin, R. & Springgay, S. (Eds.) Being with A/r/tography (pp. 233-244) Rotterdam: Sense Publications.

Sullivan, G. (2007). Sullivan, G. Vertical Horizons: Seeing Beyond Borders through Art and Research. In Park, Jeong Ae (Ed.), Art Education as Critical Cultural Inquiry, (pp. 58-74). Seoul, Korea: Mijinsa

Sullivan, G. (2006). Artful Practice: A Reflexive Analysis. In J. A. Schaler (Ed.) Howard Gardner Under Fire: A Rebel Psychologist Faces His Critics (pp. 198-222). Chicago, IL: Open Court Publishing Company.

Sullivan, G. (2004). Studio art as research practice. In E. W. Eisner & M. D. Day (Eds.), Handbook of research and policy in art education (pp. 795-814). Mahwah, NJ: Lawrence Erlbaum Associates.

Sullivan, G. (2002). Ideas and teaching: Making meaning from contemporary art. In Y. Gaudelius and P. Speirs (pp.23-38). Contemporary issues in art education for elementary educators. Prentice-Hall

Recent Refereed Publications

Baxter, K., López, H. O., Serig, D., and Sullivan G. (2008) The Necessity of Studio Art as a Site and Source for Dissertation Research. International Journal of Art & Design Education. (UK). 2008, 27,1.

Sullivan, G. (2006). Research acts in art practice. Studies in Art Education, 48(1), 19-35.

Sullivan, G. (2006). Artefacts as evidence within changing contexts. Working Papers in Art & Design, 4.

Sullivan, G. (2006). Cognitive practice within studio art contexts (trans. Borim Song). Journal of Research in Art & Education, Korean Society for Education and Art, 7(1), 59-78.
http://www.herts.ac.uk/artdes1/research/papers/wpades/vol4/gsabs.html

Sullivan, G. (2005) Critical thinking and cognitive frameworks in art education (trans Yong Suk Jang). Journal of Research in Art & Education, Korean Society for Education and Art, 6(1), 69-84)

Sullivan, G. (2002) Artistic thinking as transcognitive practice: A reconciliation of the process-product dichotomy. Visual Arts Research, 22(1), 2-17


 

 

biographical information

Professor of Art Education, Department of Arts and Humanities, Teachers College, Columbia University. Graeme joined the faculty in January, 1999. He is the former Chair of the Department of Arts & Humanities, and a Professor of Art Education in the Art and Art Education Program. He received his PhD from The Ohio State University, Columbus Ohio in 1984. His research involves an ongoing investigation of transcognitive practices in the visual arts and research methodologies in the arts. These areas are covered in his recent publication, Art Practice as Research: Inquiry in the Visual Arts (Sage, 2005) and a revised editon is due out late in 2009. Graeme is also the author of Seeing Australia: Views of Artists and Artwriters and numerous published articles on art education. Graeme received the 1990 Manual Barkan Memorial Award from the National Art Education Association (NAEA) for his scholarly writing and the 2007 Lowenfeld Award for servies to the profession. He was the recipient of the 1999 Ken Marantz Distinguished Alumni Award from The Ohio State University.

studio

www.streetworksart.com


Maintaining an active studio practice is central to who I am and what I do. The nature of the work I make appeals to my sense of alternative practice that operates as an underground experience and continues to allow for the element of surprise and puzzlement. Yet this work is as much informed by the situations and circumstances found in the academy as it is by the particular locations and opportunities offered by everyday life.

At Teachers College, with the particular histories carried in the studio walls and lecture halls where the image of the artist-teacher held sway in the 50s and 60s there is a new opportunity to reconfigure this model. At a time when contemporary art is taking on new hybrid forms that blur lines across theories, methods, media and technologies there is the opportunity to confirm art practice as an important creative, pedagogical and cultural pursuit.

Since the early 1990s I have been making Streetworks that are conceived, constructed and confined to specific sites. These works are made from materials found in the street and begins as a reaction to things and places, proceeds as a partial re-construction and eventual re-siting, and continues to unfold in unknown ways as other processes take over.

The task of retrieval and renewal of found objects has a long tradition and returning works made from these materials to the street maintains a process of change that is pleasantly obscure. As artworks they become nice friends to live with. Despite their change, however, their existence on white walls slowly drains them of their streetwise energy. Therefore, to place these works back on the streets, to attach them to walls, beneath bridges, along alleyways, in parks, or on rocks allows them to be stumbled on by others. For me this reflects part of the educational role of art because even if the life of the artwork is short, or the encounter brief, one never really knows what impact is made. That's why I teach. That's why I make art.

EXHIBITION RECORD

2007   

Installation Projection: Venice Submerged. Site works, Venice, Italy, July 2007.

2006   

Art is You, Art is Me: Performance art event in collaboration with Yikwon (Peter) Kim and other
artists from Philadelphia and New York. Streets of New York, Sunday May 28, 2006;


Installation: Brooklyn Streetworks, Site works, Brooklyn, New York, January 2006

2005   

Solo Exhibition: Streetworks: New York and Venice. A-Space on Cleveland Gallery, Sydney, Australia,
 August 12 – 28.


Two-Person Show: Street-Paper-Works. Pearl Street Gallery, New York, May 20 – 29.
Installation: Beijing Streetworks, Site works, Beijing, China, June 2005.

2004

Solo Exhibition: 601 Bisang Gallery, Seoul,Korea, October November.

Bahamas Streetworks, Installation of site works, Exuma, Bahamas, May-June 2003.

 

2003

Venice Streetworks, Installation of site works, Venice, Italy, June 2003.

 

Group Shows

Drawing Conclusions: Work by Artist-Critics.

Art Against War. MacyGallery, Teachers College, ColumbiaUniversity and New York Arts Gallery, 450 Broadway, New York. June 9 - 27, 2003

2002

Installation: Streetworks, New York. Site works, New York (2002)

Solo Exhibition:New York, Tokyo Sydney Streetworks.MacyGallery, TeachersCollegeColumbiaUniversity (April 22 - May 3).

Group Shows

Unforgettable: An Exhibition of Responses to September 11 Studio Gallery Chelsea, Chelsea Studio Gallery, New York, Sept 5 - 28, 2002.

Ground Zero. The Museum of New Art in Detroit, July 13th Aug 24th; Freyberger Gallery, PennState, Berks, Lehigh Valley, Pennsylvania, Dec 3-5.

2001

Tokyo Streetworks. Installation of Tokyo site works, August 2001.

Group Shows

From the Ashes. Art at C.U.A.N.D.O. 9 Second Ave, New York. Oct 13 - Nov 4

International Works on Paper Printmaking and Drawing. Soho20 Gallery, New York, 2001

1999

Sydney Streetworks, Installation of Sydney site works. July 1999

Group Shows

Faculty Exhibition, MacyGallery, Teachers College, ColumbiaUniversity, Sept 1 - Oct 1, 1999

Prior to 1999

Boston Streetworks, Boston site works, Massachusetts

Some Group Shows

I have participated in numerous group shows since the 1970s.

 


 

principal publications

Books Authored

Sullivan, G. (2005). Art Practice as Research: Inquiry in Visual Arts. Thousand Oaks, CA: Sage

Sullivan, G. (1994). Seeing Australia: Views of Artists and Artwriters. Annandale: Piper Press. (Second reprint 1996)

Book Chapters

Sullivan, G. (2007). Creativity as Research Practice in the Visual Arts. In L. Bresler (Ed.) International Handbook of Research on Arts Education, Part 2, (pp.1181-1194). Dordrecht, The Netherlands: Springer.

Sullivan, G. (2007). Painting as research: Create and critique. In J. G. Knowles & A. L. Cole (Eds.), Handbook of The Arts in Qualitative Research: Perspectives, Methodologies, Examples, and Issues. (pp. 239 – 250). Sage Publications.

Sullivan, G. (2007). Continuing conversations outside the circle. In Irwin, R. & Springgay, S. (Eds.) Being with A/r/tography (pp. 233-244) Rotterdam: Sense Publications.

Sullivan, G. (2007). L’œuvre d’art comme source de connaissances en sciences socials (The Work of Art as a Source of Understanding Social Science). In Hillaire, N. (Ed.),  L’artist et l’entrepreneur: Arts enterprises, technologies: Quels modeles de development cultural pour l’Europe? (pp.129-148). Torsten Lilja Foundation, MAMAC and University of Nice-Sophia Antipolis.

Sullivan, G. (2007). Sullivan, G. Vertical Horizons: Seeing Beyond Borders through Art and Research. In Park, Jeong Ae (Ed.), Art Education as Critical Cultural Inquiry, (pp. 58-74). Seoul, Korea: Mijinsa

Sullivan, G. (2006). Artful Practice: A Reflexive Analysis. In J. A. Schaler (Ed.) Howard Gardner Under Fire: A Rebel Psychologist Faces His Critics (pp. 198-222). Chicago, IL: Open Court Publishing Company.

Sullivan, G. (2004). Studio art as research practice. In E. W. Eisner & M. D. Day (Eds.), Handbook of research and policy in art education (pp. 795-814). Mahwah, NJ: Lawrence Erlbaum Associates.

Sullivan, G. (2002). Ideas and teaching: Making meaning from contemporary art. In Y. Gaudelius and P. Speirs (pp.23-38). Contemporary issues in art education for elementary educators. Prentice-Hall

Refereed Publications

Baxter, K., López, H. O., Serig, D., and Sullivan G. (2008) The Necessity of Studio Art as a Site and Source for Dissertation Research. International Journal of Art & Design Education. (UK). 2008, 27,1.

Sullivan, G. (2006). Research acts in art practice. Studies in Art Education, 48(1), 19-35.

Sullivan, G. (2006). Artefacts as evidence within changing contexts. Working Papers in Art & Design, 4.http://www.herts.ac.uk/artdes1/research/papers/wpades/vol4/gsabs.html

Sullivan, G. (2006). Cognitive practice within studio art contexts (trans. Borim Song). Journal of Research in Art & Education, Korean Society for Education and Art, 7(1), 59-78.

Sullivan, G. (2005) Critical thinking and cognitive frameworks in art education (trans Yong Suk Jang). Journal of Research in Art & Education, Korean Society for Education and Art, 6(1), 69-84)

Sullivan, G. (2002) Artistic thinking as transcognitive practice: A reconciliation of the process-product dichotomy. Visual Arts Research, 22(1), 2-17

Sullivan, G. (1999). 25 years on: Response to Wilson. Australian Art Education 22(1), 8-10

Sullivan, G. (1999). An identity crisis for art education? Artlink, 19(2), 43-44.

Sullivan, G. (1996). Critical interpretive inquiry: A qualitative study of five contemporary artists' ways of seeing. Studies in Art Education, 37 (4), 210 - 225.

Sullivan, G. (1996). Beyond the Quantitative and Qualitative Divide: Research in Art Education as Border Skirmish. Australian Art Education, 19 (3), 13 - 22.

Sullivan, G. (1993). Art-based art education: Learning that is meaningful, authentic, critical and pluralist. Studies in Art Education, 35(1), 5-21.

Sullivan, G. (1993) Human development, education (and economics): How life imitates art. Australian Art Education, 17(1), 16-36.

Sullivan, G. (1989). Curriculum in art education: The uncertainty principle. Studies in Art Education, 30(4), 225-236.

Sullivan, G. (1988). Theory testing by numbers. Australian Art Education. 12(1), 36-47.

Sullivan, G. (1987). Theory analysis: Towards curriculum consistency. Journal of the Institute of Art Education, 11(1), 1-14.

Sullivan, G. (1986). A covariance structure model of symbolic functioning: A study of children's cognitive style, drawing, clay modelling and storytelling. Visual Arts Research, 12(1), 11-32.

Sullivan, G. (1983). A Rubik (sic) for art education. Art Education, 36(5), 26-27.


Editorials in Refereed Journals

Sullivan, G. (2003). Seeing Visual Culture. Studies in Art Education, 44(3).

Sullivan, G. (2003). The Curiosity of Unchained Memories. Studies in Art Education, 44(2)

Sullivan, G. (2002) A Studies in Art Education Task. Studies in Art Education, 44(1)

Sullivan, G. (2002). Duchamp, Dewey and a Fountain of Knowledge. Studies in Art Education, 43(4)

Sullivan, G. (2002). "a chair raised to the level of a question" Studies in Art Education, 43(3)

Sullivan, G. (2002).  What is the Big Picture? Studies in Art Education, 43(2)

Sullivan, G. (2001). Re-Viewing: On Learning from Others. Studies in Art Education, 43(1)

Sullivan, G. (1996). Memo to Research Students in Art Education. Australian Art Education, 19 (3),4 - 5.

Sullivan, G. (1990). Conceptual Droppings in the Field. Australian Art Education, 14(3).

Sullivan, G. & Bracey, T. (1990). Paradigms, polemics and practice. Australian Art Education, 14(2).

Sullivan, G. (1990). The arts: Umbrellas and androgyny. Australian Art Education, 14(1).

Sullivan, G. (1989). Australian Art Education: On Sceptics and Scholars. Guest Editorial, Studies in Art Education, 30(4). (USA)

Sullivan, G. (1989). Research in Art Education: Rigor Without Mortis. Australian Art Education, 13(3).

Sullivan, G. (1989). Design Education: Time to Circle the Bandwagons? Australian Art Education, 13(2).

Sullivan, G. (1989). Art and Writing: Love and Death by Verb. Australian Art Education, 13(1).

Sullivan, G. & Weate, A. (1988). Art History: Making it real. Australian Art Education, 12(3).

Sullivan, G. (1988). Art and Politics: A New Generation? Australian Art Education, 12(2).

Sullivan, G. (1988). Dialogue in Art Education: Alliance or Dalliance? Australian Art Education, 12(1).

 
Non-Refereed Publications

Sullivan, G. (1999). An identity crisis for art education? Artlink, 19(2), 43-44.

Sullivan, G. (1998) Critical Influence: A Visual Arts Research Project with Jayne Dyer and Nikki McCarthy Exhibition Catalogue, Ivan Dougherty Gallery, University of New South Wales

Sullivan, G. (1990). Artistic intelligence: Putting your head, heart and hands in the picture. Papers: Occasional Seminars in Art Education. College of Fine Arts, University of NSW.

Sullivan, G. (1989). Crisis in art and design: Danger or opportunity. Papers: Occasional Seminars in Art Education. College of Fine Arts, University of N.S.W.

Sullivan, G. & Gibson, L. (1988). Primarily design. Art in Education. 12(1), 14-17.

Sullivan, G. (1986). Artistic intelligence: Children's imaginative use of symbols. Art in Education, 11, April, 15-21.

Sullivan, G. (1984). A perspective on N.A.E.A. R. Salome (Ed.) Viewpoints: Dialogue in Art Education. Winter. Center for the Visual Arts, Illinios State University. (USA)

Sullivan, G. (1983). A formal approach to curriculum theory analysis. M. Zurmuehlen (Ed.). Working papers in art education. The University of Iowa. (USA)


Reviews

Sullivan, G. Essay review of Mind in art: Cognitive foundations in art education by Charles Dorn. Journal of Curriculum Studies.

Sullivan, G. (1996). Allison Research Index of the Arts and Design (ARIAD) Australia. Australian Art Education, 19 (3), 60 - 61.

Sullivan, G. (1994). The landscape of educational reform: View from the arts. Review of The Unschooled Mind: How Children Think and Schools Should Teach, by Howard Gardner (1992). Australian Art Education, 12(3), 35-39.

Sullivan, G. (1994). Gone West? Review of Gone West: Essays and Criticism 1981-1992 (1993), by David Bromfield. Australian Art Education, 15(3), 43-45.

Sullivan, G. (1992). Still Shocking. Review of The Shock of the New (1991, updated and enlarged edition), by Robert Hughes. Australian Art Education, 12(2), 33-34.

 

Multi-Media Resources

Sullivan, G. (1998) Critical Influence: A Visual Arts Research Project. College of Fine Arts, University of New South Wales. A CD-ROM produced to accompany the exhibition Critical Influence, Ivan Dougherty Gallery, February - March, 1998.

Sullivan, G. (1997) Visual Arts Research: Perspectives and Practices. College of Fine Arts, University of New South Wales. A 8.5 minute computer animated video.

A&HA 4081: Curriculum design in art education

Dr. Schifano. Corequisite A&HA 4202. Introduction to curriculum theory and design in the larger context of education and schooling. The course also explores alternative conceptual models as reflected in different art curricula, and engages students in review of curricular issues related to learning outcomes, standards and assessment in art education. Special fee: $30.

A&HA 4085: Historical foundations of art education

Dr. Kantawala. Corequisite A&HA 4202. An introduction to major historical events and underlying beliefs, values, and practices that have influenced contemporary art and art education programs at all levels of instruction in the U.S. as well as internationally. Special fee: $30.

A&HA 4086: Current issues and practices in art and art education

Faculty. An analysis of current philosophies, theories, and practices in art and art education at all levels of instruction. Programs in public schools, higher education, museum education, and other non-traditional settings are examined, along with advocacy initiatives and policy issues appropriate to the various issues discussed. Special fee: $30.

A&HA 4202: Fieldwork in art education

Faculty.Permission of instructor required. Professional activities in the field under faculty supervision.

A&HA 4902: Research and independent study in art education

Faculty. Permission of instructor required. Research and independent study under the direction of a faculty member.

A&H 5001: Research methods in arts education

Faculty. An examination of research studies and strategies for conducting research in the arts. Special fee: $25.

A&HA 5005: Visual arts research methods

Dr. Kantawala. This course explores art education as a form of inquiry that is grounded in the theories, practices, and contexts used by practitioners. It introduces students to ways of creating and critiquing knowledge and developing strategies for planning and carrying out art education research projects. Building on traditions in the social sciences, and practices inherent in the visual arts, the view explored is that research goals can be achieved by following rigorous systematic inquiry in a way that privileges the role imagination and intellect play in constructing and creating knowledge.

A&HA 5202: Fieldwork in art education

Faculty. Permission of instructor required. Professional activities in the field under the supervision of a member of the arts faculty.

A&HA 5902: Research and independent study in art education

Faculty. Permission of instructor required. Research and independent study under the direction of a faculty member.

A&HA 6502: Doctoral seminar: Arts in education

Professors Burton and Baldacchino. Required seminar for doctoral students who are completing certification papers, developing literature reviews or exploring and applying research methods. The seminar includes faculty/student presentations, group discussions and critiques.

A&HA 6972: Research and independent study in art education

Faculty. Permission of instructor required. Research and independent study under the direction of a faculty member.

A&HA 8900: Dissertation advisement in art education

Faculty. Individual advisement on doctoral dissertations. Fee to equal 3 points at current tuition rate for each term. For requirements, see section in Catalog on Continuous Registration for Ed.D. degree.