Resume

• 2016

  Texas State University

  Parsons the New School for Design

  New York University

  San Marcos

  Texas

  Assistant Professor

  Texas State University

• 2009

  CSI CUNY

  New York

  NY

  In addition to teaching and advising students and faculty on the use of computational technologies in art education

  I coordinated the Myers Media Art Studio

  a digital fabrication studio that focused on hybrid technologies such as 3D designing and printing

  creative programming

  animation

  and photography

  among others. My research looks at how teachers and schools learn to use (and learn to teach with) digital fabrication technologies. As an artist and art educator I want to see computers and computational tools as materials for play and art

  much like finger paint or clay. I'm interested in the social and educational implications of new and emerging computational materials.

  Instructor

  Columbia University Teachers College

  New York City

  I have taught writing and photography.

  Adjunct Professor

  Parsons the New School for Design

  Steinhardt School

  Taught digital art and photography

  introduction to fine art printing.

  Adjunct Instructor

  New York University

  College of Staten Island

  I taught basic black and white photography and digital color photography courses. The focus of my teaching is more or less always the same — to encourage students to see photography as a way of thinking about and being in the world. I am interested in heightening individual and community agency. So

  no matter what specific technology is in use at a given moment

  the focus is on questions about the use and value of picture-making.

  Adjunct Assistant Professor

  CSI CUNY

  MA

  Photography

  International Center of Photography

  Doctor of Education (Ed.D.)

  My work focuses on teacher education and research: How do we learn to teach in the digital age? How do computational technologies change teaching and learning?

  Computational Technologies + Art

  Teachers College of Columbia University

• 2001

  International Center of Photography

  New York

  NY

  For 12 years I taught photography and fine art digital printing. My focus in the classroom has been on seeing photography as a way of thinking about the world

  a way of being in the world. This philosophical approach brings a conversation to the learning that encourages students to look beyond the specific technologies we happen to be using at any given moment. Instead

  I want us to ask ourselves what we want and expect from photography as an activity in itself.

  Instructor of Photography & Digital Technology

  International Center of Photography

• 1984

  Spanish (basic conversational)

  Studio Art -- MA/MFA

  Photography & Related Media

  New York University

• Myers Media Art Studio

  emerging media art and art education

  Curriculum Development

  Contemporary Art

  Fine Art

  Non-profits

  Higher Education

  Multimedia

  Public Speaking

  Adult Education

  Lecturing

  History

  Imaging

  Research

  Curriculum Design

  Digital Photography

  Photography

  Grant Writing

  Teaching

  Art

  Curating

  Editing

  Educators

  Gender Equity and Making: Opportunities and Obstacles

  This paper reports on the experiences of two university-affiliated organizers of professional development (PD) workshops for both K12 and postsecondary teachers. Of particular interest is a question about how gender dynamics inform the design of PD opportunities that address the maker movement in education.

  Educators

  Gender Equity and Making: Opportunities and Obstacles

  Learning to Teach in the Digital Age tells the story of a group of K–12 teachers as they began to connect with digital making and learning pedagogies. Guiding questions at the heart of this qualitative case study asked how teaching practices engaged with and responded to the maker movement and digital making and learning tools and materials.

  Learning to Teach in the Digital Age: New Materialities & Maker Paradigms in Schools

  Tree Williams

  This is a report on a collaborative

  trans-media

  drawing project. Two artists

  Tree Williams and Sean Justice

  explored digitally mediated drawing and the assumptions at the core of conventional practice

  namely

  the primacy of touch. In traditional drawing

  the body touches pencil which touches paper. Whether the stylus is chalk or charcoal

  or the substrate canvas or chipboard

  touch is essential. Even if the human body is removed—for example

  if a servo-driven prosthesis maneuvers a pencil—marks are made from the touch of graphite on a surface. How does digital drawing change this notion of touch? If there is no stylus and no surface

  what remains of touch

  not to mention

  the body? Is it correct to claim

  as some do

  that the body necessarily disappears? Or disintegrates? Counter to that proposition

  here the artists begin from the idea that transforming touch with digital materials might in fact re-integrate the body. Contrary to traditional media’s hyper-individuated touch

  which can fragment and thus reify the alienation of subjective agency

  here the question becomes whether digitally mediated touch reemphasizes gesture

  thereby repositioning embodiment closer to the core of collaborative and shared agency.

  Motion

  light

  and space: Gesture in the digital age

  Through the exploration of digital 3D design and printing with preschool aged children

  this paper investigates uses of this emerging technology as a medium and material for thinking. In the observation of the ways in which preschool children interact with digital 3D design and printing

  the researchers question the role of materials and techniques in learning and artistic development.

  Thinking in the making: 3d designing and printing with young children and the creation of thresholds for learning.

  This paper investigates young children’s use of 3D designing and printing. It focuses on the learning of two children out of the ten who participated in the study. We apply art education strategies centered on materially focused studio-making to explore technologies as materials for thinking. We question whether these technologies can be seen as an extension of traditional art learning and artistic development

  or whether they represent a departure from those traditions.\n\nThis exploratory pilot study begins from the assumption that children are capable of engaging with complex concepts through digital materials and media

  including 3D design and printing. We claim that these activities can be seen as thresholds for learning that children can take ownership of

  rather than as stage-appropriate ceilings that might inhibit expectations.\n

  Material learning: Digital 3D with Young Children

  This study looked at teacher responses to the maker movement in a K-12 school. Guiding\nquestions asked how teaching practices engaged with digital making and learning tools and\nmaterials; and whether teaching was changing as a result. This was as a qualitative

  single-case\nstudy with multiple units of analysis. The study site was an independent K-12 girls school in a\nmajor metropolitan area of the Northeastern United States. Twenty-two teachers and\nadministrators participated

  selected for maximum variation across academic domain

  age and\nlength of service. Interviews and observations followed a sociomaterial disposition that was\ninterwoven with new materialism and posthumanism. Methods were inspired by narrative\ninquiry and actor-network theory. Findings suggested that digital making and learning\npedagogies were stabilizing at the school

  but not in a linear way; and that the teaching\npractices that most robustly engaged the ethos of 21st century learning enacted a kind of\nknowing sometimes discussed by artists

  poets

  musicians and other innovators. This\nobservation leads to the proposition that a different kind of language might be needed to\nadequately describe the effects of digital making and learning on teaching practice.

  Learning to Teach in the Digital Age: Enacted Encounters with Materiality

  An excerpt from a curated show of photographs at the Lishui Museum of Photography

  Lishui

  China. Read it: http://culturehall.com/feature_issues.html?no=80

  Pictures are Words-not-Known

  Sean Justice’s large photographic composites of landscapes and seascapes depict ordinary subjects from daily life: basketball in a city park

  bicycle riding

  taking a portrait of a loved one and sailboats on the harbor

  among other topics. At first glance

  the pictures look like traditional photographs

  but with sustained viewing

  it becomes apparent that the individual layers of each montage are slightly misaligned. The effect is subtle and surprising – especially when the viewer realizes that the seemingly static scene is actually composed of individual frames that record movement. This is due to the way Justice photographs the scene; he chooses a vantage point from which to shoot and then takes the picture again and again

  while breathing. The result

  because of the almost imperceptible change in the position of his body as he inhales and exhales

  is that each picture is slightly skewed when compared to the others.

  Material Inquiry

  Material Inquiry is a learning methodology that explores the way tools and materials spark learner-centered inquiry. We research and teach workshops on STEM/STEAM

  maker education

  and arts integration. We're particularly engaged by questions about how play-based and inquiry-based learning invites connected

  deep innovation.

  Breathing Pictures

  Breathing Pictures \nMontage photographs: pigment ink on archival rag paper.\nAnimations: single frame animations on continuous loop\n\nThe root of the project is the desire to make pictures that connect me to right now. I am interested in the experience of perception; I want to draw out the brief moment of wakefulness that occurs when I notice and am truly present in the world.

  Art that Iterates at Macy Art Gallery

  Columbia University

  Art that Iterates explores change as a condition of the artist’s way of knowing

  making

  and doing. Everywhere

  it seems

  change is the only cultural constant. For artists

  material playfulness bounces across the threshold that separates technology from craft

  pictures from sculptures

  and toys from jokes from poetry. Art that Iterates celebrates this remix condition with works that smear the boundaries between art/ non-art

  mediate/ immediate

  and viewer/ participant. Curated by Sean Justice.

  Jordan Seiler

  Sherry Mayo

  Beatriz Albuquerque

  Felisia Tandiono

  Sina Haghani

  Géraldine de Haugoubart

  Sean

  Justice

  Ed.D.

  Columbia University Teachers College