Simon Betts, Interdisciplinary drawing, University of the Arts London
Angela Brew, Drawing and cognition, University of the Arts London
Judith Burton, Art education, Teachers College
Rebecca Chamberlain, Psychology,University College London
Ruben Coen-Cagli, Neuroscience, Albert Einstein College of Medicine
Eduardo Corte-Real, Architecture, Institute of Visual Arts, Design & Marketing, Lisbon
Stephen Farthing, Drawing, University of the Arts, London
Michelle Fava, Drawing and cognition, Loughborough University
Frederic Fol Leymarie, Computer science, Goldsmiths, University of London
Doug Fitch, Artist
Tara Geer , Drawing, Columbia University
Andrea Kantrowitz, Drawing and cognition, Teachers College
David Kirsh, Cognitive science, University of California San Diego
Aaron Kozbelt, Cognitive psychology, Brooklyn College
Ian Mc Innes, Textile design, Heriot Watt University, Edinburgh
Chris Moffett, Philosophy of education, Teachers College
Michael Moore, Drawing, Pennsylvania Academy of the Fine Arts
Justin Ostrovsky, Cognitive Psychology, Brooklyn College of the City Univerisity of New York
Howard Riley, Drawing, Swansea Metropolitan University
Neil Shah, Surgeon, University College London
Seymour Simmons, Art education, Teachers College and Winthrop University
Angela Hodgson-Teall, Medicine and drawing, University of the Arts London
Patrick Tresset, Computer science and drawing, Goldsmiths, University of London
Barbara Tversky, Cognitive psychology, Teachers College and Stanford University
Jenny Wright, Artist/teacher, University of the Arts London
Simon Betts is currently Dean of College Wimbledon College of Art. He studied painting at Sheffield Polytechinic and later completed his MA in painting at Chelsea College of Art & Design. He worked in further education for a number of years as course director foundation at Kensington & Chelsea College London, before becoming course leader foundation at Wimbledon in 2003. His drawing research interest is centered on drawing pedagogy and developing courses that promote new approaches to teaching and learning for drawing across disciplines. He co-authored with Professor Stephen Farthing and Kelly Chorpening the Drawing qualifications for the University of the Arts London. He recently led a team to develop the newly validated cross disciplinary MA Drawing course which, based at Wimbledon College of Art, begins this academic year. He has been an external examiner at a number of Colleges in the UK, and in 2005 was a foundation course consultant at the Shanghai Institute of Visual Art, Fu Dan University, China. He has recently been offered an International Visiting Fellowship by RMIT Melbourne, Australia, to work with their Pharmacutetical and Chemistry Faculty to develop on-line drawing modules to support learning in the sciences. As a painter he has exhibited widely in the UK and Europe. Group shows include: perpetuum mobile The Gallery at APT London,(2008), The John Moores Liverpool 19 (1995), Kunstbrucke 2, galerie Parterre, Berlin Germany. Solo shows included Radical surface, De Ploeghis Gallery Gronningen, The Netherlands. Betts also selected and Curated OUTBOUND 1 & 2, two residencies and exhibitions of 6 students from 5 London art colleges at Richter Werkatelier, Den Helder, The Netherlands in 2008. The working title for Simon’s presentation is: The Purpose of Drawing; New approaches for teaching across disciplines.
Angela Brew is a research student and a member of The Centre for Drawing UAL, 123 Draw, and the Drawing Research Network. After studying sculpture and drawing at Edinburgh Art College she created and ran Skylark Galleries http://www.skylarkgalleries.com/ and worked as an artist and drawing teacher. In 2006 she completed her Drawing Masters at Camberwell, and began her doctorate research on the impact of drawing practice on perception. Her research interest is in cognitive, perceptual and motor processes involved in drawing and learning to draw. She is studying the development and changes of rhythm in eye and hand movements, and the role of the pause in drawing. Her research method combines scientific study of changes in eye-hand interactions with practical experimentation in the drawing studio and classes, attempting to develop new drawing instructions, based on recent findings from cognitive science. Her Ph.D. thesis presents a quantitative longitudinal study of students’ behaviour as they learn to draw.
Judith Burton is Professor and Director of Art & Art Education at Teachers College, Columbia University. Previously, she was Chair of Art Education of Boston University and taught at the Massachusetts College of Art. Dr. Burton received her Ed.D. from Harvard University in 1980. Her research focuses on the artistic-aesthetic development of children and adolescents, and the implications this has for teaching and learning. In 1995 she co-founded the Center for Research in Art Education at Teachers College, and in 1996 she founded the Heritage School – a comprehensive high school featuring the arts – located in Harlem, NYC. She is the author of numerous articles and chapters of books, and currently has two books in process of publication: A Guide for Teaching and Learning in the Visual Arts, and Creative and Mental Growth, 3rd Edition Revisited. She received the Manuel Barkan Award for excellence in research writing, and the Lowenfeld Award for lifetime achievement in art education from the National Art Education Association. Dr. Burton is a Fellow of the Royal Society for the Arts in Great Britain, a Distinguished Fellow of the NAEA, and serves as Distinguished Visiting Professor at the Central Academy of Fine Arts Beijing, China.
Rebecca Chamberlain is a PhD student in the Clinical, Educational and Health Psychology department at University College London working under the supervision of Professor Chris McManus. Her educational background lies within art, psychology, neuroscience and philosophy and as such she takes an interdisciplinary approach to her research. The broad aim of her PhD research is to explore the psychological foundations of drawing ability with a particular emphasis on the role of visual perception and visual memory. She is currently working in conjunction with Swansea Metropolitan University and the Royal College of Art studying the visual processes of foundation year and post-graduate art and design students. She is also interested in the neuroscientific basis of artistic skills and intends to pursue this using structural and functional studies of artistic processing in expert and novice artists.
Born in 1979, Napoli, Italy, Ruben Coen-Cagli holds a PhD in Physics and is currently a Research Associate in the Laboratory of Computational Neuroscience at Albert Einstein College of Medicine in NYC. His current research aims to link the statistical properties of the sensory environment (natural images), the response properties of (visual) cortical neurons, and perception. His approach relies mainly on probabilistic (Bayesian) computational modeling, and, to a smaller extent, neurophysiology. After graduating in Quantum Physics in 2004, he completed the PhD in Physics in 2007 at Universit?y of Napoli, Federico II. Based on the idea that creative processes are linked to specific sensorimotor skills, his doctoral research exploited eye tracking experiments and Bayesian modeling to understand visuomotor coordination in the activity of drawing, and to develop an artificial agent with such capabilities. From 2004 to 2007 he has been a visiting scholar at the Academy of Fine Arts of Napoli. As a visual artist, his interdisciplinary projects have been presented at PixelACHE (Kiasma Museum, Helsinki), Institute Jean Nicod (Paris), CMCA 2006 (Goldsmiths College, London), DMS’2006 (Grand Canyon, USA), Generative Art Conference (Milano), and in several solo and collectives in Napoli. The working title for Ruben’s presentation is ‘Visuomotor atoms of copy-drawing’.
Eduardo Côrte-Real (b. 1961 in Mafra, Portugal), graduated in Architecture in 1984, started to teach Drawing in the Design Course that same year at Faculdade de Arquitectura da Universidade Técnica de Lisboa. Concluded his PhD in 1999 in Visual Communication after periods of studies in Italy and England. In 2001 publishes the book O Triunfo da Virtude, As Origens do Desenho Arquitectónico [The Triumph of Virtue, The Origins of Architectural Drawing] where he argues about the importance of Ethics in the concept of Disegno. Since 1999 works at IADE, Instituto de Artes Visuais, Design e Marketing where he is Ass. Professor, Scientific Board President, researcher at UNIDCOM/IADE and will coordinate the forthcoming PhD programme in Design. He just concluded a research project funded by the Portuguese Foundation for Science and Technology on Drawing, Design and Visual Culture in the second half of the Twentieth Century in Portugal. This project won the Design Research National Award by the Aveiro University in 2009. He is the editor in chief of the online journal “The (radical) Designist”, ThRaD, www.iade.pt/designist. He published and presented several papers ranging from Drawing to Design and recently the books “The Smooth Guide to Travel Drawing” and “The Triumph of Design” by Livros Horizonte, Lisbon.
Stephen Farthing is a painter and research professor at the University of the Arts London. He currently divides his time between painting, writing a book on Color with David Kastan at Yale, and the development of a taxonomy of drawing.
Michelle Fava is a research student and member of Loughborough University Drawing Research Group and the Drawing Research Network. Previously she taught drawing, sculpture and contextual studies in Further and Higher Education. Her PhD research engages with drawing and psychology of attention, considering the educational relevance of contemporary theories of visual attention, and cognitive studies of drawing. This research uses empirical observation of artists’ drawing behaviour to bridge these disciplines, by considering the attentional strategies artists employ in order to draw from observation.
is a multivalent thingmaker who uses drawing as a way to manifest the thinking process. He has worked in media ranging from architecture and opera to puppetry and food. As director/designer, he created a production of Elliot Carter’s opera, What Next?, conducted by James Levine, that was filmed and premiered at MOMA. He has also created opera productions for the Santa Fe Opera, the Los Angeles Opera, the Royal Stockholm Philharmonic, the National Symphony Orchestra. Recently, his productions of Le Grand Macabre and the Cunning Little Vixen with the New York Philharmonic were met with great acclaim.
His work in concert-theater rekindled a childhood interest in puppetry now finding form as a live-filmed and projected miniature theater of moving pictures. The first production that used this technique was A Soldier’s Tale, featuring Pinchus Zuckerman and principals from the New York Philharmonic. Evolving into a form of live-animation, he formed a company called Giants are Small, with whom he is currently creating a touring production of Peter and the Wolf, to happen in a tent.
Other projects have taken him around the world, where he has designed productions in Russia, made sculpture in Japan, furniture in Italy and the Philippines and had a number of exhibitions of drawings and paintings in Germany. He has created a number of performance installation feasts involving whole villages in France and designed and constructed the interior and furniture for a home for violinist Joshua Bell. In a traveling exhibition of drawings and painted sculptures entitled Organs of Emotion, he proposed a new design for the human anatomy aimed at better serving the life of emotions. An exhibition of tactile pictures, called Mit Haut und Haaren, is currently traveling around Germany.
Tara Geer Geer got her BA from Columbia University with a double major in Art and Art History, she graduated Magna Cum Laude & Phi Beta Kappa. She went back to Columbia with a Teaching Fellowship to get a MFA. She has been drawing and teaching drawing for the nearly 2 decades since. She has also worked at WNYC, the NY public radio station, writing and producing culture pieces for “Morning Edition,” “Studio 360,” Leonard Lopate and other national radio shows. She taught art in the in every borough of NYC, every age, in public and private school, frequently using Visual Teaching Strategies. Recently she has been drawing and teaching private classes out of her studio in Harlem and teaching drawing classes at Columbia. The private students range from advanced drawers working on specific projects, professionals in the arts having blocks, to kids with delays working on perceptual challenges. She has been to several residencies at MacDowell and Denniston Hill and shows her work in galleries, including Tibor de Nagy, The Drawing Center registry and the Four Seasons Hotel in Wyoming. She will have a solo show at the Outpost this winter. She received the Loius Sudler Prize for excellence in the Arts and the Joan Sovern prize.
Link to a NY Times article about one of Tara Geer’s classes: http://www.nytimes.com/2008/04/06/nyregion/thecity/06arti.html tarageer.com firstname.lastname@example.org
Andrea Kantrowitz is an artist, teacher and doctoral candidate at Teacher’s College, Columbia University and a member of the Drawing Research Network. She holds a B.A in Art and Cognition from Harvard University and a MFA in Painting from Yale, and is an adjunct professor in the graduate program in art education at the College of New Rochelle. She has also worked for many years as a teaching artist in the New York City public schools. Her research examines the cognitive interactions underlying contemporary artists’ drawing practices. Her art work is represented by Kenise Barnes Fine Art. email@example.com AndreaKantrowitz.com
David Kirsh is Professor and past chair of the Department of Cognitive Science at UCSD. He was educated at Oxford University (D.Phil), did post doctoral research at MIT in the Artificial Intelligence Lab, and has held research or visiting professor positions at MIT and Stanford University. He has written extensively on situated cognition and especially on how the environment can be shaped to simplify and extend cognition. He runs the Interactive Cognition Lab at UCSD where the focus is on the way humans are closely coupled to the outside world, and how human environments have been adapted to enable us to cope with the complexity of everyday life. He has written extensively on the use of external representations as an interactive tool for thought.
Aaron Kozbelt (PhD, University of Chicago, 2002) is Professor of Psychology at Brooklyn College and The Graduate Center of the City University of New York. His research foci lie mainly at the intersection of creativity and cognition in the arts, particularly on the nature of the creative process, the psychological basis of skilled artistic drawing, and explaining variability in the lifespan creativity trajectories of eminent creators. He is the author of approximately 50 journal articles or book chapters on these and other topics and serves on several editorial boards. He has been the recipient of the American Psychological Association Division 10 Daniel Berlyne Award for Creativity Research and the International Association of Empirical Aesthetics Alexander Gottlieb Baumgarten Award for Creativity Research; some of his current research is funded by the National Science Foundation. His research on drawing and visual art aims to identify perceptual and cognitive differences between artists and non-artists, to empirically disentangle competing psychological explanations for drawing skill, and to develop a descriptive and predictive model of the creative process in visual art. He has also been a practicing visual artist for more than 20 years, exhibiting work in the United States and Europe.
is a philosopher of education, at Teachers College, researching the aesthetic practices of education—the ways in which we imagine and perform “education.” (From narratives and architectures of urban descent and emergence, to myriad forms of mark-making.) He is also a Feldenkrais Practitioner of movement education, and is part of a collaboration exploring embodied, kinesthetic practices of drawing. This work, at the interstices of education, movement, and drawing has recently been presented at a number of museums and institutions.
earned a BFA degree in Printmaking from Syracuse University in 1963 and an MFA degree in Drawing from the University of Washington in 1967. He taught at the University of Southern Maine from 1967 through 1992. He has taught at the Pennsylvania Academy of the Fine Arts in Philadelphia since 1992, where he teaches a studio seminar, Graduate Drawing, and a discussion seminar, Subject, Form, and Content, in the Post-Baccalaureate Program which he founded in 1994. Michael taught in Scotland, 1972/73, has traveled to China and Japan, and has exhibited his work in two solo, two duo, three group, and 10 faculty exhibitions during the past 10 years.
(B.A., The Richard Stockton College of New Jersey, 2008) is a 4th year Doctoral Student at The Graduate Center and Brooklyn College of the City Univeristy of New York. His major research aim is to understand the cognitive mechanisms that influence observational drawing accuracy. This research has involved conducting individual difference studies that have measured perceptual abilities of trained artists and non-artists in order to determine whether expertise in this domain of the arts is associated with changes in basic perceptual processing. Additionally, he is interested in determining whether the human visual system processes information in qualitatively similar or distinct ways when guiding perceptual judgment and observational drawing behaviors.
Patrick Tresset is co-principal Investigator of the Aikon project, together with Frederic Fol Leymarie, at Goldsmiths College, University of London. His main interest is to create autonomous robotic systems capable of imagining our reality. Patrick is currently based at Goldsmiths’s Digital Studios preparing for a PhD. in Computer Sciences: “Face Sketching, a Multidisciplinary investigation”. Patrick studied computer sciences twenty years ago in France. He then came to London to become a painter. During the past 15 years he has participated in solo and group exhibitions in London and Paris. Since 2003 his interest in computing was revived when the research leading to Aikon begun. Joining forces with Frederic Fol Leymarie in 2004, he has been developing the AIKON project.
Professor of Computing Frederic Fol Leymarie is co-director of the Post-Graduate program MSc Computer Games and Entertainment (www.gamesgoldsmiths.com) at Goldsmiths College, which he founded with William Latham in 2008. He previously created and lead the MSc Arts Computing (2004-7).n He is also co-principal investigator of Aikon, together with Patrick Tresset. “Patrick and I met in late 2004 and started collaborating on AIkon in 2005. In 2009 we received a grant from the Leverhulme Trust which has helped fuel our research project and explore more in depth in particular embodiments of AIkon within robotics.” Frederic received his B.Eng. in Electrical Engineering, with honors in aeronautics, from the University of Montreal, his M.Eng. from McGill University in Computer Vision and Biomedical imagery, and his Ph.D. from Brown University (in 3D shape representation and computational geometry). His current research interests incorporate ideas from computer vision, together with the physics of waves and shocks and their modelling in modern mathematics via singularity theory. Frederic is also working on perceptual models grounded in geometry, based in part on Gestalt theory. Frederic has initiated several “shape-based” projects mixing the Arts, Humanities, Social Sciences, and Computing, including CyberCity and CyberMonument (late 1990’s), Digital sculpting (with the Mid-Ocean Studio, 2002-5), and Digital archaeology (co-founder of the SHAPE lab. at Brown University, established in 1999).
Howard Riley studied at the Hammersmith College of Art, Coventry College of Art, and the Royal College of Art. He holds a doctorate of the University of Wales in the practice and pedagogy of drawing. He taught at various art schools in London before taking up a post in the School of Art and Design, Curtin University, Perth, Western Australia, where he studied with Professor Michael O’Toole, a pioneer of visual semiotics at Murdoch University in Perth. He has published in the areas of visual semiotics, generative art and multi-modality. His drawings have been exhibited in Australia, Malaysia, Finland and the UK. Currently, Riley is Professor of Visual Communication and Head of the School of Research & Postgraduate Studies at the Dynevor Centre for Arts, Design & Media, Swansea Metropolitan University, Wales, UK.
Seymour Simmons is an Associate Professor in the Department of Fine Art at Winthrop University, Rock Hill, South Carolina, where he coordinates the Undergraduate Art Education program and teaches courses in both art education and studio art, e.g., drawing and figure drawing. He has a B.F.A. in Printmaking from Colorado State University, as well as Masters and Doctorate degrees in Education from Harvard University where his degree was in Philosophy of Education. Prior to coming to Winthrop, he taught at Massachusetts College of Art and worked as a researcher at Harvard ProjectZero with Dr. Howard Gardner. http://www.seymoursimmons.com/ Back To Top
Angela Hodgson Teall is a research student at Wimbledon College of Arts. She has worked as an artist in the field of arts and science for health, negotiating the expanding territory of medical humanities, since the 1990s. Through diverse drawing practices and empathic interactions she entices others to produce artworks with her. Angela studied medicine many years ago at University College, followed by arts degrees at Goldsmiths and University of the Arts, London. She works as a consultant medical microbiologist in South London Healthcare Trust, a series of hospitals where her collaborative drawing events are located, as part of her PhD in Visual Art, Drawing on the Nature of Empathy. Her research is interdisciplinary and her practice needs the collaboration of staff and students in both fields.
Barbara Tversky studied cognitive psychology at University of Michigan and has held positions at Hebrew University, Stanford University, and now Columbia Teachers College. One focus of her research has been on visuospatial thinking, memory, and language, with broad applications including visual communication, diagrammatic reasoning, gesture, sketching, embodied and situated cognition, interface design, creativity, and education. She has enjoyed collaborations across diverse disciplines and diverse countries.
Tversky, B. (2011). Visualizations of thought. Topics in Cognitive Science, 3, 499-535.
Tversky, B. (2011). Tools for thought. In B. Benedetti and V. Cook, Editors, Language and bilingual cognition. Pp. 131-139. New York: Psychology Press.
Tversky, B. (In press). Making thought visible. In J. Gero (Editor), Studying design creativity. Dordrect, Netherlands: Springer.
Tversky, B. (In press). On abstraction and ambiguity. (In press). In J. Gero (Editor), Visual and Spatial Reasoning for Design Creativity.
Tversky, B. and Chou, J. Y. (2010). Creativity: Depth and breadth. In Y. Nagai (Editor). Design creativity. Dordrecht, Netherlands: Springer.
Tversky, B. and Suwa, M. (2009). Thinking with sketches. In A. B. Markman and K. L. Wood (Editors), Tools for innovation. Oxford: Oxford University Press.
Jennifer Wright is currently a PhD student at the University of the Arts London, where she is researching into drawing and medical practice. Her director of studies is Professor Stephen Scrivener and her second supervisor Professor Deanna Petherbridge. Her research examines the haptic nature of drawing and surgery and is being developed as a tool to support medical students motor skill performance. The research work involves collaborative practise with surgeons, to this end Jenny has worked closely with Mr Neil Shah consultant maxillofacial surgeon at Barts Hospital London, who acts as one of her supervisors, and also with Miss Narciss Okhravi and Mr Ananth Viswanathan consultant ophthalmologists at Moorfields Hospital London. She is also working with students and researchers at Kings College London with the hapTEL virtual learning system. She is currently the honorary artist at Moorfields Hospital London and has been a visiting examiner on the Anatomy for Artists course at University College London.
You can see more of her work at www.jenwrightart.com and also www.axisweb.org.
Recent papers are published on www.academia.edu.