Lucy Bartholomee is an artist, writer, teacher, and traveler. She completed a Ph.D. in Art Education at the University of North Texas, and an MA in Humanities and Art History at the University of Texas at Arlington. An educator since 1997, she has taught both elementary and secondary students, and more recently teaches and supervises pre-service art educators for UNT, UTA, TCC, and TCU. Her research and writing explores many aspects of creative practice, visual culture, and the impact of organic and constructed communities on the phenomenological experience of being creative. A full teaching portfolio is available at: www.lucybartholomee.com Address: United States
Today there is a lot of discussion about creative economies and how cities are the engines drivin... more Today there is a lot of discussion about creative economies and how cities are the engines driving growth in a variety of industries. But cities are not merely rows of buildings, or sets of laws, such as zoning ordinances or parking regulations. A city is, rather, a set of dynamic experiences that we all participate in as co(labor)ators. As a way to explore issues of urban spaces and art, the authors organized a public dialogue on issues pertaining to arts, community, identity, education, and policy with two leading artists/educators/activists: Pepón Osorio and Antonia Darder. The interview is wide ranging and brings into focus voices and perspectives often left out of policy debates concerning the politics of art, art education, and activism in urban environments. The authors of this article then propose four core principles drawn from the dialogue that can guide policy reforms for the arts in urban schools. Such principles argue that policy must be made from within the creative co...
How does it feel to be creative? Such a question, when approached from a phenomenological perspec... more How does it feel to be creative? Such a question, when approached from a phenomenological perspective, reveals new understandings about the embodied experience of creativity, and how it feels as it is being lived. This investigation begins with a provocative contrast of two environments where creativity is thought to manifest itself: school art classrooms, where creativity is often legislated from an authority figure, and New Orleans Second Line parades, where creativity is organically and kinetically expressed. A thorough review of the literature on creativity focuses on education, arts education, creative economies, psychology, and critical theorists, collectively revealing a cognitive bias and striking lack of consideration for community, freedom, and the lived experience of being creative. Further discussions in the literature also neglect sites of creativity, and the impact that place (such as a school classroom) can have upon creativity. The phenomenological perspectives of Me...
Society often views creativity as located in the mind, that the lone genius needs only the proper... more Society often views creativity as located in the mind, that the lone genius needs only the proper moment of inspiration for the magic (idea, object, solution) to be released. This essay proposes that creativity is also vitally located within the active body, and when these bodies are geographically positioned in highly creative places amazing leaps occur. Through the phenomenological lens of Ponty and Trigg, supported by the vibrant observations of Rebecca Solnit, we will examine the nature of creative places, illuminating the effects of place upon the generative body. Insight from specialist authors on creativity (Gardner, Csikszentmihayli) and historians of New Orleans’ African-American culture (Sublette, Johnson, Burns) reveal the impact of creative places upon the embodied creativity of musicians, artists, dancers, and the visual culture.
Creating the city: An interview with Antonia Darder and Pepo ´n Osorio, 2017
Today there is a lot of discussion about creative economies and how cities are the engines drivin... more Today there is a lot of discussion about creative economies and how cities are the engines driving growth in a variety of industries. But cities are not merely rows of buildings, or sets of laws, such as zoning ordinances or parking regulations. A city is, rather, a set of dynamic experiences that we all participate in as co(labor)ators. As a way to explore issues of urban spaces and art, the authors organized a public dialogue on issues pertaining to arts, community, identity, education, and policy with two leading artists/educators/activists: Pepon Osorio and Antonia Darder. The interview is wide ranging and brings into focus voices and perspectives often left out of policy debates concerning the politics of art, art education, and activism in urban environments. The authors of this article then propose four core principles drawn from the dialogue that can guide policy reforms for the arts in urban schools. Such principles argue that policy must be made from within the creative commonwealth of cities rather than above or outside it.
Today there is a lot of discussion about creative economies and how cities are the engines drivin... more Today there is a lot of discussion about creative economies and how cities are the engines driving growth in a variety of industries. But cities are not merely rows of buildings, or sets of laws, such as zoning ordinances or parking regulations. A city is, rather, a set of dynamic experiences that we all participate in as co(labor)ators. As a way to explore issues of urban spaces and art, the authors organized a public dialogue on issues pertaining to arts, community, identity, education, and policy with two leading artists/educators/activists: Pepón Osorio and Antonia Darder. The interview is wide ranging and brings into focus voices and perspectives often left out of policy debates concerning the politics of art, art education, and activism in urban environments. The authors of this article then propose four core principles drawn from the dialogue that can guide policy reforms for the arts in urban schools. Such principles argue that policy must be made from within the creative co...
How does it feel to be creative? Such a question, when approached from a phenomenological perspec... more How does it feel to be creative? Such a question, when approached from a phenomenological perspective, reveals new understandings about the embodied experience of creativity, and how it feels as it is being lived. This investigation begins with a provocative contrast of two environments where creativity is thought to manifest itself: school art classrooms, where creativity is often legislated from an authority figure, and New Orleans Second Line parades, where creativity is organically and kinetically expressed. A thorough review of the literature on creativity focuses on education, arts education, creative economies, psychology, and critical theorists, collectively revealing a cognitive bias and striking lack of consideration for community, freedom, and the lived experience of being creative. Further discussions in the literature also neglect sites of creativity, and the impact that place (such as a school classroom) can have upon creativity. The phenomenological perspectives of Me...
Society often views creativity as located in the mind, that the lone genius needs only the proper... more Society often views creativity as located in the mind, that the lone genius needs only the proper moment of inspiration for the magic (idea, object, solution) to be released. This essay proposes that creativity is also vitally located within the active body, and when these bodies are geographically positioned in highly creative places amazing leaps occur. Through the phenomenological lens of Ponty and Trigg, supported by the vibrant observations of Rebecca Solnit, we will examine the nature of creative places, illuminating the effects of place upon the generative body. Insight from specialist authors on creativity (Gardner, Csikszentmihayli) and historians of New Orleans’ African-American culture (Sublette, Johnson, Burns) reveal the impact of creative places upon the embodied creativity of musicians, artists, dancers, and the visual culture.
Creating the city: An interview with Antonia Darder and Pepo ´n Osorio, 2017
Today there is a lot of discussion about creative economies and how cities are the engines drivin... more Today there is a lot of discussion about creative economies and how cities are the engines driving growth in a variety of industries. But cities are not merely rows of buildings, or sets of laws, such as zoning ordinances or parking regulations. A city is, rather, a set of dynamic experiences that we all participate in as co(labor)ators. As a way to explore issues of urban spaces and art, the authors organized a public dialogue on issues pertaining to arts, community, identity, education, and policy with two leading artists/educators/activists: Pepon Osorio and Antonia Darder. The interview is wide ranging and brings into focus voices and perspectives often left out of policy debates concerning the politics of art, art education, and activism in urban environments. The authors of this article then propose four core principles drawn from the dialogue that can guide policy reforms for the arts in urban schools. Such principles argue that policy must be made from within the creative commonwealth of cities rather than above or outside it.
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