Brief CV for Suzanne C. Ouellette
suzanne.ouellette293@gmail.com, 917-544-8478, www.souellette.com
Painter
Professor Emerita
The Graduate School, The City University of New York
Doctoral Program in Psychology and Master of Arts in Liberal Studies Program
Higher Education
1965-69 Newton College, Newton, MA, B.A., Psychology and Philosophy
1969-71 Yale University Divinity School, New Haven CT, M.A.
1972-77 The University of Chicago, Chicago, IL, Ph.D. Psychology
1988-1990 Koho-School of Sumi-E, NY, NY, Japanese Brush Painting
1990-1997 Parsons School of Design, NY, NY
1990 Summer Fine Arts Program in Paris and the Dordogne
Drawing, painting, sculpture
Fashion Institute of Technology, NY, NY,
Drawing, painting
1997-2010 National Academy of Design Museum and School, NY, NY
Drawing, painting
Union Square Atelier of Samuel Adoquei
Drawing, painting
Art Awards
1997-2010 Drawings and paintings selected for Annual Juried Exhibitions, National Academy Museum and School
2006 First Prize in painting for Portrait of a Young Man
2007 Reva Price in Still Life Painting for Early Spring
Solo Exhibitions
2010 Chaiwalla Tea Room and Gallery, Salisbury, Ct
Still Life Paintings
2010-11 Lance Lappin Tribeca, New York City
People Up Close: Portraits by Suzanne C. Ouellette
2011 The Gallery, Hammertown, Rhinebeck, New York
Impressions and Reflections
2012 The Gallery, Hammertown, Rhinebeck, New York
Still Life/Life Still
2014 Chaiwalla Tea Room and Gallery, Salisbury, Ct.
Meditations and Travels
Group Shows
2011 The Atlantic Gallery, New York City
Holiday Exhibition
2012 The Hoadley Gallery, Lenox, Ma.
2012 The Atlantic Gallery, New York City
New Directions
2012-13 The Moviehouse Gallery, Millerton, NY
Abundance: Farm, Food, and Table
2013 The Hoadley Gallery, Lenox, Ma.
2013-14 The Gallery, Hammertown, Rhinebeck, NY
Artists at Hammertown
I curated this show that includes other painters, photographers, a potter, and my own paintings.
Writing on Art
Schenker, H. & Ouellette, S.C. (2000). The garden as women’s place: Celia Thaxter and Mariana van Rensselaer. In B. Szcygiel, J. Carubia, & L. Dowler (Eds.), Gendered landscapes: An interdisciplinary exploration of past place and space. University Park, PA: Center for Studies in Landscape History.
Ouellette, S.C. (2002). What the art of Alberto Giacometti Taught Me about Psychobiography. Clio’s Psyche: Journal of the Psychohistory Forum, 8.
Ouellette, S.C. (2003). Painting lessons. In R. Josselson, A. Lieblich, D. McAdams (Eds.), Up Close and Personal: The Teaching and Learning of Narrative Research. Washington, D.C.: American Psychological Association.
Ouellette, S. C. and Akerman, S. (2007). Emotions and stone: Two ways of knowing. Psychologist-Psychoanalyst, 22(1), 54-57. Review of J. Winer, J. Anderson, and E. Danze’s book, Psychoanalysis and Architecture.
Ouellette, S.C. (2010) A garden for many identities. In R. Josselson & M. Harway (Eds.), Navigating Multiple Identities. New York: Oxford University Press.
Akerman, S. & Ouellette, S.C. (2012). What Ricoeur's Hermeneutics Reveal About Self, Identity and Aesthetic Experience: Toni Morrison and Arthur Miller. Theory & Psychology, 22 (4), 383-401.
What Others Have Written
Lieblich, A. (2011). The experience of sitting to have my portrait painted. Paper presented at the annual meeting of the Seventh International Congress of Qualitative Inquiry, University of Illinois, Urbana, Il (http://citation.allacademic.com/meta/p497855_index.html) and published in International Journal of Art and Education.
Professor Amia Lieblich describes and analyses her experience of working with me on a collaborative portrait project. She is a psychologist and writer, currently Professor Emeritus of Hebrew University of Jerusalem and President of the Academic College for Society and the Arts in Israel.
The Country and Abroad Magazine, Johnnycake Hollow Press, Pine Plains, New York. Summer issues for 2011, 1012, and 2013.
Reviews of exhibitions at The Gallery Hammertown in Rhinebeck, New York.
Gallery Representation
The Hoadley Gallery, Lenox, Massachusetts; The Gallery, Hammertown, Pine Plains and Rhinebeck, New York; and pieces, Pine Plains, New York.
Story Version (Detail)
For 22 years, my art was supported by my “day job” as a university professor. The university was a wonderful site for multidisciplinary research and psychology, a useful resource for painting. Given important art movements and painters in the last century (if not longer), psychology was relevant training. Increasingly, I moved into areas of psychology, particularly qualitative and narrative psychology and the study of lives/psychobiography, where the boundary between the practice of social science and that of art is blurred. In the 2003 paper, Painting Lessons, I described how what I learned in the painting studio made me a better teacher and mentor for doctoral students in psychology. Painting taught me specific strategies useful in research and writing; and, more importantly, painting enabled the passion, commitment and social responsibility I always wanted to feel as I worked. For a record of what I did in my “day job” -- the teaching and administrative positions, editorial and other responsibilities, research grants, awards, and publications, please see the c.v. on my website under resume tab http://www.souellette.com/academic-cv.html.
suzanne.ouellette293@gmail.com, 917-544-8478, www.souellette.com
Painter
Professor Emerita
The Graduate School, The City University of New York
Doctoral Program in Psychology and Master of Arts in Liberal Studies Program
Higher Education
1965-69 Newton College, Newton, MA, B.A., Psychology and Philosophy
1969-71 Yale University Divinity School, New Haven CT, M.A.
1972-77 The University of Chicago, Chicago, IL, Ph.D. Psychology
1988-1990 Koho-School of Sumi-E, NY, NY, Japanese Brush Painting
1990-1997 Parsons School of Design, NY, NY
1990 Summer Fine Arts Program in Paris and the Dordogne
Drawing, painting, sculpture
Fashion Institute of Technology, NY, NY,
Drawing, painting
1997-2010 National Academy of Design Museum and School, NY, NY
Drawing, painting
Union Square Atelier of Samuel Adoquei
Drawing, painting
Art Awards
1997-2010 Drawings and paintings selected for Annual Juried Exhibitions, National Academy Museum and School
2006 First Prize in painting for Portrait of a Young Man
2007 Reva Price in Still Life Painting for Early Spring
Solo Exhibitions
2010 Chaiwalla Tea Room and Gallery, Salisbury, Ct
Still Life Paintings
2010-11 Lance Lappin Tribeca, New York City
People Up Close: Portraits by Suzanne C. Ouellette
2011 The Gallery, Hammertown, Rhinebeck, New York
Impressions and Reflections
2012 The Gallery, Hammertown, Rhinebeck, New York
Still Life/Life Still
2014 Chaiwalla Tea Room and Gallery, Salisbury, Ct.
Meditations and Travels
Group Shows
2011 The Atlantic Gallery, New York City
Holiday Exhibition
2012 The Hoadley Gallery, Lenox, Ma.
2012 The Atlantic Gallery, New York City
New Directions
2012-13 The Moviehouse Gallery, Millerton, NY
Abundance: Farm, Food, and Table
2013 The Hoadley Gallery, Lenox, Ma.
2013-14 The Gallery, Hammertown, Rhinebeck, NY
Artists at Hammertown
I curated this show that includes other painters, photographers, a potter, and my own paintings.
Writing on Art
Schenker, H. & Ouellette, S.C. (2000). The garden as women’s place: Celia Thaxter and Mariana van Rensselaer. In B. Szcygiel, J. Carubia, & L. Dowler (Eds.), Gendered landscapes: An interdisciplinary exploration of past place and space. University Park, PA: Center for Studies in Landscape History.
Ouellette, S.C. (2002). What the art of Alberto Giacometti Taught Me about Psychobiography. Clio’s Psyche: Journal of the Psychohistory Forum, 8.
Ouellette, S.C. (2003). Painting lessons. In R. Josselson, A. Lieblich, D. McAdams (Eds.), Up Close and Personal: The Teaching and Learning of Narrative Research. Washington, D.C.: American Psychological Association.
Ouellette, S. C. and Akerman, S. (2007). Emotions and stone: Two ways of knowing. Psychologist-Psychoanalyst, 22(1), 54-57. Review of J. Winer, J. Anderson, and E. Danze’s book, Psychoanalysis and Architecture.
Ouellette, S.C. (2010) A garden for many identities. In R. Josselson & M. Harway (Eds.), Navigating Multiple Identities. New York: Oxford University Press.
Akerman, S. & Ouellette, S.C. (2012). What Ricoeur's Hermeneutics Reveal About Self, Identity and Aesthetic Experience: Toni Morrison and Arthur Miller. Theory & Psychology, 22 (4), 383-401.
What Others Have Written
Lieblich, A. (2011). The experience of sitting to have my portrait painted. Paper presented at the annual meeting of the Seventh International Congress of Qualitative Inquiry, University of Illinois, Urbana, Il (http://citation.allacademic.com/meta/p497855_index.html) and published in International Journal of Art and Education.
Professor Amia Lieblich describes and analyses her experience of working with me on a collaborative portrait project. She is a psychologist and writer, currently Professor Emeritus of Hebrew University of Jerusalem and President of the Academic College for Society and the Arts in Israel.
The Country and Abroad Magazine, Johnnycake Hollow Press, Pine Plains, New York. Summer issues for 2011, 1012, and 2013.
Reviews of exhibitions at The Gallery Hammertown in Rhinebeck, New York.
Gallery Representation
The Hoadley Gallery, Lenox, Massachusetts; The Gallery, Hammertown, Pine Plains and Rhinebeck, New York; and pieces, Pine Plains, New York.
Story Version (Detail)
For 22 years, my art was supported by my “day job” as a university professor. The university was a wonderful site for multidisciplinary research and psychology, a useful resource for painting. Given important art movements and painters in the last century (if not longer), psychology was relevant training. Increasingly, I moved into areas of psychology, particularly qualitative and narrative psychology and the study of lives/psychobiography, where the boundary between the practice of social science and that of art is blurred. In the 2003 paper, Painting Lessons, I described how what I learned in the painting studio made me a better teacher and mentor for doctoral students in psychology. Painting taught me specific strategies useful in research and writing; and, more importantly, painting enabled the passion, commitment and social responsibility I always wanted to feel as I worked. For a record of what I did in my “day job” -- the teaching and administrative positions, editorial and other responsibilities, research grants, awards, and publications, please see the c.v. on my website under resume tab http://www.souellette.com/academic-cv.html.