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The distinctive character of Southern Illinois University Edwardsville is defined by the faculty's demonstrated capability to fulfill the values of the Teacher Scholar Philosophy; a philosophy guided by a serious and continuing commitment to teaching, scholarship and service in the belief that scholarship complements and enriches excellence in teaching and service.

Adapted from the Teacher Scholar Philosophy of SIUE, Teacher Scholar Philosophy Working Group, 6/2/08

Thad Duhigg
Professor and Chair, Art and Design

Research Focus:
Cultural and political issues in contemporary US; propaganda; critical thinking.

Thad Duhigg

Recent Honors / Awards / Recognition:

2007 Solo & Group Exhibitions:

Invitational solo exhibition “Assumptions Mediated”, June-September, Laumeier Sculpture Park and Museum, St. Louis, Missouri. Curator: Kim Humphries

Invitational solo exhibition “Fragments”, April-May, Greenville College, Greenville, Illinois

Invitational group exhibition “50/50: A 50-year retrospective of the Annual Delta Exhibition”, December-January, Arkansas Arts Center, Little Rock, Arkansas. Curator: Anne Gochenour

Invitational group exhibition “Regional Faculty Exhibition," November-December, Foundry Arts Centre, St. Charles, Missouri

“Biennale Internazionale Dell’ Art Contemporanea”, Florence, Italy. Fourth Prize in Sculpture (1999)

Fulbright Senior Scholar Fellowship, Budapest, Hungary (1997)

Primary Courses Taught:

Beginning Sculpture Courses (Art 202)

Intermediate Sculpture Courses (Art 393a, 393b, 393c)

Advanced Sculpture Courses (Art 402)

Graduate Sculpture Courses (Art 502, 504)

Undergraduate Seminar (Art 405)

Education:

MFA, Syracuse University

BFA, Southern Illinois University Carbondale

How does SIUE support your professional growth or activity as a Teacher-Scholar?
"Many programs within the sculpture area facilitate the continued development of my personal teaching and enhance the experience for art students at SIUE. 

a) Most high profile on this list in recent years is the annual Sculpture on Campus competition, which would be much less successful without the financial assistance of the offices of both the Vice-Chancellor for Administration and the Kimmel Leadership.  Their assistance enables us to invite high profile jurors from around the country and provide funds for the completion of student sculptures.
b) In 2006 I received a “Faculty Development Fund” to help facilitate a weeklong student trip to New York during which we visited numerous museums and galleries including the Museum of Modern Art and the Guggenheim.  This was a rich cultural experience for both the students and myself as we were exposed to contemporary and historical works of art.  It also undoubtedly impacted our historical understanding of art and influenced our studio work.
c) Finally through the College of Arts and Sciences’ Summer Arts Program, I have been able to extend invitations to some high profile sculptors to workshop and critique students in my “Large Scale and Public Sculpture” summer course.
Since arriving at SIUE in 2002 the department, college and university have also consistently supported my professional development.  For example: a)  In 2006 I received a grant from the “Faculty Development Fund” to assist in exhibiting my sculpture at the Arkansas Arts Center.  b)  In 2004 I received a grant from the “Faculty Development Fund” to attend an Iron Pour at University of Minnesota at which I was a visiting artist.  c)  Also in 2004 I received a grant from the “University Research and Development Fund” to complete new research.  d)  In 2003 I received a “University Research Award” to pursue new research.  e)  Also in 2003 I received a grant from the “Research and Development Fund” to install a solo exhibition of new work in Dallas.  f)  Finally in 2003, I received a grant from the “Faculty Development Fund” to attend and promote the sculpture program and the Art & Design department at the College Arts Association Conference in New York.  As a direct result of this support, sculpture students are able to observe my active participation as a scholar/artist in the field in addition to being a teacher.  I believe this lends considerable additional credibility to the material I teach in the classroom."

What is a unique aspect of your professional life that enhances your service to the academic or greater community?
"I believe that all three areas within the university – teaching, research and service – inform and reaffirm each other.  This is clearly evident in at least one aspect of my professional life that influences my commitment to service in and beyond the academy - a resolute belief in active and enthusiastic participation beyond both the required minimum and for personal gain.  Early in my sculpture career it became obvious that this field is not one in which you can easily participate alone.  Installing exhibitions, lifting heavy works, pouring metal and critiquing are all more rewarding when realized as a group.  This is a characteristic I endeavor to recreate in my own classroom today through these tasks as well as facilitating student trips and organizations and encouraging students to help one another so that they will ultimately also help themselves.  It is this commitment to participation that also fueled my decision to become chair of the Art and Design department – anticipating that ultimately all faculty will take a turn for the benefit of the whole.  Finally it is this belief that also motivates involvement in the local community wherein my whole family are involved in many activities from annual clean-up days to serving on the parks and recreation committee to attending village board meetings."

How has one mentor or event shaped your career decision to become a university professor?
"After high school I had a number of jobs including suit salesman, working in a pizzeria, a print shop and on a survey crew (to name a few).  However the best paying job in my community at the time was constructing the local nuclear power plant.  All I had to do was scale 500 ft-cooling towers and take measurements.  Only one hitch – seeing as though I had never recovered from my sister’s attempt to throw me off the John Hancock building in Chicago as a child – heights and I weren’t on the best of terms.  My nervousness during the first night on the power plant job only encouraged my co-workers to mess with me more.  I was ordered to walk across eighteen-inch beams 100 ft off the ground but only managed a pitiful scoot and much scorn.  Deciding that to continue would guarantee imminent death, I quit and became certain to do something with my life that I actually enjoyed.  A few weeks later I enrolled in college."  

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