Creative Director, NuLawLab, Northeastern University School of Law
Also: Project Director and Manager of Social Design Collective (LLC) and she is the founder of a collective known as the Social Practices Art Network.
Creative Director, NuLawLab, Northeastern University School of Law
Also: Project Director and Manager of Social Design Collective (LLC) and she is the founder of a collective known as the Social Practices Art Network.
Jules is the Creative Director at NuLawLab, Northeastern University School of Law, She has developed key institutional and community partnerships and programs for the lab. Jules is also the Project Director and Manager of Social Design Collective (LLC) and she is the founder of a collective known as the Social Practices Art Network. She utilizes the following creative strategies: applied design, collaborative practices, public art, public pedagogies, civic engagement, social justice, participatory media, social media, GIS mapping, data collection, research, social media and storytelling. She has 15 years of experience in leadership, team building and project management.
Explore my professional history and get to know the companies I worked at and the roles and responsibilities I've been assigned.
Take a look at a few of my favorite projects I’ve started or been a part of during the course of my career.
At Nulawlab, we use the leading edge “design thinking” methodologies to identify and cultivate new approaches to transform legal education, the legal profession, and the delivery of legal services. NUSL joins an elite group of forward-thinking companies and institutions implementing design-thinking principles to solve real-world challenges. I serve as a primary researcher program developer for NuLawLab, I have a special area of focus on generating cross-sector partnerships and designing interdisciplinary projects. I worked with a team of designers/coders to envision, develop and design a vision and wire framed concept and prototype for NULAWMaps and NULAWHub, a new GIS Mapping platform and publication that will blend statistical data with qualitative storytelling. I research emerging trends, tools and people in legal education and service design. I develop core concepts, and write and content, for both the planning phase and implementation of the lab’s website. I help identify marketing needs and recommend marketing tactics and strategies as they relate to the Lab’s and law school’s current and future educational program, in conjunction with the law school’s marketing initiatives. I developed charitable prospects and forged new relationships with potential funders. I helped to expand our partnerships with MIT Open Docs Lab, Rev Studio and the Brazilian Immigrant Center to create a unique telephone hotline; web-based app and text sms messaging system that offers legal information in a new way to better inform domestic workers about their rights. I have strategically built alliances on the Northeastern campus and at the Museum School of Fine Arts. These new contacts offer the lab a new pool of interdisciplinary academics and design professionals to collaborate with as we forge ahead with the implementation of new projects and research inquiries. Our lab has been nominated as a finalist for the HiiL Innovating Justice Awards and Living Wage Innovation Challenge 2014.
SDC grew out of an earlier creative project conducted in the City of Santa Ana. The Social Design Collective LLC, an art and design team comprised of artists, architects, media professionals and educators, using our creativity to generate long-term community, public and social benefits. Our goal for the StoryCircle project was to create cross-sector partnerships between community organizations, academic institutions, residents, youth and local municipalities. In 2012/2013, SDC was awarded a $100,000 art commission funded by Related LA and the City of Santa Ana. As an aspect of this community engaged public art project we worked with Garfield Elementary School to provide an arts based curriculum to 700 elementary school students. I worked closely with the local community to define the scope and shape of my project. I hired and managed artists, arts educators and co-developed an arts curriculum for the elementary school. I also worked with fabricators, photographers, city planners, architects to build and install a public artwork. StoryCircle, our public art project was installed and reached completion in July 2013.
In 2011, I launched (SPAN), Social Practices Art Network, a resource for individuals, organizations, community groups and institutions that are interested in new genre arts forms and practices. (SPAN) conducts “research as practice”. We also do outreach to artists, art communities and colleagues around the globe. Interviews and podcasts have been conducted with artists from around the globe. We facilitate an online community dialogue consisting of over 2000 global users. In 2014, (SPAN) launched an international research project focused on the needs of socially engaged and community engaged artists. The (SPAN) collective developed an international survey and study that has reached and engaged over 500 artists from around the globe that participate in socially engaged art practices. For the survey, (SPAN) partnered with Open Engagement, Arts Quest (a programme of University of the Arts London, an educational charity), and DotToDot (UK) Arts. *Note: There are two other individuals working as active researchers, curators and contribute to the ongoing collective research efforts of (SPAN). As a collective we plan to share, publish and present the results of the survey along with our research partners mentioned above.
This Perspectives section in the Journal of Curriculum and Pedagogy will explore how artists, curators, cultural workers, designers, and educators activate what Homi K Bhabha, has defined as a thirdspace; a space created so that cross-disciplinary relationships and collaborations can flourish. For the purposes of this proposal abstract we are defining a third space as a site of learning formed when educational, artistic, creative, and other cultural practices intersect and move outside traditional paradigms and norms. As such, these third space practices are in effect hybrid practices which are often collaborative and encourage cross- disciplinary dialogue and citizen engagement. Third spaces and hybrid practices create neutral zones that encourage open exchanges of ideas from a range of perspectives. For this Perspectives, we will focus specifically on ways in which artists, designers, and educators create, inhabit, and use third spaces to navigate the liminal boundaries that exist among artistic production, participatory design, education, social justice, economic justice, ecology, and conflict resolution.
As a cultural worker, I have developed an extensive number of partnerships with a range of community groups and cultural organizations. I have networked and developed relationships with city officials, arts institutions, funders and associations I have solid grant writing and fund development skills and, I am also capable of generating successful final reporting to national arts councils and other types of funders. I have managed contractors, performers, organizations and staff members. I have applied for various city permits. I have created and managed performer databases and artist contracts. I have conducted a board/staff visioning retreats and organizational reviews. I have conducted board development and recruitment. I have maintained budgets, cash flows and payroll. I have developed opportunities on a local, national and international scale.
In 2012, I was given an initial $11,000 grant to work with the Grand Central Art Center, a Southern California contemporary art institution with a mission focused on creating collaborative and mutually beneficial outcomes through creative process. The Artist-in-Residence program provided me with a dedicated apartment and studio to work in thus provided me with time and space away from my normal work environment and community, creating the opportunity for expanded collaboration, exchange, growth, resources, knowledge and discovery. For an aspect of my residency, I worked as a community organizer, project advisor, researcher and media mentor for The Raitt St. Chronicles: A Survivors Oral History. In a team structure, we co-developed an oral histories project that dealt with stories of the survivors of violence, in a neighborhood known as the Townsend District in Santa Ana. This was designed through a collaboration with the Santa Ana Public Library Teen Space program “young historians” and Sharon Sekhon PhD, Professor, CSUF American Studies. We received a $10,000 California Community Stories Grant to initiate the project. This grant was raised in addition to the artist’s fee I was given to as resident artist. As a critical aspect of my residency, I conducted outreach to and developed working relationships with the City of Santa Ana, SACReD - Santa Ana Collaborative for Responsible Development, El Centro Cultural de Mexico, the Mayday Coalition, the Kennedy Commission, OC OCCORD, Santa Ana Public Library, United Artist of Santa Ana and Garfield Elementary School. This residency led to another grant in the form of public art commission within the City of Santa Ana. During my residency, I created the Social Design Collective LLC to help administer a $100,000 public art commission.
This was a residency with dLux Media Arts. For this project, I was given a grant to work with the DLUX team in Australia. DLux is one of Australia’s key screen and media arts organizations, committed to supporting the development, engagement and experience of contemporary screen and digital media culture. Their program and activities include research into emerging technologies and media arts practices, partnership development between public and private sector, curation and touring of digital media arts exhibitions and digital skill development and inclusion. DLux Media Arts was the successful recipient of the Australia Council, Community Partnerships Initiative allowing the program to extend into the beginning of 2017. More here: http://www.dlux.org.au/cms/dLab/dlab-national-program.html. As an organization, Dlux develops partnerships, which contribute to new opportunities for digital media practitioners locally and in remote and disadvantaged communities through social media and software technologies. For this project, we took a mobile digital lab to hard to reach youth in regional Australia. The program traveled to four primary regional locations: WaggaWagga, Broken Hill, the Blue Mountains, Wilcania, Darwin, and varied communities on the outskirts of Sydney. In Australia, I worked with local agencies arts councils and community groups to schedule and plan for the workshops. I also worked with Dr. Gareth Jenkins of Save Our Children (Australia) on the Mobile Youth Van (M.Y.Van). This provides young people living in remote, isolated and marginalized communities with access to culturally appropriate and educational activities specifically designed for their age and community. http://www.dlux.org.au/cms/images/mediarelease/dLab %20Media%20Release%20Jan%202014.pdf
For this research and teaching contract, I acted as a research and fund-raising consultant for the roll-out of the first Media Excellence Program for Native American Public and Community Radio Producers. I worked with Dr. Traci L. Morris and with NPM founder/Director, Loris Taylor. I was a co-teacher and night lab instructor for the Media Excellence Program at the Institute of American Indian Arts. I also co-wrote the online digital journalism curriculum for this Media Excellence Program, which was a 3-credit college course at the Institute of American Indian Arts. Native Public Media’s signature Media Excellence Program was designed to help bridge the media and digital divides in Indian Country. The program included the Annual Native Media Summit, the Digital Journalism and Storytelling Intensive, Station Services and the Native Media Landscape Report. The participants learn how the platforms of print, video, audio, new media, and more can be effectively and creatively employed to tell important stories; including practical skills such as equipment use, digital editing and production, basic reporting techniques, and best practices that journalists and citizen storytellers face when employing new media in their reporting work and while engaging new technologies that will empower themselves and their communities with voice. This intensive encourages the Native American perspective and storytelling in tribal languages. I created an interactive WIKI platform that supported in class learning. I also created student handbook and class tutorial.
For this writing contract, I wrote and published an article for Issue 46 spring / summer 2012— Food for Thought. This issue explored the theme of Food for Thought and how what we eat affects public art (and vice versa) on a global scale. The publication covers the topic from a holistic lens of the entire food cycle — revealing how public artists address the topics of growing and raising our food within fragile ecosystems, the infrastructure of the global food business, the culture of eating and sharing food within our communities, and ultimately the politics that influence our food system — again, all from the angle of how public artists shape and communicate these processes to their audiences. Released and Published: June 2012
I was the studio manger to the large studio practice of artist Lauren Bon. Metabolic Studio was physically located in large warehouse situated in East Los Angeles but our projects occurred in various sites in Los Angeles and around the globe. I was responsible for managing the facility and the LA studio team.I served as a studio liaison and reported to various Annenberg Foundation representatives, staff members, the legal team, the trustee, and community members. I provided studio leadership; work with Annenberg Foundation Senior Managers and Financial Officers. I managed external and internal studio contracts and vendor contracts. I reported on budget, cash flow, and payroll. I participated in community based philanthropic giving through community grant-making a community outreach on behalf of the Trustee. As a member of the studio’s unique design team, I worked with the artist to implement and produce her creative vision and to raise awareness regarding the challenges of returning soldiers and to share the historic significance of the VA grounds, the Studio created a living sculpture and hands-on experience that includes veterans and the community at large. The project called Strawberry Flag was a response to and in support of the enormous population of veterans, the largest in the U.S., who live in the greater Los Angeles area. LA veterans worked on various aspects of Strawberry Flag which included tending to the growth of the plants, harvesting, preserving and packaging the fruit. Veterans from the VA Compensated Work Therapy program and the VA Domiciliary, and other groups are instrumental with all parts of this project. As the studio manager, I developed key external art world relationships with the College of Fine Arts (COFA), National University of New South Wales, NIEA the National Institute for Experimental Arts, Sydney Australia, Otis College of Art and Design, and the Los Angeles County Museum of Art.
Miscellaneous Productions (founded by Elaine Carol, Jules Rochielle and a volunteer board of directors)- We worked with youth and elders using models of anti-racism and anti-violence training combined with community based art as a vehicle for social change. All projects were created in collaborate with community. Sited in Promising Practices for Addressing Youth Involvement in Gangs Research Report prepared by Mark Totten, PH.D April 2008 In support of the Strategy, Preventing Youth Gang Violence in BC: A Comprehensive and Coordinated Provincial Action Plan Appendix B: Promising Canadian Gang Prevention and Intervention Initiatives (revised and updated list based upon as a Primary Prevention Programs 2003 – 2006 B.C. primary prevention initiatives (educational videos, primary and secondary classroom education, parent information, community collaboration) http://www.pssg.gov.bc.ca/crimeprevention/shareddocs/pubs/ totten-report.pdf
-I served 1 year of service at FSGV. During my time I created and implemented a branding strategy to assist FSGV in gaining national accreditation with National Family Services Corporation. Co-developed printed and online communication materials for 40 programs. Raised resources for various FSGV youth programs. Participated in a National Family Services Conference. I participated in strategic revisiting of FSGV during challenging funding cutbacks. I networked with and developed relationships with community groups and associations. I created two agency wide annual reports with the FSGV management team. I conducted site visits with programs supported by Family Services of Greater Vancouver. I managed and attended to the day-to-day administrative duties. I reported weekly to a Senior Management team, Chief Financial Officer and incumbent Executive Director.
his Perspectives section in the Journal of Curriculum and Pedagogy will explore how artists, curators, cultural workers, designers, and educators activate what Homi K Bhabha, has defined as a thirdspace; a space created so that cross-disciplinary relationships and collaborations can flourish. For the purposes of this proposal abstract we are defining a third space as a site of learning formed when educational, artistic, creative, and other cultural practices intersect and move outside traditional paradigms and norms. As such, these third space practices are in effect hybrid practices which are often collaborative and encourage cross-disciplinary dialogue and citizen engagement. Third spaces and hybrid practices create neutral zones that encourage open exchanges of ideas from a range of perspectives. For this Perspectives, we will focus specifically on ways in which artists, designers, and educators create, inhabit, and use third spaces to navigate the liminal boundaries that exist among artistic production, participatory design, education, social justice, economic justice, ecology, and conflict resolution.Launch
In 2012/2013, SDC was awarded a $100,000 art commission funded by Related LA and the City of Santa Ana. As an aspect of this community engaged public art project we worked with Garfield Elementary School to provide an arts based curriculum to 700 elementary school students. I worked closely with the local community to define the scope and shape of my project. I hired and managed artists, arts educators and co-developed an arts curriculum for the elementary school. I also worked with fabricators, photographers, city planners, architects to build and install a public artwork. StoryCircle, our public art project was installed and reached completion in July 2013.Launch
Social Practices Art Network (SPAN) is a media resource for individuals, organizations, community groups and institutions that are interested in new genre arts forms and practices. It is meant to serve as a platform for a variety of socially engaged art and design practices.Launch
The project was initiated by community activist Reggie Lawson of the Crescent City Peace Alliance, artist Ron Bechet, and others to acknowledge the site on which Homer Plessy was arrested on June 7, 1892. Lawson decided to organize an event to bring together the various stakeholders,
including New Orleans Center for Creative Arts (NOCCA) and Students at the Center (SAC). The team invited Suzanne Lacy and the MFA Public Practice program at Otis College of Art and Design to participate in Plessy Day 2008. The day
included personal testimonies of segregation, a procession through the Bywater neighborhood and ended with an interactive installation at the Plessy site, where eight temporary chalkboards served as the foci.
I was an artist participant in this Los Angeles based exhibition on Social Art Practices. "Come In, We're Open," a project organized by Edith Abeyta, Owen Driggs, and Carol ZouLaunch
At Northeastern University School of Law, I co-teach this limited-enrollment, two-credit, three-week intensive seminar explores the use of design principles in the development of new models for delivering legal information and services. Students explore problem-solving methodologies derived from the fields of product and systems design as they apply them to a specifIc design problem. By the end of the three week experience, students have worked together as a team to take an idea from brainstorm to tested prototype.
Created by Studio REV- (lead artist: Marisa Jahn), the Domestic Worker App is a “public art nanny hotline” that informs New York’s 200,000 nannies, housekeepers, and caregivers about their rights. Users call in using any kind of phone at any hour to hear humorous episodes about topics like minimum wage, days of rest, trafficking, and more — think “Click and Clack” on NPR’s Car Talk but for nannies.Launch
Using gaming technology to provide litigants with advocacy experience before going to court for real.Launch
This project will engage directly with women veterans and multidisciplinary stakeholders to collaboratively design a mobile technology outreach tool that provides underserved women veterans with information about their legal rights and available benefits. The tool will build upon the resources available through Stateside Legal’s Women Who Serve initiative, and will be designed for outreach to all underserved women veterans, including those who are homeless and those suffering from post-traumatic stress disorder (PTSD) and military sexual trauma (MST). The ultimate goal of this project is to measurably increase the number of low-income women veterans who contact Stateside Legal for help, thereby enabling legal aid programs and law school clinics to provide the assistance that many low-income women veterans and their families need.Launch