190 York Street, PO Box 208272
New Haven, CT 06520
203 432 3205 office
718 669 0132 mobile
203 432 3205 office
718 669 0132 mobile
PhD, Brown University, History of Art and Architecture, Providence, RI, 2016
Stony Brook University,
Art History and Crticism,
Graduate Certificate in Art and Philosophy
BA, Dartmouth College, Studio Art (photography concentration), Hanover, NH, 2004
Title: Greater American Modernism: U.S. Photography and the Mexican Cultural Renaissance, 1920-1945
Chair: Douglas Nickel, Professor of Modern Art, Brown University
Readers: Wanda Corn, Professor Emerita in Art History, Stanford University; Stephanie Merrim, Professor of Comparative Literature and Hispanic Studies, Brown University
Summary: a study of the work four major U.S. modernist photographers created in Mexico, the conditions that drew them south, and the exchanges they had with modern Mexican artists. Through sustained dialogue with Mexican artists working in a variety of media, Edward Weston, Tina Modotti, Paul Strand, and Helen Levitt contributed to a nascent Pan-American modernism by picturing Greater America. My research examines U.S. art history in an international context—thereby construing American art history broadly—and places photography back into conversation with painting, literature, and music.
Modern Art of the Americas; History of Photography; Mexican Cultural Renaissance; 19th and 20th-Century Modern Art; U.S. Art History; Technical Art History; Visual Culture
Center for Humanistic Inquiry (CHI) Fellowship (declined), Amherst College, Amherst, MA
Fleur Cowles Endowment Research Fellowship, Harry Ransom Center, Austin, TX
Rosenkranz Grant for Pedagogical Advancement, Center for Teaching and Learning, Yale University, New Haven, CT
Davidson Family Fellowship (declined), Amon Carter Museum of American Art, Fort Worth, TX
Professional Development Honorable Mention in Art History, College Art Association, ,
Wyeth Predoctoral Fellowship, Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC
Research Center Scholar, Georgia O'Keeffe Museum, Santa Fe, NM
Diane and Trevor Morris Fellowship, Huntington Library, Art Collections, and Botanical Gardens, Pasadena, CA
Edward Weston Family Fellowship, Center for Creative Photography, Tucson, AZ
2010 – 2011
Professor R. Bruce Lindsay Graduate Fellowship, Brown University, Providence, RI
2007 – 2009
Presidential Graduate Fellowship, Stony Brook University, Stony Brook, NY
International Research Travel Grant for U.S.-based Scholars, Terra Foundation for American Art, Paris,
Conference Travel Fund Award, Brown University Graduate School, Providence, RI
International Travel Fund Award, Brown University Graduate School, Providence, RI
Gulnar Bosch Travel Assistance Award for travel to Greensboro, NC, Brown University, Providence, RI
Joukowsky Summer Research Award, Brown University Graduate School, Providence, RI
Kermit Champa Memorial Fund Travel Award, Brown University, Providence, RI
Teaching Assistant at Brown University
Introduction to the History of Art and Architecture
History of Modernist Photography
Masterpieces of Western Art and Architecture
Lecturer in the History of Art Department and Program in Ethnicity, Race, and Migration (full time) at Yale University
The Mexican Cultural Renaissance, 1920-1940
Photographing the Americas (freshman seminar)
Material History of Twentieth-Century Photography (co-taught, Paul Messier)
Critical Approaches to Art History (co-taught, Erica James)
Visual Culture of the National Parks
Twentieth-Century Latin American Art
Teaching Assistant at Stony Brook University
American Art 1620-1870
Ancient Egyptian Art
Art History Survey: Renaissance through the Present
Art History Survey: Prehistory through the Middle Ages
“‘The Last Word in Direct Naïve Realism’: Diego Rivera, Edward Weston, and Pulquerías." American Art
“Natural Photographs: Optograms and Late-Nineteenth-Century Photographic Reliability." History of Photography
"The Camera" theme box. In The History of Illustration, edited by Susan Doyle, Jaleen Grove, and Whitney Sherman. New York: Bloomsbury.
Commissioned review of exhibition at the Philadelphia Museum of Art and catalog, Paint the Revolution: Mexican Modernism, 1910-1950 caa.reviews
Optical Noise: British & American Prints/Films from the 1960s-1970s. Exhibition catalog, available at http://issuu.com/optical-noise/docs/optical_noise_catalog.
“An Aesthetic of Reception?: A Jaussian Reading of The Family of Man.” Art Criticism 24, no. 1 (Spring 2009): 21-33.
“Optical Noise: British & American Prints/Films from the 1960s-1970s,” David Winston Bell Gallery, Providence, RI, Co-Curator (research, loans)
“Rewind: Selections from the Collection, 1970-1990,” Museum of Contemporary Art, Chicago, IL, Curatorial Intern (research, labels)
“Recherche” Exhibition and Salon, Student Activities Center Gallery, Stony Brook University, Stony Brook, NY, Co-Coordinator / Curator
“Photographs of the Lower East Side: 1937-2007,” Ernest Rubenstein Gallery, New York, NY, Curator
Liz Deschenes’s course on “Women and Photography (past and present),” Bennington College, Bennington, VT
Guest lecture. Paper: “Women in Photography”
The Ethnicity, Race, and Migration Speaker Series, Yale University
Invited lecture. Paper: “The American Artist: Edward Weston in Mexico, Muralism, and Mestizaje”
“‘A line that birds cannot see’: Mexican/US Art and Artists Crossing Borders in the 20th Century,” Smithsonian American Art Museum, Washington, DC
Paper: “What’s Popular about Modernism? Mexican Arte Popular and U.S. Folk Art in the 1920s”
“In Black and White: Photography, Race, and the Modern Impulse in Brazil at Midcentury,” The Museum of Modern Art, New York, NY
Paper: “’Faces and Places’: Genevieve Naylor’s Photographic Impressions of Race in Brazil”
College Art Association Annual Conference, New York, NY,
Panel Co-Chair: "Taking Place: Renegotiating Art and Ecology from the Eighteenth Century to Today"
Association of Historians of American Art Biennial Symposium, Fort Worth, TX,
Paper: "Diego Rivera's 'Paintings of Pulquerias' and Edward Weston's Pulquería Photographs"
Newberry Seminar on American Art and Visual Culture, Chicago, IL,
Paper: “Manuel Álvarez Bravo, Helen Levitt, and the Surrealism of the Streets”
College Art Association Annual Conference, Washington, DC,
Paper: “Manuel Álvarez Bravo’s Optical Parable: Mexico’s First Modernist Photographer?”
Georgia O’Keeffe Research Center Conversation, Santa Fe, NM,
Paper: "The Rhetoric and Poetics of Tina Modotti's Photographs"
College Art Association Annual Conference, New York, NY,
Paper: "Samuel Fosso and the Studio: Occupational Self-Portraits"
Institute of Fine Arts-Frick Symposium, New York, NY,
Paper: "Edward Weston in Mexico: The American Artist"
Southeastern College Art Conference, Greensboro, NC,
Southwest Art History Conference, Taos, NM, Fall 2013
Paper: "Paul Strand: The Indian Between Art and Social Document"
History of Art and Architecture Graduate Symposium, Brown University
Symposium co-organizer: “Not On View”
North American Levinas Society Annual Conference, Toronto, ON,
Paper: "Time, Rhythm, Body: Trio A (The Mind is a Muscle, Part I)"
National Endowment for the Humanities (NEH) Summer Institute: Space, Place, and the Humanities, , Northeastern University. Three-week program in interdisciplinary field of Geohumanities. Aim is to integrate spatial thinking into teaching and research, using Boston as a laboratory for exploration.
Curatorial Workshop on the Photographic Book, , Yale University. Three-day workshop examining how the photo-book has been conceived, designed, printed, and conserved. Participants include Lee Friedlander, David Goldblatt, Richard Benson, Maria Morris Hambourg, and Paul Messier.
Transregional Academy on “Modernisms: Concepts, Contexts, and Circulation”, , Transregional Academy. One-week academy to facilitate exchange on concepts and variations of modernism across nations and regions. Organized by the Forum Transregionale Studien in Berlin in cooperation with the German Center for Art History in Paris.
Course Design Certificate II, The Sheridan Center for Teaching and Learning, Brown University. Seminar focused on developing strategies and practices for course design, implementation based on specific learning goals, and assessment.
Summer Institute in Technical Art History, Institute of Fine Arts-New York University. Two-week intensive course in technical art history and conservation focused on processes of mechanical reproduction. Training included medium recognition, understanding of material degradation, and hands-on production. Funding by the Andrew W. Mellon Foundation.
Reflective Teaching Certificate I, The Sheridan Center for Teaching and Learning, Brown University. Seminar focused on bringing a reflective approach into all elements of pedagogy. Topics included the development of student learning objectives to guide syllabus construction, strategies for teaching to a range of learning styles, and methods of assessment.
Contemporary Art Faculty Search Committee Member History of Art and Architecture, Brown University
Planning Committee, “Collectively,” Third Annual Philosophy and the Arts Conference, Stony Brook University
Co-Graduate Student Representative Art History and Criticism, Stony Brook University
Selection Committee, “Narrativity,” Second Annual Philosophy and the Arts Conference, Stony Brook University
“Reflections on Julia Kristeva,” co-written with Professor Robert Harvey for Humanities Institute newsletter and Annual Report 2008-2009, Stony Brook University
Co-founder and Coordinator Art Department Faculty Colloquium, Stony Brook University
Business Manager Art Criticism journal, Stony Brook University
Summer – Fall 2010
Development Consultant, Bronx River Art Center
Curatorial Intern, Museum of Contemporary Art
Museum Education Intern, Art Institute of Chicago
International Program Intern, Museum of Modern Art
Teaching Apprentice, Film and Video, In the Making program, Museum of Modern Art
Spring 2005 – Spring 2007
Young Artists Program Coordinator, Educational Alliance Art School
Lecturer in History of Art and Ethnicity, Race, and Migration, Yale University
College Art Association
American Association of Museums
Association of Historians of American Art
Spanish: heritage speaker, fluent writing, reading, and translating
French: proficient in speaking, writing, and reading
Italian: proficient in speaking and reading
German: competent in reading