Curatorial Work


The Pennsylvania Landscape: Colonial to Contemporary was the first exhibition of Haverford College’s Cantor Fitzgerald Gallery to be independently curated by a current student. From 2005-2007, I worked to assemble loans of 40 representative objects from eight public collections, three collectors, and two contemporary artists for a scholarly study of the range of landscape art in Pennsylvania since the earliest European settlement. In addition to organizing installation, lighting, insurance, transportation, and security, I authored the book-length exhibition catalogue, now in the collections of the Library of Congress, National Gallery of Art, and Winterthur among others. The Philadelphia Inquirer‘s then Senior Art Critic Edward J. Sozanski called the show “an exceptional achievement” in his review: (“Precocious Curator”, Sunday, March 18, 2007, p. H5.)

This experience contributed to a passion for working with original objects in my research and teaching which has been further solidified by curatorial internships and fellowships at the Los Angeles County Museum of Art, Ashmolean Museum, and Philadelphia Museum of Art. At the latter, as a Barra Summer Fellow, I co-curated the 2015 permanent collection installation The Civil War in American Art. In 25 objects across two galleries, this show shared the variety of responses to the Civil War in visual culture grouped into three themes: Portents of Conflict; Heroes and Elegies; and War and Memory.

In 2016, I curated Abodes of Plenty: American Art of the Inhabited Landscape for the Mildred Lane Kemper Art Museum at Washington University in St. Louis. This project shared my research interest in domesticity and its representations with a broad public, which I also addressed directly in two public lectures. The objects on display included works by Durand, Inness, Hopper, Whistler, and Cole, all of which reflected the ways in which the house in the landscape became a characteristic and rich subject for American art in place of the built remains of antiquity that had provided evocative images for generations of European landscape painters.

At the Newark Museum, I’m working on the the 2018 exhibition The Rockies and the Alps: Bierstadt, Calame, and the Romance of the Mountains, an overview of 19th-century landscape painting in transatlantic context. Other projects include a catalogue of the Museum’s abstract art and a complete overhaul of the modern and contemporary galleries, in addition to rotations in the nineteenth-century galleries that are my core responsibility.