Design and Violence is a curatorial experiment organized by Paola Antonelli, Senior Curator, Department of Architecture and Design, MoMA and Jamer Hunt, Director, graduate program in Transdisciplinary Design, Parsons The New School for Design, and myself. Check it out here. I’ve worked on the project during my time at MoMA, both online, as a contributing…

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I gave a paper, culled from part of my dissertation research, titled “Nothing is Transmissible but Thought: Le Corbusier’s Radiant Farm Made Real,” at the April 2014 Society of Architectural Historians Annual Conference, in Austin, TX.

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Translating Utopia: FSA Architecture and Le Corbusier’s Ville Radieuse

March 2014 California Design Colloquium, UC Berkeley, CA. The California Design Research Group, which comprises scholars in the University of California system whose research concerns Californian architecture, landscape architecture, and design, held its first bi-annual Graduate Student Colloquium: NEW THINKING ABOUT CALIFORNIA. PhD candidates from Europe and the United States presented papers on topics addressing Californian architecture,…

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February 2014 Annual College Art Association Conference (CAA), Chicago I oversaw the successful realization of the College Art Association’s Digital Humanities THATCamp at CAA 2014. I maintained the collaboratively authored THATCamp website, and researched, invited, programmed and directed a three day conference for ninety digital humanities innovators in collaboration with Anne Swartz of Savannah College…

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Frick Forum Evening Class–“What is Art History?” Over three weeks, my evening class explored the question “What is Art History?” through gender, technology, aesthetics and criticism, looking at sixteenth-century bronzes, works by Monet, Whistler and Cy Twombly, and curious eyes.

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One of the most poignant signs I saw waved during the Occupy Movement was held by a young woman who politely advised The System to “F**k your free internships.” Free intern labor wasn’t ever right, but it has become glaringly unethical in the current post-Lehman-crash era. That protest placard highlighted the unpaid internship as a simultaneous symptom…

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The digital humanities project I founded in 2011, arthistoryteachingresources.org, was awarded a $25,000 institutional grant to support further exploration and development. The site reaches 80+ countries as a peer-network for discussing and disseminating art history pedagogy.

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I won a Knickerbocker American Studies Dissertation Proposal Research Grant, Summer 2013, and headed to California for a deep dive into archives and site research.

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Painting, Identity and Modern Life Three-part course: July 9, 10 & 11, 5:30 to 7:00 p.m. Michelle Fisher, Adjunct Lecturer in Art History, Parsons The New School for Design Participate in three conversations that reflect on identity and modernity in the nineteenth century. How did painters such as Manet, Monet, and Renoir use their canvases to…

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“My main concern was that, unlike at my previous place of work (the Guggenheim Museum), I hadn’t found any basic template or peer-to-peer platform for sharing teaching resources. I felt like I’d spent a semester reinventing a very linear wheel. I was searching for the conversations teachers of all levels have (or don’t get to…

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Read the full post here. “It’s a show that, on the surface at least, is about things I’m happily distanced from – organized sports, parental rules, teen angst, and curfews – and I was going to write about something completely different this month (ie. something germane to Art 21 and Open Enrollment, something to do…

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February 2012 Art and the Mind: Neuroaesthetics, Phenomenology, and the Experience of Vision, University of Southern California (USC), LA Paper: Ferocious Fighting Men: A Phenomenological Reading of the Berserker Chessmen.

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I wrote on the Lewis chessmen, part of a longer research paper into the medieval beserker and hallucinogenic sight. “Armed to the Teeth: The Lewis Chessmen,” Metropolitan Museum of Art Exhibition Blog, December 20, 2011. [PDF]

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Beginning in the 1970s and exploding in use recently, curators and artists have claimed the terms “discursive turn” and “pedagogy” to describe elements of their practice within museums.  My interest lies in neither curators, nor contemporary artists per se, but artist-educators. This paper, “Museum Education and the Pedagogic Turn,” for the journal ARTWRIT concerns a…

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I responded to the symposium “Art Speech” held at MoMA in 2011: “What is “art speech” and how does it function and change across contexts, as art practice, interpretive gesture, vehicle of critique or connoisseurial, canonical voice? Is the spoken word just a lesser afterimage of text or is art speech always more compelling in person? Part…

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BOOK REVIEW “Second Suburb: Levittown, Pennsylvania by Dianne Suzette Harris,” Book Review, West 86th: A Journal of Decorative Arts, Design History, and Material Culture, Vol. 18, No. 1 (Spring-Summer 2011), pp. 119-121. Published by: The University of Chicago Press on behalf of the Bard Graduate Center. [JSTOR] [PDF]

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April 2011 Reconsidering Historiography 1900-1960, Art History Graduate Student Symposium, The CUNY Graduate Center, NY My great colleague and fellow architectural historian Sam Sadow and I organized this graduate student conference. Collected papers were later included in the Journal of Art Historiography Number 5, December 2011.

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March 2011 The Now Museum Symposium, The New Museum, NY Paper: When is an artist not an artist? Artists, Museum Education, and Hierarchies of Contemporaneity. I also wrote about this conference/summed up my paper there for Art21.

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