As a presenter, an organizer, or a participant, I have benefitted a great deal from coming together with colleagues and learning from them in a number of (what I’m calling for now) “events”. Some of these are represented on my CV, but many of them aren’t. This is a space I have created to show how a variety of collaborative experiences have played a vital role in my professional life.


In the summer of 2018, I was fortunate to take part in the Mellon funded Summer Institute for Technical Studies in Art (SITSA) at Harvard Art Museum. The topic of our two-week course was replication, during which time we engaged in hands-on methods to gain experience with art-technical and object based investigations. While meeting with curators, conservators, conservation scientists, art historians, artists, and other makers, we were able to engage in close looking and making that deepened our knowledge of the the physical objects we study.

Defining Collective Identities in Public Spaces

I was the lead organizer for the 2018 symposium, hosted by the graduate students from the History of Art and Architecture Department at the University of Pittsburgh. This two day event was dedicated to examining the agency of monuments as living sites of cultural memory and identity. Speakers addressed these issues through a variety of historical contexts, examining how relationships between audiences and monuments are defined or redefined as regimes change, colonies falter, or public attitudes shift. Dr. Jacqueline Jung of Yale University gave a keynote entitled “From Cathedral to Monument: Abundant Histories at Reims & Naumburg.” Dr. Jung brought together issues of identity from across the centuries and continued to unfold the stakes in conversation with the respondent, Dr. Kirk Savage.

To read more about this and other University of Pittsburgh events, check out the Constellations website.


This course was held at the California Rare Book School and taught by Craig Kallendorf in the summer of 2017. This intensive seminar served as my introduction to the history of the book and the methods of its investigation. As part of this experience, we were fortunate to be able to use the holdings of the UCLA Research Library, the Getty Research Library, and the Huntington Library as we explored the physical works in conversation with how they were produced, distributed, and used throughout the objects’ lives.