1989-2011 Ralph H. Wark Professor of Art and Art History and Professor of American Studies at the College of William and Mary. From September 2011, Professor Emeritus.

Received doctorate in art history from Columbia University, New York, NY, in 1973.

Recipient of the College Art Association’s Distinguished Teaching of Art History Award, 2007 (for citation see http://www.collegeart.org/awards/arthistory2007 )

Specialist in the art of Thomas Cole and the Hudson River School. Also writes frequently on the history of American art and American art institutions. Writings have appeared in (among other places) American Art, American Quarterly, Art in America, The Art Bulletin, Art History, Art Journal, Arts Magazine, Artforum, Chronicle of Higher Education, Harvard Design Magazine, Histoire et Critique des Arts, The Journal of Aesthetics and Art Criticism, The Journal of Design History, Marxist Perspectives, Kunst und Politik, etc.

Co-curator of “Thomas Cole: Landscape into History,” National Museum of American Art (March, 1994), Wadsworth Atheneum (Sept. 1994), and the Brooklyn Museum (Jan. 1995). Exhibition was accompanied by William Truettner and Alan Wallach eds., Thomas Cole: Landscape into History (Yale University Press and National Museum of American Art, 1994); author of the catalog’s principal essay, “Thomas Cole: Landscape and the Course of American Empire.”

Author of Exhibiting Contradiction: Essays on the Art Museum in the United States (University of Massachusetts Press, 1998, in print).

Co-editor with Andrew Hemingway of Transatlantic Romanticism: British and American Art and Literature, 1790-1860 (University of Massachusetts Press, 2015).

Co-author with Carol Duncan of two “classic” essays that have been frequently reprinted, “The Museum of Modern Art as Late Capitalist Ritual” (1978) and “The Universal Survey Museum” (1980). Author of

“Thomas Cole and the Aristocracy,” a “classic” for the American field (1981; reprinted in Elizabeth Milroy and Marianne Doezema eds., Reading American Art (Yale University Press, 1998)). Numerous other articles and essays also reprinted.

Scholarly work discussed in: John Davis, “The End of the American Century: Current Scholarship on the Art of the United States,” The Art Bulletin 85, no. 3 (September 2003), pp. 550, 555-557; Jonathan Harris, The New Art History: A Critical Introduction (London: Routledge, 2001), pp. 76-81; Wanda M. Corn,

“Coming of Age: Historical Scholarship in American Art,” The Art Bulletin 70, no. 2 (June 1988), p. 200. Writings have been translated into French, German, Spanish, Russian, Turkish, Macedonian, and Chinese.

Taught at Kean College of New Jersey 1974-1989; has also taught graduates and undergraduates at Rutgers University, City College, CUNY, Rhode Island College, UCLA, New York University Art Department, Stanford University, City University of New York Graduate Center, University of Michigan (1989).

Was Distinguished Visiting Professor of Art History at the University of Delaware in the spring of 2006. Was Robert Sterling Clark Distinguished Visiting Professor of Art History at the Clark Institute, Williamstown, MA, in the fall of 2008. Was Terra Visiting Professor of American Art, John F. Kennedy Institut für Nordamerikastudien and Kunsthistorisches Institut, Freie Universität, Berlin, fall of 2010.

2003-2009 University of Delaware Ph.D. Art History Newark, DE
 Major field: American Art, Minor field: History of Photography
 Dissertation: “Rooms with a View: Landscape Representation in the Late Colonial and Early National American Domestic Interior” Committee: Wendy Bellion (advisor), Bernard Herman, Michael Leja, and Maurie McInnis
2000- 2003 University of Southern California MA in Art History & Museum Studies Los Angeles, CA
1992-1996 Vassar College BA in Art History Poughkeepsie, NY
 Magna cum laude and Departmental Honors

2009 – present Pennsylvania Academy of the Fine Arts Philadelphia, PA
Curator of Historical American Art and Director of the Center for the Study of the American Artist (since 2016)
 Curator of over fifteen exhibitions, including nationally touring single artist retrospective, group shows with international loans, and a permanent collection reinstallation. Responsible for acquisitions of nineteenth and early-twentieth century American art totaling more than $8 million, lead grant-writing for eleven exhibitions, managing significant exhibition budgets ranging from $30,000 to $1.25 million, and facilitating patron stewardship, community outreach committees, and focus groups related to said exhibitions. Curatorial representative, PAFA Strategic Planning Committee (2013, 2018) PAFA Belonging (Diversity, Equity, Inclusion) Committee (2019). Supervisor, Director of the PAFA Archives; Curatorial Assistants; and Graduate Curatorial Interns.
February – May 2017 University of Delaware Newark, DE
Visiting Professor, Mellon Foundation Curatorial Track Ph.D.
 “Making History in the Americas: Exhibitions and Curatorial Practice” Art History 667-010
September 2005 – August 2006 University Museums of the University of Delaware Newark, DE
Edward Loper Catalog Project Curator and Research Assistant
September 2005 – May 2006 National Gallery of Art Washington, D.C.
Graduate Lecturer
January -February 2006 University of Delaware Newark, DE
 “American Art, 1607-1865” Art History 230.
February 2004 – May 2005 University of Delaware Newark, DE
Graduate Teaching Assistant
 “History of Photography” Art History 318, “Survey of the History of Art: Renaissance to Modern”
Art History 154, “Survey of the History of Art: Cave Painting to Medieval Europe” Art History 153.
September 2002 – May 2003 National Gallery of Art Washington, D.C.
Intern, Academic Year Internship in the Museum Profession
July – August 2001 National Park Service Yosemite, CA
Intern, Historical Architecture Program, List of Classified Structures

For From the Schuylkill to the Hudson (2019) – Horowitz Foundation, Henry Luce Foundation, Furthermore Grant, Coffin Grant, Newington Cropsey Foundation; For The Artist’s Garden: American Impressionism and the Garden Movement (2015) Winterthur Research Fellowship (Summer 2013), Mr. & Mrs. Raymond J. Horowitz Foundation for the Arts, Wyeth Foundation for American Art Publication grant, David R. Coffin Grant from the Foundation for Landscape Studies; For A Mine of Beauty: Landscapes by William Trost Richards (2012) – Wyeth Foundation for American Art Publication grant, Newington-Cropsey Foundation, the Edna W. Andrade Fund of the Philadelphia Foundation; For Henry Ossawa Tanner: Modern Spirit (2012) – National Endowment for the Humanities, The Terra Foundation for American Art, the Henry Luce Foundation, Exelon Foundation, Mr. & Mrs. Raymond J. Horowitz Foundation for the Arts, the Edna W. Andrade Fund of the Philadelphia Foundation; AAMC Foundation Travel Fellowship (May 2011, May 2012, May 2013), Association of Art Museum Curators, New York, NYM. Keck Foundation Fellowship at the Huntington Library (February 2010), Huntington Library, San Marino, CA; National Gallery of Canada Fellowship in European and Modern Art (January 2009); National Gallery of Canada, Ottawa, Canada; Robert H. Smith International Center for Jefferson Studies Fellowship (October 2008) Monticello, Charlottesville, VA; Attingham Summer School Samuel H. Kress Foundation Scholar (Summer 2008) American Friends of the Attingham Summer School, New York, NY; Henry Luce Foundation Dissertation Fellowship in American Art (2007-2008) American Council of Learned Societies, New York, NY; Gilder Lehrman Fellowship (January-March 2008) John D. Rockefeller, Jr. Library, Colonial Williamsburg, Williamsburg, VA; Lord Baltimore Fellowship (2007/2008) Maryland Historical Society, Baltimore, MD; Madelyn Moeller Research Fellowship in Southern Material Culture (2007); Museum of Early Southern Decorative Arts, Winston-Salem, NC; Smithsonian Pre-doctoral Fellowship (January to September 2007) Smithsonian American Art Museum, Washington, D.C.; McNeil Dissertation Fellowship (Fall 2006) Winterthur Museum, Garden and Library, Wilmington, DE; Ailsa Mellon Bruce Predoctoral Travel Fellowship ( 2004-2005) For travel to Spain and France. Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

At the Pennsylvania Academy of the Fine Arts
From the Schuylkill to the Hudson: Landscapes of the Early American Republic (2019), Curator; Graphic Women (2017), Curator; Life, Liberty, Happiness? (2016), Co-Curator; Thomas Eakins: Photographer (2016), Co-Curator; The Artists Garden: American Impressionism and the Garden Movement, 1887-1920 (2015), Organizing Curator; travel venues: Chrysler Museum of Art, Reynolda House Museum of American Art, and Huntington Library, Art Collections and Botanical Gardens, Florence Griswold Museum; Spiritual Strivings: A Celebration of African American Works on Paper (2014), Curator; Hidden Treasures Unveiled: Watercolors (2013), Co-Curator; Modern Women at PAFA: From Cassatt to O’Keeffe (2013), Co-Curator; A Mine of Beauty: Landscapes by William Trost Richards (2012), Curator; A New Look: Samuel F. B. Morse’s Gallery of the Louvre (2012), Co-Curator ; Henry Ossawa Tanner: Modern Spirit (2012), Organizing Curator; travel venues Cincinnati Museum of Art and Museum of Fine Arts, Houston; Anatomy/Academy (2011), Lead Curator; American Art Starts Here: PAFA Refreshed, Reloaded (2010), Co-Curator; Virgins, Soldiers, Angels, and Saints: Violet Oakley’s Religious Art from the PAFA Collection (2010), Curator; Public Treasures/Private Visions: Hudson River School Masterworks (2009), Curator

Editor and co-author, From the Schuylkill to the Hudson: Landscapes of the of the Early American Republic Philadelphia: Pennsylvania Academy of the Fine Arts, 2019.
“Landscapes of the New Republic at Thomas Jefferson’s Monticello” in Building the British Atlantic World. Bernie Herman and Daniel Maudlin Editors, Chapel Hill: University of North Carolina Press, 2016.
Editor and co-author, The Artist’s Garden: American Impressionism and the Garden Movement. Philadelphia: University of Pennsylvania Press, 2015.
Editor and co-author, A Mine of Beauty: Landscapes by William Trost Richards. Seattle: Marquand Press, 2012.
Editor and co-author, Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press, 2012.


Boston University, Boston, MA

September 2018- Present

Ph.D. Student in American and New England Studies

(Minor) Nineteenth-Century History, (Minor) Nature & Nineteenth-Century Literature Advisor: Ross Barrett, Ph.D.


Sotheby’s Institute of Art, New York, NY

March 2017

Master of Arts in American Fine and Decorative Art with Honors

Thesis: The Capitalist-Marxist Dichotomy within the Hudson River School:

Conceptualizing American Property through the Career of Worthington Whittredge (1820-1910) Advisor: Jonathan P. Clancy, Ph.D.


St. Lawrence University, Canton, NY

May 2010

Bachelor of Arts in English, British Literature and Fine Arts, Art History

Research Interests

Socioeconomic and political influences on the Hudson River School American philosophy and its role in nineteenth-century aesthetics

Scholarships, Awards, and Fellowships

Research Fellowship, September 2019- December 2019

Boston University, Boston, MA

Buildings & Landscapes: Journal of the Vernacular Architecture Forum


Linsdell Fellowship, June 2019-August 2019

Nichols House Museum, Boston, MA


Dean’s Fellowship, September 2018- May 2019

Boston University, Boston, MA


Dewey Lee Curtis Scholarship—Annapolis Symposium, April 2019

Decorative Arts Trust, Media, PA


Sotheby’s Institute of Art Distinction Award for Theses, March 2017

Sotheby’s Institute of Art, New York, NY


Sotheby’s Institute of Art Academic Honors, March 2017

Sotheby’s Institute of Art, New York, NY


Sotheby’s Institute of Art Merit Scholarship, September 2015- March 2017

Sotheby’s Institute of Art, New York, NY


Guest Curator, “Understanding the Landscape of Upstate through the Hudson River School,” (Binghamton Summer First Fridays Art Walk), Bundy Museum of History and Art, Binghamton, NY, June-August 2017.


Curatorial Assistant, “A Sense of Place, A Sense of Time,” Great Harbor Maritime Museum, Northeast Harbor, ME, June-August 2017.


Curator, “Decorative Arts of the Tredwell Family,” Merchant’s House Museum, New York, NY, June- August 2016.


American & New England Studies Graduate Student Association,

Boston University, Boston, MA

Social Chair, September 2019-Present


American & New England Studies Mentor Program,

Boston University, Boston, MA

Mentor, September 2019- Present


Boston Alumni Association,

Sotheby’s Institute of Art, New York, NY

Co-Chair, October 2018- Present

Professional Experience

Bar Harbor Historical Society, Bar Harbor, ME

Curatorial Volunteer, July 2019

  • Assisted with museum relocation and collection’s preservation and organization throughout process
  • Handled paintings, drawings, and objects with care and concern for age, ware, and preservation
  • Catalogued objects not on view and organized part of collection for ease of access and use
  • Researched nineteenth-century landscape images of Acadia National Park and Mount Desert Island


One Kings Lane, New York, NY

Assistant Curator, Vintage and Antique Furniture, Lighting, and Mirrors, July 2017- July 2018

  • Vetted and authenticated products to create a curated vintage assortment for a luxury furniture and home décor e-commerce website
  • Leveraged expertise regarding decorative arts periods, materials, styles, designers, and manufacturers in collaboration with the buying and planning teams
  • Curated and merchandized vintage and antique furniture into sales events which highlighted both the various items’ styles and periods


Merchant’s House Museum, New York, NY,

Curatorial and Collections Intern, May 2016- August 2016

  • Produced an updated, comprehensive, user-friendly, organized furnishings plan for a ca. 1833 row house located on the Lower East Side of Manhattan
  • Created & implemented a catalogue system for thousands of decorative and fine art objects not on view
  • Curated a thematic decorative arts tour focused on highlights of the museum’s collection
  • Conducted educational tours to the public and students with an emphasis on decorative arts of the mid- nineteenth-century and the socioeconomic history of lower Manhattan


Winter Antiques Show, New York, NY,

Show Management Head Staff, January 2016

  • Managed a staff of nine for the daily production of the Winter Antiques Show
  • Created schedules, invoiced hourly wages, and implemented a system tallying gross ticket sales
  • Assisted exhibitors by monitoring booths, speaking with clients, and assisting with daily needs


The Magazine Antiques, New York, NY,

Advertising & Publishing Intern, February 2012- August 2012

  • Worked for Brant Publications and helped with production of 90th anniversary of magazine
  • Developed and enhanced social media sites geared toward the magazine and the art industries

Realizador de Cine y T.V. de la Universidad Nacional, Historiador de la Universidad Javeriana, Magister y Doctor en Historia de la Universidad de los Andes. Ha realizado frecuentes estancias de investigación postdoctoral en el Kunsthistorisches Institut en Florencia, Italia, entre el 2012 y 2018, y en la Universidad de Bern, Suiza, en el 2019.

Como Investigador se enfoca en los recorridos de la imagen americana de los siglos XVIII y comienzos del XX. Entre los años 2006 y 2009 fue curador del Museo de Arte Colonial en Bogotá. Ha asesorado proyectos y curadurías para el Museo Militar, el Centro de Memoria, paz y reconciliación del distrito, la Galería el Dorado y la Universidad Santo Tomás entre otras instituciones. Como docente, ha realizado seminarios sobre la imagen, el arte y la historia en la Universidad Javeriana, Andes y Externado. Ha publicado libros, capítulos de libro y artículos en revistas especializadas en Perú, Bolivia, Colombia y Estados Unidos. Fue finalista en el año 2009 y 2010 del Premio Nacional de Crítica.

Actualmente es docente asociado de la Universidad EAN

Assistant Professor in Art History, The University of Tennessee at Chattanooga

Institutional   link:   http://www.utcart.com/profile/dr-olivia-wolf

Publications   link:  http://utc.academia.edu/CarolineOliviaMWolf


2018                 Ph.D., Art History, Rice University, Houston

Dissertation: “Migrant Constructions and Mahjar Monuments: Transnational Art and Architecture in Modern Argentina, 1910-1955”

Primary Specializations: Latin American Art and Architecture

Secondary fields: Middle Eastern Art and Architecture, Global Modernism 2015-2017      Graduate seminars in Argentine and Latin American Art history, IDAES-

Universidad Nacional de San Martín, Buenos Aires, Argentina 2011        MA, History of Art, Indiana University,  Bloomington 2001      BFA in Design, University of Notre Dame, Cum Laude

Spring 2000       Saint Mary’s College Rome Study Abroad Program, Rome, Italy


Fall 2018 – Current                    The University of Tennessee at Chattanooga

Assistant Professor in Art History

Spring & Fall 2017                     New York University Buenos Aires Global Program

Lecturer in Art History, Latin American Visual Culture

Summer 2017 & Spring 2018       Rice University, Houston

Instructor of Record, Art History

Spring 2010                               Indiana University, Bloomington

Assistant Instructor, Art History


May 2019          Calouste Gulbenkian Museum Visiting Scholar, Lisbon, Portugal

Summer 2018    Rice Humanities Research Center Research Travel Award: Spain and Turkey 2017 – 2018 Lodieska Stockbridge Vaughn Dissertation Fellowship

2017                 Transregional Academy in Latin American Art II Seminar Fellow–

Mobility: Objects, Materials, Concepts, Actors, Forum Transregional Studien and Max Weber Foundation, Buenos Aires, Argentina

2016                 Transregional Academy Latin American Art I Seminar Fellow – Modernisms: Concepts, Contexts, and Circulation, Forum Transregional Studien and Max Weber Foundation, São Paolo, Brazil

2016                 IV Annual Rice University-Unicamp Seminar Fellow, Local e Global: Conexões Nacionais e Transnacionais / Local and Global: National and Transnational Connections, Campinas, Brazil

2015 – 2016      Fulbright-Hays Doctoral Dissertation Research Abroad Fellowship

2014                 National Endowment for the Humanities, Jewish Buenos Aires Seminar Fellow 2013            Society of Architectural Historians’ SAHARA Grant

2012 – 2013      Camfield Fellow, Latin American Art, The Museum of Fine Arts, Houston 2013   Wagoner Fellowship, Pre-dissertation research: Argentina and Uruguay 2012     Wagoner Fellowship, Qualifying Paper research: Argentina, Chile and Brazil 2011, 2010      Foreign Language and Area Studies Fellowship (FLAS), Arabic Study


PhD Expected The Graduate Center, City University of New York
Fall 2020 Art History of the United States and Latin America to 1945 Dissertation in progress: “‘Delicious Libations’: Representing the Nineteenth-Century Brazil-U.S. Coffee Trade”
(Advisor: Katherine E. Manthorne; Second Reader: Judy Sund)

BA 2008 Mount Holyoke College, Cum Laude
Art History and History double major

Recent Dissertation Fellowships
2019-2020 International Research Travel Grant, Terra Foundation for American Art
July 2019 Andrew W. Mellon Foundation Fellow, The Library Company of Philadelphia & The Historical Society of Pennsylvania
June 2019 Last Fellowship in American Visual Culture, American Antiquarian Society 2018-2019 Martin M. Spiaggia Dissertation Award, The Graduate Center, CUNY

Select Publications

2019 Chapter: “Coffeehouse Slip: Ecocriticism and Global Trade in Francis Guy’s
Tontine Coffee House, NYC,” in Coughlin, Maura & Emily Gephart, eds. Ecocriticism and the Anthropocene in Nineteenth-Century Art and Visual Culture. New York, NY: Routledge, 2019.

2018 Chapter: “Women in High Places: Georgia O’Keeffe and Julia Codesido in the Peruvian Andes,” in Lippert, Sarah, ed., Artistic Responses to Travel in the Western Tradition. New York, NY: Routledge, 2018.

Select Conferences

2019 Conference Co-Organizer: Un-Fair Trades: Artistic Intersections with Social and Environmental Injustices in the Atlantic World, The Graduate Center, CUNY, October 10-11, 2019. Keynote Speakers: Alan C. Braddock (College of William and Mary) & Charmaine A. Nelson (McGill University)

2019 “Coffee House Slip: Global Trade and Environmental History in Francis Guy’s Tontine Coffee House, N.Y.C.” College Art Association, New York, NY, February 13–16, 2019.

2018 “Fueling the Union: Coffee Consumption in Winslow Homer’s Civil War Images,” The Southeastern College Art Conference (SECAC), Birmingham, AL, October 17-20, 2018.

2018 “Harvesting the Tropics: Representing the Climate and Topography of Brazil’s 19th-Century Coffee Plantations,” panel on Climate as Commodity, C19: The Society of 19th-Century Americanists, Albuquerque, NM, March 22-25, 2018.

Claudia Cendales Paredes es PhD en Historia del Arte de la Technische Universität de Berlín (Tema: Los parques y jardines públicos de Bogotá: su surgimiento, significado y desarrollo 1886-1938, publicación: Die Park- und Grünanlagen in Bogotá: Entstehung, Bedeutung und Entwickung 1886-1938, Petersberg 2013); Master of Science en Conservación del Patrimonio arquitectónico de la Technische Universität de Berlín y M.A. en Historia del Arte (Etnología y Sociología minor) de la Ludwig-Maximilians-Universität de Munich.

Es investigadora y curadora independiente, además de docente universitaria en las áreas de historia y teoría del arte y la arquitectura y patrimonio cultural. Se ha desempeñado como docente universitaria en diferentes universidades como la Universidad Nacional de Colombia, Universidad Externado de Colombia y actualmente en la Universidad Jorge Tadeo Lozano en Bogotá.

Sus principales áreas de investigación incluyen la historia de los parques y jardines, la historia del arte y la arquitectura modernos y el intercambio cultural entre Europa y Latinoamérica. Ha publicado numerosos artículos y trabajos relacionados con el patrimonio cultural y la historia de parques y jardines. Desde 2014 trabaja también para la editorial Walter de Gruyter en la redacción sobre Latinoamérica del Léxico de Artistas AKL.


Rutgers University, New Brunswick, NJ
Doctor of Philosophy (Ph.D.), Art History (Expected 2024-2025)

Temple University, Philadelphia, PA
Master of Arts, Art History, May 2018
Thesis Title: Between New York and the Andes, Abstraction and Indigenismo: Camilo Egas’s Paintings of the 1940s and 1950s

Universidad San Francisco de Quito, Quito, Ecuador Bachelor of Arts, Education, Summa Cum Laude, June 2011 Minor: Art History


Research Assistant, Institute for Studies on Latin American Art (ISLAA), May 2018 – Present

Research Assistantship with Mariola Alvarez, Tyler School of Art, Temple University, January – May 2018 Assisted editing all contributor’s chapters for the book New Geographies of Abstract Art in Postwar Latin America co-edited by Mariola Alvarez and Ana M. Franco, published by Routledge in November 2018

Contemporary Art Curatorial Intern and Government and External Affairs Intern, Philadelphia Museum of Art, June 2017 – September 2017, June 2016 – August 2016

Part-time Faculty, World Art History I and II, Broward College, Ecuador Extension, Branch in Quito, May 2012 – December 2012


South and About! Institute of Fine Arts, New York University, September 2018 “Straddling Styles: Camilo Egas’ 1956 Exhibition at the Casa de la Cultura Ecuatoriana”

X Congreso ecuatoriano de historia, Universidad de Cuenca, Ecuador, October, 2018 “Entre-medio: Las figuras indígenas en la exposición de Camilo Egas en la Casa de la Cultura Ecuatoriana en 1956”

Vision Margins, MFA Thesis Catalog 2017, Co-editor and Text Contributor, Tyler School of Art, Temple University, January – June 2017


Spanish (native); English (fluent)

The Graduate Center, City University of New York, New York, NY
PhD in Art History, February 2012, Dissertation: Passive Fascism? The Politics of Austrian Heimat Photography
MPhil in Art History

University of Minnesota, Minneapolis, MN
MA in Art History, December 2005, MA theses: Gabriel Lippmann’s Photography: The Pursuit of Color in the 19th Century and A Theatrical Advertisement: The Cabinet of Curiosity Catalogue

Technical University Dresden, Germany
MA in German Studies / Culture and Communication, June 2003, MA thesis: Museumskommunikation in den USA und in Deutschland

Texas A & M University, College Station, TX
BA in German with a minor in Art, May 2000

New York Public Library, Assistant Curator of Photography, 2012-present
Museum of Modern Art, New York, Freelance English and German-speaking Gallery Lecturer, 2009-2020
Graduate Center, CUNY, Guest Professor, Spring 2018, Fall 2019: Photohistories of Latin America; Race, Politics and Photography

Curator of Anna Atkins Refracted: Contemporary Works, New York Public Library, September 28, 2018 – January 6, 2019

Co-Curator of What’s New? Recent Acquisitions, Wallach Division, New York Public Library, October 13 – February 11, 2018

Curator of Viewpoints: Latin America in Photographs, New York Public Library, March 24, 2017 – June 28, 2017
Reviews: Hyperallergic, TheWeek.com, Collectordaily

Co-Curator of Public Eye: 175 Years of Sharing Photography, New York Public Library, December 12, 2015 – January 4, 2016
Reviews: NY Times lens blog, The Smart Set, The Wall Street Journal, Village Voice

“Modern Children by Modern Women” in The New Women Behind the Camera, ed. Andrea Nelson (Washington, D.C.: National Gallery of Art, 2020), 115-125.
with Jessica Keister, “Polar Expeditions: A Photographic Landscape of Sameness?” in Proximity and Distance in Northern Landscape Photography: Contemporary Criticism, Curation and Practice, eds. Darcy White and Chris Goldie (Bielefeld: Transcript, 2020), 35-55.
“Heimatfotografie in Tirol 1938–1945: eine flexible Sicht der Dinge” in Kunst 1938-1945, ed. Günther Dankl (Innsbruck: Tiroler Landesmuseums Ferdinandeum, 2018), 158-167.

“Paris 1937: Promoting Austria Abroad” Austriaca. Cahiers universitaires d’information sur l’Autriche no. 83 (Dec 2016) (belatedly published in 2018)

“Traditional Modern becomes a Modern Tradition: Heimat Photography in Austria” in Anti:Modern; Salzburg inmitten von Europa zwischen Tradition und Erneuerung, ed. Sabine Breitwieser (Munich: Hirmer, 2016), 288-292.

with Stephen C. Pinson “Public Eye: 175 Years of Sharing Photography” Exposure 48, no.2 (Fall 2015)

Heimat Photography in Austria: A Politicized Vision of Peasants and Skiers. Salzburg: Fotohof, 2015. German-language edition: Heimatfotografie in Österreich: Eine polisierte Sicht von Bauern und Skifahren. trans. Wolfgang Astelbauer. Salzburg: Fotohof, 2015.

“Rudolf Koppitz und die österreichische Heimat” in Rudolf Koppitz: Photogenie, ed. Monika Faber (Vienna: Brandstätter, 2013), 44-53.

“The Problem of German Identity in 1930s Austria and the Influence of Austrian Heimat Photography” in Representations of German Identity, eds. Deborah Ascher Barnstone and Thomas Haakenson (New York: Peter Lang, 2013), 153-175.

“Lost Somewhere on the Mountain: Wilhelm Angerer and Austrian Heimat Photography”
History of Photography 32, no.3 (Autumn 2008): 248-259.

“Imaging the Landscape as Feminine: A Series of Nudes by Franz Roh” Athanor 25 (2007): 102-107.

“Das Familien Album der Familie Leistner: Dresden in Fotografien von J.R. Leistner und E.A. Donadini” Dresdner Kunstblätter 5 (2003): 261-268.

Conference Northern Light: Critical Approaches to Proximity and Distance in Northern Landscape Photography, Sheffield Hallam University, UK, July 2018
Paper co-authored with Jessica Keister, Associate Conservator of Photographs: “Polar Expeditions: A Photographic Landscape of Sameness?”
Symposium Rethinking “Pictorialism” American Art and Photography, 1895 to 1925, Department of Art & Archaeology, Princeton University, 2017
Paper: “What a Woman Can Do: The Photography of Elizabeth Buehrmann”
College Art Association Conference, Washington, D.C., 2016
Paper: “Erna Lendvai-Dircksen and the German Face”

Session Co-Chair, College Art Association Conference, New York, 2015
Moderated “A Social Medium: Photography’s History of Sharing”

Conference of the German Studies Association (GSA), Louisville, Kentucky, 2011
Paper: “The Problem of German Identity in 1930s Austria and the Rise of Austrian Heimat Photography”


2009    PhD, Department of History of Art and Architecture, University of California, Santa Barbara

Major area of focus: Pre-Columbian and Colonial Latin America; minor: Early Modern Spain

Facing Boundaries: Identity and Authority in South American Portraiture, 1750-1824


Dissertation Committee: Jeanette F. Peterson (Chair, History of Art and Architecture), Cecilia Méndez G. (History), Ann Jensen Adams (History of Art and Architecture)

2004    MA with honors, History of Art and Architecture, University of California, Santa Barbara

2000    BA Summa Cum Laude, Boston College



2017-2019      Visiting Lecturer, University of California, Santa Barbara.

2013-2015      Assistant Professor of Art History and Chair of Fine Arts Department, College of Mount Saint Vincent, Riverdale, NY.

2011-2013      Assistant Professor of Art History, Herron School of Art and Design, Indiana University, Indianapolis, IN.

2009                Adjunct Professor of Art History, Whittier College, Whittier, CA.

2009                Visiting Lecturer, University of California, Santa Cruz.


Research Grants and Academic Honors

2013    Faculty Conference Travel Grant, College of Mount Saint Vincent

2013    New Frontiers in the Arts and Humanities Major Grant, Indiana University

2012    IUPUI Arts and Humanities Internal Grant, Indiana University http://www.iupui.edu/~iahi/

2012    New Frontiers Faculty Research Grant, Indiana University





In Press          Pictured Politics: Visualizing Colonial History in South American Portrait Collections.

2019                A Companion to Early Modern Lima. Editor. Leiden: Brill.

2015                Manuscript Cultures in Colonial Mexico and Peru: New Questions and Approaches. Co-editor with Thomas B.F. Cummins, Juan Ossio, and Barbara Anderson. Los Angeles: Getty Publications.


Journal Articles

2019                “Publishing Latin American and Latinx Visual Culture Scholarship in the 21st Century.” Co-author with Charlene Villaseñor-Black. Latin American and Latinx Visual Culture 1.1 (2019).

2018                “Artistic Invention as Tradition in the Portrait Painting of Late-Colonial Lima.” Anales del Instituto de Investigaciones Estéticas, Universidad Autónoma de México XL.113 (2018) 41-79.

2010                “Official Portraiture and Authority in Late-Colonial Lima and Buenos Aires.” Dieciocho 33.1 (Spring) 169-206.

2009                “Visualizing a Colonial Peruvian Community in the Eighteenth-Century Paintings of Our Lady of Cocharcas.” Religion and the Arts 13 (2009) 299-339.

I am an independent scholar from Caracas, Venezuela with a background in physics, geosciences, Asia-Pacific business, and the oil and gas industry. I have lived, studied and worked in the United States, China, Japan, and the Netherlands. I enjoy reading, teaching, and researching the history of science and technology.

I am the Principal Researcher at VES PROJECT, an independent research initiative I created in which I have been documenting and reconstructing the path of migrant STEM professionals in Venezuela. More than 30 in-depth profiles of STEM professionals have been created. On the teaching side, I am a lecturer in History of Science at the Faculty of Science of the Central University of Venezuela (UCV). I teach ‘History of Physics‘ and ‘Topics in the Cultural History of Science and Technology.’ I have been a Visiting Collaborator (2016-2018) at the Laboratory of History of Science and Technology, Center  of Science Studies, Venezuelan Institute of Scientific Investigations (IVIC), Altos de Pipe, where I conducted the graduate seminar Special Topics in Social Studies of Science on the subject of: ‘ Science During the Enlightenment in Spain and Venezuela: The Case of Physics (1700-1813). I also write for Revista Persea, a publication created to promote the scientific culture in Latin America (for instance, see the series of articles under the umbrella tittle: La física en el siglo XVIII español).


  • The development of the Digital Historical Sounding (DHS) methodology to use Internet and social media as an aid for historical research.
  • The portrayal of Venezuelan women in technological
  • The profiles of European, Asian, and Latin American migrant STEM professionals into
  • The profiles of the Venezuelan STEM migration in USA/Canada and
  • The study of the Japan-Venezuela collaboration in science and
  • Shedding light on the education of 19th-century Venezuelan scientist and engineer Vicente Marcano (1848-1891).


University of Southern California, Marshall School of Business, Los Angeles, CA, USA Master of Business Administration (Concentration in Strategy & Asia-Pacific Business) Beijing Language and Cultural University, Beijing, China

Chinese Language & Culture Studies University of California, Berkeley, CA, USA Graduate Studies in Geosciences

Central University of Venezuela, Caracas, Venezuela

Licenciado Degree in Physics (Bachelor of Science degree with thesis)


  • Álvarez-Cornett, “Semblanzas de los profesores de la Escuela de Física de la UCV” in Freites, Y., Tiempo y saberes de la física en Venezuela: del siglo XVIII al XXI, Ed. IVIC (forthcoming).
  • Álvarez-Cornett, J. “Vicente Marcano (1848-1891), redescubierto. Parte II: la educación francesa de un científico venezolano decimonónico” (to be published).
  • Álvarez-Cornett, J. “Vicente Marcano (1848-1891), redescubierto. Parte III: los perfiles biográficos de sus profesores en la Escuela central de artes y manufactura (1866-1869)” (to be published).
  • Álvarez-Cornett, J. “Vicente Marcano (1848-1891), redescubierto. Parte I: el perfil biográfico y la educación temprana de un científico venezolano del siglo XIX.” Bitácora-e: Revista Electrónica Latinoamericana de Estudios Sociales, Históricos y Culturales de la Ciencia y la Tecnología, No. 2 (2017).
  • Álvarez-Cornett, J. “Crónicas digitales de la migración tecnocientífica venezolana: Proyecto VES y Sondeo Histórico Digital“, en AA. , Innovación, tecnología e información. El nuevo paisaje de la comunicación. Memorias arbitradas por pares doble ciego correspondientes al VI Congreso de INVECOM celebrado en la Universidad Monteávila, Caracas, del 24 de mayo al 7 de junio de 2017, pp. 410-422.
  • Álvarez-Cornett, J. and De Castro, A. “Mujeres en Física (Women in Physics)” in Liliana López and María Antonieta Ranaudo (Editors), “Mujeres en Ciencia: Venezuela, sus historias inspiradoras”, Academia de Ciencias Físicas, Matemáticas y Naturales, (2017).
  • Álvarez-Cornett, “Juan Gschwendtner, physicist and hydrologist: his professional life profile created using the digital historical sounding methodology“, Bitácora-e: Revista Electrónica Latinoamericana de Estudios Sociales, Históricos y Culturales de la Ciencia y la Tecnología, No. 2. (2013).

Juan Darío Restrepo Figueroa coordina el área Gestión de Museos del Instituto Caro y Cuervo (ICC) , proyecto que lidera desde hace más de cinco años. Formado como comunicador social – organizacional en la Universidad Autónoma de Bucaramanga (Unab) y con estudios de maestría en Historia del Arte, la Arquitectura y la Ciudad en la Universidad Nacional de Colombia (UN). Desde su pregrado orientó sus intereses académicos y ejercicio profesional al mundo de los museos y las colecciones de arte colombiano. Se desempeñó como asistente de curaduría de arte e historia entre 2004  y 2010, fue asistente de dirección y realizó curadurías de exposiciones temporales en el Museo de Arte Moderno de Bucaramanga (MAMB) entre 1999 y 2003.

Sus temas de investigación se han centrado en las colecciones institucionales públicas de arte e historia del siglo XX. En el último quinquenio los personajes y la cultura material del siglo XIX han centrado toda su atención. En su trayectoria profesional se suman más de 25 exposiciones de corta, mediana y larga duración de temas en su mayoría colombianos en calidad de curador o curador asociado, donde se destacan:

En el ICC: Dos por uno. Retratos dobles en Colombia (2018). El Ángel de la casa. Ángel Augusto Cuervo Urisarri. (2016). ¿País a la medida? Colombia en palabras, imágenes y objetos (2015) en asocio con el Museo de la Independencia – Casa del Florero.

En el Munal: Dar es dar. 50 años de la donación Eduardo Santos al Museo Nacional de Colombia (2009). ¡Esto no lo vuelvo a hacer en mi vida! María Teresa Hincapié (2009). Enrique Grau en la colina de la deshonra (2009)
 Galán vive. (2009) Toda talla. Esculturas de Miguel Sopó (2008). ¡En bronce te convertirás! Obras de Luis Pinto Maldonado (2005)

Dentro de sus publicaciones se reseñan “Curaduría en un museo. Nociones Básicas”. publicado por Ministerio de Cultura a través del Programa Red Nacional de Museos del Museo Nacional de Colombia en 2009 y el artículo “Miss Museo. Mujer, nación, identidad y ciudadanía“, en: Cuadernos Pensar en Público (número 1). Las tras escena del Museo. Nación y objetos en el Museo Nacional de Colombia, editado por el Instituto Pensar de la Pontificia Universidad Javeriana en 2006.

Juliet S. Sperling
University of Washington
Division of Art History, School of Art + Art History + Design


September 2020 – Kollar Endowed Chair and Assistant Professor of American Art, School of Art + Art History + Design, University of Washington, Seattle, WA

2018 – August 2020 Faculty Fellow in American Art, Colby College, Waterville, Maine


Ph.D. University of Pennsylvania, History of Art, May 2018

M.A University of Pennsylvania, History of Art, 2013

B.A. University of North Carolina at Chapel Hill, Art History and American Studies, with honors and distinction, 2007-2011


In Preparation

Tactile Encounter and the Moving Image in American Visual Culture (book manuscript)


“Image.” Early American Studies: An Interdisciplinary Journal, special “Keywords in Early American Material Texts” issue, vol. 16, no. 4. 683-690. Fall 2018.


“Unfolding the Metamorphosis: Constructing Tactile Visuality in Early National America.”
Forthcoming in American Art Journal, Fall 2021.

“Modeling Maneuvers: Anatomical Illustration and the Practice of Touch.” Chapter in Modelwork: Material Culture and Modeling in the Humanities, eds. Martin Brückner, Sandy Isenstadt, and Sarah Wasserman. University of Minnesota Press. Forthcoming 2021.



2016-2017 Henry Luce Foundation/ACLS Dissertation Fellowship in American Art

2017 Jay and Deborah Last Fellowship, American Antiquarian Society

2015-2016 Jane and Morgan Whitney Fellowship, the American Wing, Metropolitan Museum of Art

2014-2017 Andrew W. Mellon Fellowship of Scholars in Critical Bibliography, Rare Book School

2014-2015 Smithsonian American Art Museum, Wyeth Foundation Predoctoral Fellowship

2014 Andrew W. Mellon Short-Term Fellow in Early American Literature and Material Texts, McNeil Center for Early American Studies

2014-2015 Marguerite Bartlett Hamer Fellowship, McNeil Center for Early American Studies (Declined)

2015 Crystal Bridges Museum of American Art, Tyson Fellowship in American Art (Declined)

2014 Rare Book School Director’s Scholarship, University of Virginia

2013 Ailsa Mellon Bruce Predoctoral Fellowship for Historians of American Art to Travel Abroad, Center for Advanced Studies in the Visual Arts (CASVA)


2019-2020 Lunder Institute for American Art Faculty Grant, Colby College

2016-2017 Dean’s Scholar, University of Pennsylvania

2014-2015 Dissertation Research Fellowship, University of Pennsylvania

2013 McCoubrey-Campbell Travel Fellowship, History of Art Department, University of Pennsylvania

2011-2016 Benjamin Franklin Fellowship, University of Pennsylvania 2


2013-2014 Dean’s Award for Distinguished Teaching by Graduate Students, University of Pennsylvania.

2012-2013 Penn Prize for Excellence in Teaching by Graduate Students, University of Pennsylvania.


[2021]* “Rescues at Sea.” In “Visual Cultures of the Victorian Atlantic,” NAVSA Annual Conference: Unsettling Victorians, November 4-6. *Postponed due to Covid-19.

[2021] “Unbuilding the Landscape in the Reconstruction South.” Landscape Art of the Americas: Sites of Human Intervention Across the Nineteenth Century symposium, Universidad de los Andes, Bogotá, Colombia. May 21-23. *Postponed due to Covid-19.

2020 “Engineering Time in Rufus Porter’s Revolving Almanack.” Invited gallery talk for the exhibition Rufus Porter’s Curious World: Art and Invention in America, 1815–1860, Bowdoin College Museum of Art. April 8. *Canceled due to Covid-19.

2019 “Touching, Seeing, Knowing: Movable Books in Nineteenth-Century America.” Invited public lecture, Kate Cheney Chappell ’83 Center for Book Arts, University of Southern Maine. Portland, ME. November 5.

2019 Invited panelist, “To Catch the Eye: A Visual Culture Program Roundtable Discussing the Digital Relevancy and History of Moving Pictures before the 20th Century.” Library Company of Philadelphia, May 16.

2019 “Something in the Soil: Edward King’s Great South.” American Contact: Intercultural Encounter and the History of the Book, Philadelphia, PA. April 12.

2018 “David Claypoole Johnston and the Art of Interrupted Circulation.” Fifth Biennial Symposium of the Association of Historians of American Art, Minneapolis-St. Paul, Minnesota. October 4-6.

2018 “Thinking Past Pictures.” Invited talk, “Future Methods” roundtable. Society of Fellows in Critical Bibliography Annual Meeting, Charlottesville, VA. May 24. “What is Critical Bibliography?” Invited roundtable participant. Society of Fellows in Critical Bibliography Annual Meeting, Charlottesville, VA. May 24.

2018 “Economies of Surface in Nineteenth-Century Print Culture.” Invited talk, Hope College, March 7.

2018 “Touching Prints and Creating Knowledge in Early America.” In “Projecting the Body,” College Art Association 2018 Annual Meeting, Los Angeles.

2017 “Scalpels and Simulations: Operating Tactile Images in Midcentury America.” Imagined Forms: Modeling and Material Culture symposium, Center for Material Culture Studies at the University of Delaware, November 17-18.

2017 “Transforming the Metamorphosis.” Invited talk at Canons and Contingence: Art Histories of the Book in England and America, Symposium at University of Massachusetts-Amherst, March 4.

2016 “What to Expect: the Possibilities of Touch in Spratt’s Obstetric Tables.” Invited talk at The Materiality of Scientific Knowledge: Image-Text-Book, Symposium at Kislak Center for Special Collections, University of Pennsylvania, September 30-October 1.

2016 “Unfolding The Metamorphosis in Early America.” The Metropolitan Museum of Art Fellows’ Symposia: “Corporeal Presence: Bodies in and Out of Art,” March 11.

2015 “Seeing Clear: McLoughlin Bros.’ Pop-Up Pictures.” Fellows Lectures in American Art, Smithsonian American Art Museum. May 6-8.

2014 “Animating Flatness: Seeing Moving Images in American Painting and Mass Visual Culture, 1820-1895.” The Ends of American Art Conference, Stanford University. November 7-8.

2014 “Winslow Homer and the Culture of Surface and Depth,” Middle Atlantic Symposium in the History of Art, University of Maryland and the Center for Advanced Study in Visual Arts. Nominated speaker. March 7-8.

Curator of American Art. Head, Dept. of American Art, Detroit Institute of Arts


Professional Experience


2005 to             Curator of American Art; and Head, Department of American Art, Detroit

present             Institute of Arts, Detroit, MI  (& Chief Curator, from 2009 to 2013)


1999 to              Associate Curator of American Art, Freer Gallery of Art, Smithsonian

  • Washington, DC


1996 to              Assistant Director for Research and Publications, New Jersey Historical

1999                  Society, Newark, NJ


1986 to             Assistant Professor, Department of American Literature and Civilization,

1995                 Middlebury College, Middlebury, VT




1990                Ph.D., American Studies Program, Yale University

1980                M.A., M.Phil., American Studies Program, Yale University

  • A., summa cum laude in English and with distinction in all subjects,

Cornell University


Selected Scholarly Publications


Books:                   Frederic Church: A Painter’s Pilgrimage (Yale UP, 2017)


                              Mr. Whistler’s Gallery: Pictures at an 1884 Exhibition (Freer Gallery, 2003)


                             The Catskills: Painters, Writers, and Tourists in the Mountains (UP NE, 1988)


Articles                 “Dance and the Performance of Self in America: 1810 to 1850,” in Jane Dini,

ed., The Art of American Dance (Yale UP, 2016)


Above the Clouds at Sunrise: Frederic Church’s Memorial to Thomas Cole,”

in Nancy Siegel, ed., The Cultured Canvas: New Perspectives on American

                              Landscape Painting (UP of NE, 2011)


“Art and Commerce in Jacksonian America: The Steamboat Albany

Collection,” The Art Bulletin 82 (September 2000), 503–528


“On the Cultural Construction of Landscape Experience: Contact to

1830,” in David Miller, ed., American Iconology: New Approaches to

                              Nineteenth-Century Art and Literature (Yale UP, 1993)


  • Chelsea School of Botanical Art, Londres, Reino Unido:

Enero 2016 – junio 2018: Diploma en ilustración botánica. Proyecto final: “Expediciones por la paz: Ilustración de nuevas especies para la ciencia descubiertas en las Expediciones ColombiaBio a cargo del Instituto Alexander von Humboldt”.

  • Universidad de los Andes, Bogotá, Colombia:

Enero 2011 – diciembre 2014: Pregrado en Historia del Arte.

Junio 2009 – diciembre 2013: Pregrado en Arte, Magna Cum Laude.

  • Université du Québec à Montréal (UQAM), Montréal, Canada:

Diciembre 2011 – junio 2012: Facultad de Artes visuales y medios electrónicos, intercambio académico. Becaria PFLA (Programa Futuros Líderes de América)

  • Colegio Helvetia, Bogotá, Colombia:

Maturité Suiza, Bachillerato Internacional Suizo. Junio 2009. Bachillerato Colombiano. Junio 2009.

  • Lycée Jean Piaget, Neuchâtel, Suiza:

o Agosto 2006 – diciembre 2006: intercambio lingüístico.


Experiencia Laboral:

  • Colciencias y Fundación CasaTinta:

Julio 2019: Curso de ilustración botánica para el programa Todo es Ciencia, Bogotá

  • Instituto de Investigación en Recursos Biológicos Alexander von Humboldt:

Marzo 2019: Curso de Ilustración Científica en el marco de Santander BIO, Bucaramanga.

  • Don Eloy, Bogotá, Colombia:

Enero 2019 – actual: docente de talleres de Ilustración de flores en acuarela.

  • Instituto de Investigación en Recursos Biológicos Alexander von Humboldt: Marzo 2019: Ilustraciones para FILBO
  • Liebre Lunar, Bogotá, Colombia:

Junio 2018 – actual: docente de talleres de Ilustración botánica.

  • MNR Comunicaciones y Ediciones LTDA, Bogotá, Colombia:

Noviembre 2018: Ilustraciones para el libro “frutas colombianas, origen que emociona”.

  • Fundación FES Bogotá, Colombia:

Febrero 2018 – junio 2018: Ilustración y asesoría editorial para el libro: “Colombia BIO ilustrada”, producido por Colciencias.

  • Calle de papel, Bogotá, Colombia:

Septiembre 2018: Ilustraciones para el calendario “Árboles de Colombia”.

  • Quinta Cultural, Bogotá, Colombia:

Marzo 2015 – julio 2018: Fundadora y miembro activo del colectivo que desarrolla proyectos para la promoción de la cultura y el arte en Colombia. A cargo de logística y promoción de eventos culturales, subastas, exposiciones y programas de investigación. https://www.facebook.com/colectivoquinta/

  • Tate Modern Gallery, Londres, Reino Unido:

Mayo 2016 – Julio 2017: Programa “Visitor Host Volunteer”. A cargo de recibir, guiar y aconsejar a visitantes del museo.

  • EiElectronics, Londres, Reino Unido:

Enero 2017-Julio 2017: Traducción de documentos inglés-español-francés.

  • Ministerio de Cultura de Colombia:

Junio 2014 – enero 2015: Asistente de investigación para el Salón Regional de Artistas zona Oriente, curado por decabeza curaduría (Catalina Acosta y Jerónimo Duarte). http://www.decabeza.org/


  • Universidad de los Andes y SwissAid Colombia:

Junio 2014 – marzo 2015: Registro audiovisual, colaboración en logística y apoyo en talleres en el Proyecto de Reasentamiento de la Barra, pueblo ubicado en la costa Pacífica, Valle del Cauca. Dirigido por la Mesa Nacional de Reasentamientos, Universidad de los Andes, y SwissAid Colombia.

  • Universidad de los Andes, Bogotá, Colombia:

Agosto 2014 – diciembre 2014: Monitora del curso Arte en América Latina Siglo XX. Enero 2014 – mayo 2014: Monitora del departamento de Historia del Arte.

Enero 2014 – mayo 2014: Monitora del curso Arte y paisaje.

Agosto 2013 – diciembre 2013: Monitora de la clase magistral Historia del Arte. Agosto 2012 – diciembre 2012: Monitora de la clase magistral Historia del Arte.

  • De Rhodes, Bogotá, Colombia:

Octubre 2012 – febrero 2014: Asistente personal de la diseñadora textil Mónica de Rhodes: colaboración en investigación, diseño, ventas y desarrollo de proyectos artísticos. http://monicaderhodes.com/


Certificados de idiomas:

  • Alliance Française, Bogotá: DALF C1 (Diplôme Approfondi de la Langue Française). Mayo
  • Goethe Institut, Bogotá: Deutsches Sprachdiplom B1. Junio
  • British Council, Bogotá: FCE (First Track in English). Diciembre


  • MNR Ediciones y Procolombia. Ilustraciones para el libro “frutas colombianas, origen que emociona”. Diciembre
  • Revista Arcadia ED 58, ilustración. Diciembre 2018.
  • Colaboración en el libro sobre el proceso de paz en Colombia del fotógrafo Mads Nissen “We are indestructible”. GOST book. Septimebre
  • Calle de papel. Ilustraciones para el calendario “Árboles de Colombia”. Septiembre 2018
  • Ilustración del libro “Colombia BIO ilustrada”. Junio 2018
  • Revista Interio ED “El florecimiento de la Ilustración Botánica”. Jnio 2018.
  • Chelsea School of Botanical Art “Lisa’s exciting adventure” goo.gl/8UtWgu . Noviembre 2017.
  • Revista Exclama ED 38, octubre 2017. “Especial de Artistas contemporáneos colombianos”.
  • Libro “Técnicas vernáculas de construcción con palma en el caribe colombiano”. USAID, 2016.
  • Dibujos para la revista REC Nº 4 y Nº 6, marzo 2010 y marzo
  • Ilustración para la revista Errantio Nº 8, abril



  • Fundación Casa Tinta, Bogotá:
  • Bogotá Design Festival, Bogotá:
  • Universidad de los Andes, Bogotá:


Reconocimientos académicos:

  • Magna Cum Laude en Arte, Universidad de los Andes, marzo
  • Beca Ramón de Zubiría al mejor estudiante de la facultad de Artes y Humanidades, Universidad de los Andes, departamento de Historia del En dos ocasiones: octubre 2014 y octubre 2013.
  • Beca a la excelencia académica, Universidad de los Andes. En cuatro ocasiones: marzo 2011, marzo 2012, octubre 2013, y octubre
  • Beca PFLA (Programme Futurs Leaders des Amériques), otorgada por el gobierno de Canadá (Departamento canadiense para la educación internacional). Diciembre


Exhibiciones individuales:


  • FIMA, Corferias, Bogotá, Colombia: Expediciones de Colombia Bio: mapas, territorios y nuevas especies del posconflicto colombiano. Junio
  • Claustro de San Agustín, sede Colecciones Biológicas del Instituto Humboldt, Villa de Leyva, Colombia: Nuevas especies de flora descubiertas en el marco de las Expediciones Colombia Bio. Abril
  • Club Náutico el Portillo, Tominé, Colombia: proyecto de registro e ilustración de fauna y flora de la región de Guatavita para el fomento de la conservación de la biodiversidad. Abril


Exhibiciones Colectivas:

  • Subasta Recon, Bogotá. 11 de julio
  • Galería el Museo, Bogotá. Lenguajes de Papel, febrero y marzo
  • Cinchona sp: Herbario medicinal de la Nueva Granada. Biblioteca Nacional de Colombia,

Bogotá. Noviembre 2018

  • Festival Internacional de Imagem de Natureza (FIIN). Nature and scientific drawing. Vila Real, Portugal. Noviembre 2018
  • Worldwide Botanical Art Exhibition. Universidad de Antioquia, Medellín, Colombia. Mayo 2018
  • Le Poisson Bouge, Ginebra, Suiza. Exposición de grabado. Noviembre
  • La Garza, Bogotá, Colombia. Octubre
  • MAMBO Museo de Arte Moderno de Bogotá, Colombia: Subasarte. Subasta en el Museo de Arte Moderno de Bogotá, Fundación Suizo-Colombiana y Quinta Cultural. Agosto
  • Centro cultural de Oriente, Bucaramanga, Colombia: Tiempo de espera. Agosto
  • Centro Creativo Textura, Bogotá, Colombia: Gato por Liebre. Diciembre
  • Binario, Bogotá, Colombia: Binario. Diciembre
  • La Redada espacio cultural, Bogotá, Colombia: Material Inmaterial. Septiembre 2012.
  • Universidad de los Andes, Bogotá, Colombia: Exposición de pintura del departamento de Arte. Febrero 2011 y diciembre


Asistencia a:

  • 1er encuentro de ilustración científica, Pontificia Universidad Javeriana, Bogotá, Colombia. Junio
  • Cursos de grabado en el Atelier Le Poisson Bouge, Ginebra, Suiza. Marzo
  • Cursos de acuarela en el Atelier Transparence, Lausanne, Suiza. Abril
  • México In situ: historia del arte y cultura mexicana. México. Junio y julio

Professor, History of Art, Design, and Visual Culture, University of Alberta


City University of New York, PhD in Art History, 1996; Univ of California, Berkeley, MA in the History of Art, 1985; Barnard College, Columbia University, BA with honors, 1983.


“The Spanish Element in Our Nationality”: Spain and America at the World’s Fairs and Centennial Celebrations, 1876–1915. University Park: Penn State University Press, 2019.

Vistas de España: American Views of Art and Life in Spain, 1860–1914. New Haven: Yale University Press, 2007.

Articles and Essays (selected)

“Learning About Spain: Children, Travel Books, and Fictions of the Foreign,” in Americans and Spain, ed. Brandon Ruud and Corey Piper. Milwaukee: Milwaukee Art Museum, forthcoming 2020.

“The 1910 Centenary Exhibition in Argentina, Chile, and Uruguay: Manufacturing Fine Art and Cultural Diplomacy in South America,” in Expanding Nationalisms at World’s Fairs: Identity, Diversity and Exchange, 1851–1915. New York: Routledge, 2018, 195–213 (R).

“William Merritt Chase, Joaquín Sorolla, and the Art of Masquerade,” in Sorolla in America: Friends and Patrons. Madrid: Centro de Estudios Europa Hispánica and Center for Spain in America, 2015, 39–63.

Noelle Belanger and M. Elizabeth Boone, “‘Art’ Smith, Flying at Night, and the 1915 San Francisco World’s Fair,” Panorama: Journal of the Association of Historians of American Art 1.1 (winter 2015): DOI: https://doi.org/10.24926/24716839.1501 (R).

“‘A Renewal of the fraternal relations that shared blood and history demand’: Latin American Painting, Spanish Exhibitions, and Public Display at the 1910 Independence Celebrations in Argentina, Chile, and Mexico,” Revue d’Art Canadienne/Canadian Art Review (RACAR) 38.2 (fall 2013): 90–108 (R).

“Extending the Artist’s Family: Teaching, Photography, and Uxoriousness in the Paintings of William Merritt Chase and Joaquín Sorolla,” in Sorolla and America, ed. Blanca Pons-Sorolla. Dallas: Meadows Museum at Southern Methodist University, 2013, 89–103.

“‘Civil Dissension, Bad Government, and Religious Intolerance:’ Spanish Display at the Philadelphia Centennial and in Gilded Age Private Collections,” in Collecting Spanish Art: Spain’s Golden Age and America’s Gilded Age. Madrid: Centro de Estudios Europa Hispánica and Center for Spain in America, 2012, 42–63 (R).

Castilian Days: John Hay, Joseph Pennell, and the Obfuscation of Politics by Art,” Visual Resources

21.4 (December 2005): 329–45 (R).

“Travel and Exploration in the Art of Remedios Varo (1908–1963),” in Homenaje a Alejandro de Humboldt: Literatura de viajes desde y hacia Latinoamérica, Siglos XV al XXI, Actas [Junio 18– 22, 2001]. Oaxaca: Universidad Autónoma Benito Juárez, 2005, 616–21.

“‘Why Drag in Velasquez?’: Realism, Aestheticism, and the Nineteenth-Century American Response to Las Meninas,” in Velázquez’s Las Meninas. Cambridge: Cambridge University Press, 2003, 80– 123 (R).

“‘Something of his Own Soil:’ Jewish History, Mural Painting and Bernard Zakheim in San Francisco,”

American Jewish History 90 (June 2002): 123–40 (R).

“Bullfights and Balconies: Flirtation and Majismo in the Spanish Paintings of Mary Cassatt, 1872–73,”

American Art 9.1 (summer 1995): 54–71 (R).

Exhibitions Curated (selected)

Una cualidad lírica de un encanto duradero: La pintura norteamericana y chilena en el Centenario de Chile en 1910,” Museo Nacional de Bellas Artes, Santiago de Chile, 18 March–18 May 2014.

María José Rojas Rendón es Maestra en Historia del Arte y Licenciada en Historia por la Facultad de Filosofía y Letras, Universidad Nacional Autónoma de México (UNAM). Como becaria e investigadora, ha participado desde 2009 en diferentes proyectos de difusión como los que se organizaron para la celebración del Bicentenario de la Independencia de México y el Centenario de la Revolución Mexicana. Es autora del artículo: Los impresos poblanos efímeros. Una mirada a Tertulia de pulquería de José A. Arrieta, 1851, trabajo inédito que revisa una faceta que se desconocía del pintor José Agustín Arrieta.

Actualmente es docente e investigadora independiente; entre sus temas de interés  destaca el estudio de la pintura costumbrista mexicana del siglo XIX desde una perspectiva política y social, la prensa poblana de mediados de siglo XIX, la producción artística del pintor Arrieta y la gráfica del siglo XIX en México. Dichos temas han sido abordados en diferentes ponencias y conferencias a nivel nacional e internacional.


Obras publicadas de la ponente:

Rojas Rendón, M. J. (2017). Los impresos poblanos efímeros. Una mirada a “Tertulia de pulquería”, de José A. Arrieta, 1851. InMediaciones de la Comunicación, 12(2), 49-71.


In-Progress                            Ph.D., History of Art

The Graduate Center, City University of New York New York, NY

2018                                      M.A., History of Art Tulane University New Orleans, LA

2015                                      B.A., Liberal Arts (Concentration in History of Art)

Universidad San Francisco de Quito Quito, Ecuador

Summa Cum Laude






  1. Carrión, María Beatriz, “A Mexican Angelus Novus: Popular Culture as Archive and Historiography,” in Hemisphere: Visual Culture of the Americas 10 (2017): 72-89.

Haro, María Beatriz, “Seduciendo al mundo con paisajes: las imágenes del Ecuador en Chicago,” in ARTELOGIE 10 (2017), http://journals.openedition.org/artelogie/821



  1. Carrión, María Beatriz, “The Boundaries of Race, the Boundaries of Representation: Disordering Mestizaje in Alfredo Guido’s Chola Desnuda,” in Athanor XXXVI (2018): 57-64.

Haro, Maria Beatriz. “La niña de Oswaldo Guayasamín”, in the Catalogue Raisonée of the Museo de Arte Contemporáneo de la Universidad de Chile, 2017.


 Selected Conference Presentations                                                                                        


2019    “Camelids in the Chilean Desert: Orientalizing Patagonia and Concealing the Genocide.” 5th Triennial Conference of the Association of Latin American Art The World Turned Upside Down: Arts of Oppression and Resistance in the American Hemisphere, DePaul University and the Art Institute of Chicago, March 7-9, 2019.


2018     “El Lejano Chile y sus Riquezas: Modern Images of Long Lost Times.” 65th Annual Conference of the Southeastern Council of Latin American Studies, University of Vanderbilt.

2017     “A Mexican Angelus Novus: Popular Culture as Archive and Historiography.” 10th Annual Symposium of Hemisphere: Visual Culture of the Americas, University of New Mexico.

2017     “The Boundaries of Race, the Boundaries of Representation: Disordering Mestizaje in Alfredo Guido’s CHOLA DESNUDA.” 35th Annual Graduate Student Symposium, Florida State University.

Doctora en Historia y Teoría de las Artes de la Universidad de Buenos Aires. Profesora Titular de Historia de las Artes Visuales-Europa, siglos XVI-XVIII. Ha sido Profesora Adjunta de Historia de las Artes Visuales-América, siglos XVI-XVIII en la misma universidad y Profesora Titular en el Instituto de Investigaciones sobre Patrimonio Cultural-TAREA de la Universidad Nacional de San Martín. Dicta regularmente cursos y seminarios de grado y posgrado en instituciones de Argentina y el exterior, y dirige proyectos de investigación y tesis de posgrado.

Algunas publicaciones: “Frente y perfil. Fotografía y prácticas antropológicas y criminológicas en Argentina a fines del siglo XIX y principios del XX” (2005); Ver, conocer, dominar. Imágenes de Sudamérica a fines del siglo XVIII (2005); Arte indígena: categorías, prácticas, objetos, con M. A. Bovisio (2010); Paisaje con figuras. La invención del Tierra del Fuego a bordo del “Beagle” (1826-1836) (2018); Cuerpos y espacios americanos. De la xilografía al cine, con M. A. Bovisio (en preparación).


— University of Chicago, Ph.D., Department of Art History (with distinction, August 2004, topic: landscape in nineteenth-century American illustrated books)

M.A. (December 1994, topic: racial identification and landscape aesthetics in nineteenth-century American painting/literature)

— Yale University, B.A., Department of Art (May 1992, concentration: printmaking)

Professional experience:

— Lewis & Clark College, Portland, OR, Assoc. Prof. of Art History (Fall 2007-)

— Radford University, Radford, VA, Asst. Prof. of Art History (Fall 2004-Spring 2007)

— Western Michigan University, Kalamazoo, MI, Visiting Asst. Prof. of Art History (Fall 2002-Spring 2003)

— Production and Design Dept., University of Chicago Press (1996-2001)

— Printmaker, Echo Press, Bloomington, IN (1992-1993)

Scholarly work:

— “Constructions of Native Spirituality in Adolph Bandelier’s Ethnological Research in the Southwest,” De/Colonización en las Américas: Cambios y continuidades / De/Colonization in the Americas: Continuity and Change (International Association of Inter-American Studies publication, forthcoming, Fall 2019)

— “Inventing a National Past: Archaeological Investigation of the Southwest after           the US-Mexican War,” Inventing Destiny: Cultural Explorations of US Expansion, ed. Jimmy Bryan, University Press of Kansas (Fall 2019)

— “Pre-Columbian civilisation as cultural patrimony: archaeology and nationalism at the World’s Fairs,” Civilisation and nineteenth-century art, ed. David O’Brien, Manchester University Press (August 2016)

— Narrating the Landscape: Print Culture and American Expansion in the Nineteenth Century, The University of Oklahoma Press (April 2016)

— “Hamlin Garland’s Detour into Art Criticism: Forecasting the Triumph ofPopular Culture over Populism at the End of the Frontier,” The Journal of American Culture 34:4 (December 2011)

— “National Spectacle from the Boat and from the Train: Molding Perceptions of History in American Scenic Guides of the Nineteenth Century,” University of Toronto Quarterly 73:4 (Fall 2004)

Honors and Awards:

— Northwest 5 Consortium (NW5C) Fund for Collaborative Inquiry, multiple grants for visual culture colloquia at NW5C colleges (Summer 2013, Spring 2014, Fall 2016)

— Research grant, Dumbarton Oaks, Washington, DC (Summer 2014)

— Robert Platzman Memorial Fellowship, University of Chicago Library (Summer 2013)

— Luce/ACLS Dissertation Fellowship in American Art (2003-2004)

Professional Memberships:

— Vice-President, Board of Trustees, Maryhill Museum of Art, Goldendale, WA

— Chair, Visual Culture Caucus, American Studies Association


Ph.D., Research Professor (investigador) Instituto de Investigaciones Estéticas, UNAM, Mexico City

Peter Krieger, Ph.D. in Art History (University of Hamburg, Germany), since 1998 research-professor at the Institute of Aesthetic Research (Instituto de Investigaciones Estéticas) and professor of art history and architecture at the National Autonomous University of Mexico (UNAM). 2004 to 2012 Vice president of the Committee of Art History (CIHA/UNESCO). 2007 to 2014 fellow at the research project “Transcultural and Transhistoric Efficiencies of the Baroque Paradigm” at the University of Western Ontario in London, Canada. In 2016 Aby Warburg professorship at the Warburg Haus / Hamburg University, Germany (http://www.warburg-haus.de/en/personen/warburg-professorship/ [see “2016”]). In 2017 Visiting Fellow “Literary Cultures of the Global South” at Tübingen University / DAAD, and Visiting Professor at Regensburg University.

Research and publications on: visual studies and history of cities and landscapes in the twentieth and twentieth-first centuries; aesthetics and ecology of mega-cities; political iconography of urban landscapes and architecture; the geo-aesthetics of Alexander von Humboldt.

In September 2019, concept and organization of the international colloquium Mountain Aesthetics and Ecology. The Conceptual Heritage of Alexander von Humboldt in the Americas.

Recent books: Epidemias visuales: El Neobarroco de Las Vegas en la Ciudad de México. Visual Epidemics. Las Vegas Neo-Baroque in Mexico City. México: Escotto editores, 2017; and Transparencias

/ Transiciones / Tapias – la fotografía de Fernando Cordero. México: Producciones Santa Lucía, 2019.

Department of Art and Art History The University of Alabama, Box 870270


The University of Alabama, Tuscaloosa, AL

Associate Professor of Art History, 2019- present Assistant Professor of Art History, 2013-2019



Ph.D., Art History, University of Iowa, 2010


M.A., Art History, Vanderbilt University, 2004


B.A., Art History, Sewanee: The University of the South, 2002


Selling Andrew Jackson: Ralph E. W. Earl and the Politics of Portraiture. Columbia: University of South Carolina Press, 2018.

Hidden in Plain Sight: Slavery and Suppression in Antebellum American Art (work in progress).


“Curious Men and their Curiosities: Ralph E. W. Earl’s Nashville Museum and the Precedent of Charles Willson Peale” Early American Studies 16:3 (Spring 2018): 545-577.


“’Making a Display’: Adelicia Acklen’s Tennessee Family Portraits” Tennessee Historical Quarterly LXXVI: 1 (Spring 2017): 80-102.


“Portraits of Early Tennesseans by Ralph E.W. Earl: A Case Study in Southern Art” Tennessee Historical Quarterly LXXIII: 3 (November 2014): 178-208.



Gilder-Lehrman Center, Yale University 4-month Faculty Fellowship, Spring 2019

Tyson Scholars Fellowship, Crystal Bridges Museum of American Art, Fall 2018



“’The Family Black and White’: Pro-Slavery Visual Art and the Cult of Justification,”

Auburn Avenue Research Library, Sponsored by the Baton Foundation, Atlanta, GA, August 25, 2019


“Justify, Conceal, Destroy: Antebellum Pro-Slavery Art and the Politics of Representation,” guest lecture, Yale University History of Art Department, April 18, 2019.


2019 University of Havana, Havana, Cuba

“National Identity in Nineteenth-Century ingenio paintings”

Rachael Z. DeLue is the Christopher Binyon Sarofim ’86 Professor in American Art in the Department of Art & Archaeology at Princeton University and is the Chair of the Department.  At Princeton, she holds a joint appointment with Princeton’s Program in American Studies.  Prof. DeLue specializes in the history of American and transatlantic art and visual culture with particular focus on intersections among art, science, and the history and theory of knowledge and on the transnational and transcultural formation of “America” as a complex geography, identity, and idea.  She serves as the editor-in-chief of the Terra Foundation Essays and she edited Picturing (2016), the first volume in the series.  She has also published George Inness and the Science of Landscape (2004), Landscape Theory (2008, co-edited with James Elkins), and Arthur Dove: Always Connect (2016).  Other recent publications consider the work of the modern artist Romare Bearden, Spike Lee’s film Bamboozled, shoreline landscapes as symbols of empire, natural history in the context of settler colonialism, and the construction of Native America in 18th- and 19th-century archaeology and ethnography. Prof. DeLue is currently working on a book about impossible images—pictures of entities and phenomena that should be unpicturable because they are unseeable or ungraspable, beyond the limits of perception or comprehension.  She is also researching a study of Darwin’s diagram, the only illustration to appear in On the Origins of Species when it was published in 1859.  At Princeton, she teaches a wide range of undergraduate and graduate courses on American culture, history, and identity and on the intersection between the history of art and the history of science.


University of Pennsylvania, Philadelphia, PA

Doctor of Philosophy (Ph.D.), History of Art (Expected 2021–22)

Tentative Dissertation Title: “War and Witness in American Visual Culture, 1860–1900.”


Courtauld Institute of Art, University of London, United Kingdom Master of Arts, History of Art, July 2013, with Distinction


University of North Carolina at Chapel Hill, NC

Bachelor of Arts, History of Art, May 2012, with Highest Honors Minor: English


SELECT RESEARCH AND PUBLICATIONS                                                                      

“Landscape’s Expressive Eye: The Shifting Symbolism of Waterways in Early American Print Culture,” essay in From the Schuylkill to the Hudson: Landscapes of the Early American Republic, Pennsylvania Academy of the Fine Arts, June 2019.


“History on the Horizon in Roger Toledo Bueno’s Soy Cuba Series,” essay for Soy Cuba / I Am Cuba: The Contemporary Landscapes of Roger Toledo Bueno (digital exhibition catalogue), University of Pennsylvania History of Art Department, April 2019.


“Power through Change: Ecological Ethics and Flux in Germaine Arnaktauyok’s Fish Man and Fish Woman,” essay for “The World is Following Its People”: Indigenous Art and Arctic Ecology (digital exhibition catalogue), published by the University of Delaware History of Art Department, 2018.


“Crafting Time and Indigeneity: Chitimacha Basketry and Rookwood Pottery at the 1904 Louisiana Purchase Exposition,” essay in The World on View: Objects from Universal Expositions, 1851–1915, published by the Art History Department and Arthur Ross Gallery, University of Pennsylvania, 2018.


SELECT PROFESSIONAL EXPERIENCE                                                                          

Andrew W. Mellon Summer Fellow, Philadelphia Museum of Art, Center for American Art, June– August 2019.


Guest Curator and Curatorial Assistant, Pennsylvania Academy of the Fine Arts, January 2018– present (ongoing). Curator of the exhibition Etch & Flow: Waterscapes by American Painter-Etchers, on view June 29–December 29, 2019. Curatorial Assistant for the exhibition From the Schuylkill to Hudson: Landscape of the Early American Republic, on view June 29–December 29, 2019.


Curatorial Research Assistant, University of Pennsylvania Museum for Archaeology and Anthropology, for the exhibition Native American Voices on Identity, Art, and Culture, June–August 2017.


Anne Lunder Leland Curatorial Fellow, Colby College Museum of Art, July 2013–July 2015.


SELECT HONORS, FELLOWSHIPS, AND AWARDS                                                          

-Dean’s Scholar Award, University of Pennsylvania, 2019–20.

-Dean’s Award for Distinguished Teaching by Graduate Students, University of Pennsylvania, 2019–20.

-Resident Research Fellow at the Plains Indian Museum (Buffalo Bill Center of the West), Cody, Wyoming, 2019–20.

-NEH Summer Institute Fellow, Visual Culture of the American Civil War and Its Aftermath, The City University of New York, July 2018.



Doctoral Student, Department of Art History

The Graduate Center, City University of New York

Five-Year Presidential MAGNET Fellowship (2014–2019) Art History Student Representative (2016–2018)

Honors Bachelor of Arts with Distinction in Art History, Spanish, and Latin American Studies (May 2013) University of Delaware, Newark DE

Minor: English

Undergraduate Honors Thesis: Gauguin’s Forgotten Voyage: Labor and Leisure in Martinique

 GRANTS  AND AWARDS                                                                                                                                            



Early Research Initiative Award for Archival Research in African American and African Diaspora Studies (2019) 4000 Early Research Initiative Award for Archival Research in African American and African Diaspora Studies (2018) 4000

Dean K. Harrison Research-Travel Award (May 2016) 4000
Conference Travel Award (Winter 2016) 500
University of Delaware Area Studies Achievement Prize (May 2013) 500
Pan American Society of Philadelphia Janice Bond Memorial Plaque (May 2013) 200
Institute for Global Studies Global Scholars Award (January 2013) 1000
University of Delaware Trudy H. Vinson Award (May 2012) 200
University Academic Award (2008–2013) 30000
Omega Psi Phi, Nu Upsilon Chapter Scholarship (Fall 2008) 500




French (Native Speaker), Spanish (Fluent), Antillean Creole (Fluent), Portuguese (Reading), Italian (Reading), German (Elementary), Arabic (Elementary), American Sign Language (Elementary)

 CONFERENCES  AND PAPERS                                                                                                                                    


Expert Meeting: Gauguin and Laval in Martinique

Van Gogh Museum, Amsterdam (2 November 2018) “Representations of Martinique in Nineteenth-Century Art”



Early Research Initiative Student Research Conference

The Graduate Center, CUNY (31 August 2018)

“Slavery and Daily Life in Marius-Pierre Le Masurier’s Paintings of Martinique”


Fifteenth Annual Graduate Student Symposium in Nineteenth-Century Art

Dahesh Museum of Art (19 March 2018)

“Martinique’s Dual Role in Alcide Dessalines d’Orbigny’s Voyage Pittoresque


South and About!

The Institute of Fine Arts, NYU (25 October 2017)

“The Productive Exotic: Depictions of Labor in the 19th Century Caribbean”


3oth Annual Thesis Symposium

University of Delaware (5 May 2013)

“Gauguin’s Forgotten Voyage: Labor and Leisure in Martinique”

 MUSEUM AND GALLERIES                                                                                                                                       


Museum of the City of New York: Museum Scholar (2017-present)

Working with adult programs and the marketing departments, I create and lead thoughtful guided tours for groups of visitors. The tours cover current exhibitions as well as themed tours through the permanent collection. As a multilingual guide, my tours are also available in French and Spanish.


Crystal Bridges Museum of American Art: Havner Curatorial Fellowship (Summer 2016)

During this residential fellowship in the museum’s curatorial department, I conducted object research on the collection, created an annotated bibliography for Louise Bourgeois paintings, created wall text, and attended regular meetings with other departments.


Winterthur Museum, Garden & Library: Communications Assistant (Fall 2013–2014)

Drafted, edited, and sent press releases, managed the event calendar, responded to media inquiries, and prepared reports of coverage analytics. Coordinated media visits and photo/video shoots. Represented the museum at events and implemented the transition of the marketing/media database from PatronMail to Vocus. Helped publicize the exhibition Costumes of Downton Abbey, which broke attendance records for the museum.


Philadelphia Museum of Art: Curatorial Intern (Summer 2013)

Worked in the department of European Paintings on upcoming exhibitions. Created object files and organized loan correspondence, and assisted with research on objects in the collection as well as past exhibitions. Helped with translations, created wall labels, material for the website, and spreadsheets.



Summer Institute in Art Museum Studies, Smith College, Northampton MA (Summer 2012)

Worked with 15 other students to put together an exhibition in the Smith College Museum of Art, create an exhibition catalogue, and promote the exhibition in the community. Was a member the curatorial team and produced the exhibition theme, selected works, and formatted the catalogue. Worked with the Event Planning Committee to plan the opening reception and was featured as the voice of the audio guide.


 TEACHING AND PEDAGOGY                                                                                                                                     



Gods, Kings, and Revolutions: Art in Europe, 1750–1850

Brooklyn College, CUNY (Spring 2019)

Designed and taught an undergraduate course on the first half of the nineteenth-century in Europe. Based around the major themes of Neoclassicism and Romanticism with special topics on colonialism, gender, and the influence of the natural sciences on the visual arts.


From Revolution to Modernity: Art in France 1850–1900

Brooklyn College, CUNY (Fall 2018)

Designed and taught an undergraduate course that examined the major themes of the nineteenth-century with a focus on France. We began by looking back at the role of academies before and after the revolution and moved forward into the development of Realism through Impressionism and Post-impressionism. Themes included the development of the modern urban sphere, travel, world’s fairs, and cross-cultural connections.


Smarthistory Media Workshop (Summer 2018)

Funded by the Mellon Foundation and Smarthistory, this workshop brought educators and museum professionals together for an intense tutorial on short, educational videos geared towards teaching art history. Over the course of several days, we learned how to use various software, edited sound and video, and covered issues of image rights.


Modern Art

Brooklyn College, CUNY (Summer 2017)

Designed and taught an undergraduate course on Modern Art in Europe and the US that focused on the origin of modern movements in the wake of the industrial revolution, urbanization, and World War I.


Graduate Mentor: CUNY Pipeline Program (2014–2017)

As a Pipeline fellow I worked individually with CUNY undergraduate students from underrepresented communities on the graduate school application process in an effort to diversify the professoriate. We meet regularly to draft and edit personal statements, writing samples, and emails to prospective advisors. I also provide crucial mentorship and support on unwritten aspects of the graduate application process that are not covered by faculty mentors.


Academic Enrichment Center: Foreign Language Tutor, University of Delaware, Newark DE (Fall 2011–2013)

Facilitated language acquisition, devised study techniques, and provided mock examinations for both undergraduate and graduate students.




 HONORS AND RECOGNITION                                                                                                                                   



NUCLEUS Senior Reflection Speech (Spring 2013)

University of Delaware Office of the Provost Minority Student of Distinction (October 2012) Sigma Delta Pi: National Spanish Honors Society (2011–2013)

College of Arts and Sciences Dean’s List (2010-2013)




First Aid (Spring 2017)

 PROFESSIONAL  ORGANIZATIONS  AND MEMBERSHIPS                                                                                          



American Association of Museums (AAM)

Association of Historians of Nineteenth-Century Art (AHNCA) College Art Association (CAA)

Southeastern College Art Conference (SECAC) New York Road Runners (NYRR)



Universidad Complutense de Madrid, Madrid, España

Doctoranda en Historia del Arte, 2014-Presente

Tesis: Michel-Jean Cazabon y Francisco Oller: pintura y sociedad en el Caribe decimonónico. (Defensa pautada para otoño 2019)


Universidad de Salamanca, Salamanca, España

Maestría en Estudios Avanzados en Historia del Arte, 2014

Tesis: Los frutos de la tierra: la representación visual de la mujer en el arte del Caribe en los siglos XVIII y XIX.


Universidad de Puerto Rico, Recinto de Río Piedras

Bachillerato en Arte con concentración en Historia del Arte Occidental, 2011 Disertación: Oller Caribeño.


Escuela de Artes Plásticas y Diseño de Puerto Rico, San Juan, Puerto Rico Junio 2018-Presente

  • Profesora de historia del arte, cursos universitarios sobre historia del arte occidental moderna, de Puerto Rico, y del Contrato a tiempo parcial.


Colegio de Abogados de Puerto Rico, San Juan, Puerto Rico Enero 2017-Abril 2018

  • Prestando servicios profesionales de catalogación para la realización del Inventario  y Catálogo de las Obras de Arte del Colegio de Abogados y Abogadas de Puerto Rico.


Fundación Luis Muñoz Marín, Río Piedras, Puerto Rico Abril 2017-Septiembre 2017

  • Colección Teodoro Vidal, prestando servicios profesionales en registro e inventario de la colección, así como limpieza mecánica, fotografía, manejo, y embalaje de obras y objetos de


Kunspedia Foundation, Etten-Leur, Países Bajos: www.kunstpedia.org Marzo 2015-Septiembre 2016


Museo de Salamanca, Salamanca, España Marzo 10, 2014-Abril 24, 2014

  • Internado realizando trabajo de investigación y archivo sobre las obras en la colección del Museo, manejo de obras, catalogación y diseño de exhibición.



Beca Thoma para Investigación sobre Arte Virreinal Latinoamericano, Austin, TX, EE.UU. Feb. 12 – Mar. 13, 2018

Beca provista por la Fundación Carl & Marilynn Thoma, en colaboración con el Museo Blanton y las Colecciones LLILAS Benson y Estudios Latinoamericanos de la Universidad de Texas en Austin, para la investigación sobre la intersección entre identidad y joyería en los retratos y la pintura religiosa en los virreinatos en el siglo XVIII.

Conferencia: Adornments of Identity: Jewelry and Ornamentation in Portraiture and Religious Paintings in Viceregal Latin America



Archivo General y Biblioteca Nacional de Puerto Rico

Instituto de Cultura Puertorriqueña, San Juan, Puerto Rico, Octubre 2016-Junio 2017

  • Estancia investigativa sobre la situación artística en el Caribe del siglo XIX, enfocada en la documentación relacionada a la educación artística, exhibiciones, importe de objetos de arte y materiales artísticos, como parte de investigación



College Art Association                    2016-Presente Association of Art Historians    2016-Presente



Registro Demográfico, Departamento de Salud, San Juan, Puerto Rico Octubre 2016-Marzo 2017

  • Colaborando con el Proyecto de Organización e Inventario de los Libros del Registro Civil, proveyendo medidas de conservación preventiva y embalaje para los


Museo La Casa del Libro, San Juan, Puerto Rico Marzo 2012-Septiembre 2012

  • Asistencia al administrador en el manejo de la colección, trabajo con el público como guía y encargada de la tienda del




  • “The Mulatto Woman as Venus: An Exploration of the Representation of Mulatto Women in Caribbean Art” en NAAAS & Affiliates 25th Joint National Conference 2017, Dallas, Monographs Series. NAAS & Affiliates, Scarborough, ME. Marzo 2018.


  • “Los frutos de la conquista: la representación de la comida y la figura femenina en las pinturas de casta”, Comunicaciones del I Congreso Internacional de Jóvenes Investigadores- Coleccionismo, mecenazgo y mercado artístico en España e Iberoamérica. Editorial Universidad de Sevilla, Sevilla, Mayo



  • Idiomas: Español, inglés (bilingüe) y francés (intermedio).
  • Habilidad investigativa desarrollada a través de años de estudio y trabajo, evaluando y desarrollando temas y problemas para revolverlos
  • Comunicación escrita y verbal, desarrollada a través de investigaciones, diversas publicaciones, traducciones (Español/Ingles-Ingles/Español) y
  • Experiencia con bases de datos, catálogos, manejo y fotografía de objetos de
  • Organización de proyectos y
  • Microsoft Word, Excel, Adobe


2019-   Director of Collections & Exhibitions, The Olana Partnership, Hudson, NY.



2015     University of California, Berkeley, Ph.D. in History of Art

2009     New College, University of Oxford, M.St. in Musicology with Distinction

2008     Courtauld Institute of Art, M.A. in History of Art with Distinction in Dissertation 2007            Haverford College, B.A. in History of Art, Cope Fellow



2018     Landscape History Essay Prize, Society of Architectural Historians.

2014     Dora Wiebenson Prize, Historians of Eighteenth-Century Art and Architecture. 2013   Sir Denis Mahon Essay Prize, The Mahon Trust.



2019 Matthew Brandt: Rocks and Eagles, Newark Museum. Co-curator
2018 Vantage Points: History and Politics in the American Landscape, Newark Museum.
2016 Abodes of Plenty: American Art of the Inhabited Landscape, Mildred Lane Kemper Art


Museum, Washington University in St. Louis.

The Pennsylvania Landscape: Colonial to Contemporary, Cantor Fitzgerald Gallery, Haverford

College. Review: Edward J. Sozanski, “Precocious Curator” Philadelphia Inquirer (March 18, 2007), H5


2019 “The Music of Abstraction” in Tricia Bloom, ed. Seeing America: The Arc of Abstraction


(Newark Museum, 2019), 102-9

“Thomas Cole and the Domestic Landscape of the ‘Hudson River School’” in Michelle Facos, ed. A



Companion to Nineteenth-Century Art (Wiley-Blackwell), 209-224

“Painting the ‘Baronial Castle’: Thomas Cole at Featherston Park”, Huntington Library Quarterly,



v. 80, no. 4, 635-665. [Awarded Landscape History Essay Prize, Society of Architectural Historians]

“From Villa to Studio: Thomas Cole’s Drawings for Cedar Grove”, Bulletin of the Detroit



Institute of Arts, v. 90, no. 1, 16-31

“Sibelius, Gallen-Kallela, and ‘The Symposium’: Painting Music in Fin-de-Siècle Finland”,

Nineteenth-Century Art Worldwide, v. 13, no. 2 (Fall), 26 pp



Book manuscript: “Painting Houses: The Domestic Landscape of the Hudson River School” Article: “Rubens’s Houses and the Construction of Neostoic Leisure”

Article: “Both Instructive and Pleasant: The Neopalladian Garden in Vitruvius Britannicus



2018 “William Birch, Painter-Architect” in William Birch and the Complexities of American Visual Culture,
Library Company of Philadelphia
2016 “The Domestic Landscape of the Hudson River School” in The Hudson River School Reconsidered,
College Art Association, Washington, D.C.
2015 “An American Country House Abroad: Monte Video and its Afterlives” in Moving Pictures: Images
Across Media in American Visual Culture to 1900, American Antiquarian Society
2014 “Colen Campbell and the Neopalladian Garden” in Gardens and Visual Representation: West-
East, 1400-1800, Society of Architectural Historians, Austin
2011 “Sibelius, Gallen-Kallela, and the Musical Landscape” in Music and Other Paradigms for Nineteenth-
Century Art, College Art Association, New York
2010 “Rubens’s Houses and the Construction of Neostoic Leisure” in Spaces and Practices of Early Modern
Leisure, European Architectural History Network, Guimarães, Portugal