Ph.D., Massachusetts Institute of Technology (2015)
M.A., Center for Curatorial Studies, Bard College (2008)
B.A., Vassar College (2004)
At Amherst, I teach the history of contemporary art from a transnational perspective. In my courses, we ask: How does the work of art operate in the world and how does the world operate in the work of art? This line of inquiry helps us think about the relationship between “the contemporary" and art history as well as about the relationship of art to history more generally. Among other topics, students will explore the politics of aesthetics, the history of exhibitions, the materiality of recent practices, and the interactions between art and the process known as globalization. These will be core concerns of courses such as “Introduction to Contemporary Art,” “Art’s World since 1989,” and “Modes of Making: Art, 1996-2016.” In fall 2017, I will teach “Latin American Art: Strategies and Tactics," which will also count towards the new major in Latinx and Latin American Studies (LLAS).
Seeing works of art in person contributes a great deal to the study of art’s history; so far, field trips have taken us to the Carpenter Center, Harvard Art Museum, MASS MoCA, and Dia: Beacon. Upcoming destinations will include the Whitney Museum of American Art in New York and the Museum of Fine Arts Boston.
In my scholarship, I analyze the ways in which twentieth- and twenty-first-century art has been entangled with political and economic processes, especially those relating to the spread of capitalism. Crucial to this research is an investigation of how this entanglement may be seen to manifest in the formal and material components of specific works of art. In one developing project, I investigate art made in the new millennium, and the ways in which its production engages with 1) the global division of labor and 2) the growing role of the Internet in contemporary society. In a second research project, I look further back, to the 1930s and 1940s, so as to analyze art from Latin America and its negotiation of shifting trade patterns, geopolitical realignments, and the system of import substitution industrialization.
I have recently published an article in the journal ARTMargins (MIT Press) about Oscar Bony's La Familia Obrera (1968) and I have written catalogue essays about the work of Mateo López (The Drawing Center) and Kota Ezawa (SITE Santa Fe/Radius Books). With my colleague Ana María Léon (University of Michigan), I am co-editing a special issue of the journal Architectural Theory Review (Taylor & Francis) called “Designing Commodity Cultures."
Before arriving at Amherst, I was a postdoctoral fellow at the Getty Research Institute and a recipient of a Mellon Foundation International Dissertation Research Fellowship from the Social Science Research Council. I have presented my research internationally at venues including the Institut National d'Histoire de l'art (Paris), the Getty Research Institute (Los Angeles), the Museum of Modern Art (New York), Forum Transregionale Studien (Berlin) and the Latin American Studies Association conference (San Francisco).