Laura J. Allen
Master of Arts, Bard Graduate Center
Associate of Applied Science, SUNY FIT (Fashion Design)
Bachelor of Science, Bates College (Biology)
Qualifying Project: Fashioning the Northwest Coast: 200 Years of Indigenous Dress
I created a proposal and 3D design for an exhibition that examines the complex social worlds of the North Pacific Coast of North America through innovative dress made by Native artists and designers from 1820 to the present. Powerful garments, textiles, illustrations, dolls, and a video installation tell a story of cross-cultural commerce, communication, and conflict. The exhibition also explores the circulation of Northwest Coast design idioms in North American fashion and textile industries in the 1940s and 1950s, which has contributed, paradoxically, to both ongoing cultural appropriation and the vibrancy of Northwest Coast Native fashion today.
QP Research:
My BGC-supported research trip to Vancouver and Vancouver Island in 2019 was essential to my qualifying project. Several artists and designers welcomed me into their homes and studios, where I was able to interview them and select pieces for my exhibition plan. While there, I also conducted collections and archival research at the Royal British Columbia Museum and the UBC Museum of Anthropology, worked with my co-author of a conference paper on the local Indigenous fashion world, and stayed with a dear friend. I also studied objects and archives at The Textile Museum in Washington, D.C. and the Institute of American Indian Arts in Santa Fe. During my research, I uncovered a fascinating case study where lineage emblems called crest designs on a historic dance tunic were adapted for a mid-twentieth-century world’s fair poster, a book cover, a fashion show program, a dress print, furnishing fabrics, and other media.
Internships: University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia; Museum of the City of New York
Internship Experience:
At the Penn Museum in Philadelphia, I researched and wrote a curatorial report on Gitxsan and Nisga’a materials in the American Section’s Louis Shotridge collection. At the Museum of the City of New York I supported the Costume and Textiles Collection, mainly assessing garments associated with New Yorkers from the 1860s.
Study Trip: London
Digital Project: I contributed to the exhibit and website of Dr. Aaron Glass’s project The Story Box: Franz Boas, George Hunt and the Making of Anthropology at the Bard Graduate Center Gallery. Later, I delivered a conference paper co-authored with Dr. Glass on the pedagogical experience.
Other Relevant Experience:
My Qualifying Project won this year’s Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts Award. For much of my BGC studies, I was the Curatorial Associate for the renovation of the American Museum of Natural History’s Northwest Coast Hall, which is slated to open in 2021. I have also served in editorial, media production, and interpretive planning capacities there and for other cultural and science museums. Attending Bard Graduate Center advanced and united my years of interdisciplinary experience in collections-based institutions, digital media and journalism, and fashion design.
Job Search:
I’d love to realize a version of my QP exhibition proposal as an independent curator working with Indigenous collaborators. I am open to various museum staff positions, but am chiefly interested in working as a curator in an institution with a historical collection of Indigenous American material culture and contemporary works, including dress and textiles. In such a role, I would like to conduct descendant community engagement, research and write, and develop exhibitions.
Contact: [email protected]
Jordane Birkett
Master of Arts, Bard Graduate CenterBachelor of Arts, New York University (Art History)
Qualifying Paper: The Head and the Hand: Hospitality and Collaborative Craftsmanship in William Morris’s Prose Romances
This paper reexamines the Prose Romances, a series of fantasy novels written by William Morris, through the lens of hospitality and collaborative craftsmanship. By contextualizing the works as examples of both physical and mental craft, I showed that the themes of growth and maturation present in the works were bolstered by Morris’s physical experiences in actual craft spaces. This argument positions craft as a process of community building and hospitality predicated on the mutual sharing of skills and narratives. The Romances thus act as touchstones of this practice shared between Morris and reader.
QP Research:
In the course of my research I had the opportunity to take a letterpress course at the Center for Book Arts in Manhattan. This experience allowed me to reflect on the ways my scholarly research and creative practice acted on one another. The core argument for my qualifying paper positioned William Morris’s Prose Romances as intellectual objects that could not be divorced from their tangible qualities and the activities that influenced their making. Through this class, I critically examined this idea from the point of view of a newcomer in a craft space. Thus, my argument that the craft space (and the objects created in it) acts as a locus for community and collaborative learning, was built through traditional research grounded in actual social experience. It was also important to me that I engage with the Romances through the context of their entire lifecycle rather than merely as finished products. Doing so through the practice of making, opened my eyes to a more diverse pool of materials and objects and to the contemporary legacies of studio craft that stemmed from the Arts and Crafts movement.
Internship: Hampton Court Palace Curatorial Department, Historic Royal Palaces UK
Study Trip: Paris
Digital Project:
I created a WordPress website devoted to a teapot found at the Seneca Village archaeological site. This project was completed in connection with the “Excavating the Empire City” course, which focused on the history and archaeology of New York City.
From a research perspective, this project was highly valuable in that I was able to focus on a single object and use it as a rudder for discussing wider social issues, histories of making, and the nineteenth-century implications of material ownership. This approach left room for intimacy in my research that I found both surprising and delighting. Tangentially, I found this intimacy with the object to be grounding when I ultimately used the object as a springboard for conversations surrounding race and gender. Though Seneca Village can certainly be viewed as a site of power (through land ownership) for both women and African Americans during the nineteenth century, it is also important to note that narratives of marginalized people have historically been excluded from academic discussions. Thus, the accessibility of a website format and the focus on a single object were important facets of the project, as they helped me discuss these issues frankly and base them in the context of tangible objects and real people.
Other Relevant Experience:
Instructor, Hill Art Foundation, Teen Curator Program; Gallery Educator, Bard Graduate Center Gallery
Job Search:
I hope to land a position in education, whether it be in a museum, a historic site, or any other type of heritage institution. I am very passionate about working in education and public outreach. I want to expand the narratives of both large and small institutions by making them more accessible and asking tough questions about how art institutions can best serve their communities. Ideally, I would work in a setting in which I could interact with many people, use creativity to solve problems, and ask new questions of an institution’s material culture collections.
Contact: [email protected]
Christina De Cola
Master of Arts, Bard Graduate Center
Bachelor of Arts, Brown University (History of Art and English)
Qualifying Paper: Playing Tourist: The Grand Tour and Cartographic Board Games of the Eighteenth and Nineteenth Centuries
My QP investigates an assortment of commercially printed travel-centric board games produced in England between 1759 and 1875. It examines the ways in which imaginary tourists participated virtually in the culture of the Grand Tour and related Continental travel. Publishers combined the didactic appeal of geography primers with the excitement of travel narratives, presenting empirical facts and subjective cultural ‘truths’ with equal degrees of authority. In this way, they taught children how to be good travelers, consumers, and citizens.
Internship: New York City Archaeological Repository
Study Trip: London
Digital Project: I created a SketchUp exhibit design for the course “Exhibition as Medium: Curatorial Thinking.”
Digital Experience:
I fulfilled the digital requirement by producing a SketchUp design for Professor Deborah Krohn’s class “Exhibition as Medium: Curatorial Thinking.” This proposed exhibition titled “Playing Tourist” used two rooms and the landing on Bard Graduate Center Gallery’s second floor. It divided the spaces into three sections titled “Learning Through Play,” “The Grand Tour,” and “Around the World.” The design proposal incorporated thirty-nine objects and 3,500 words of completed wall-text. My prior professional experience primarily involved administrative work and research. Producing this imaginary exhibit offered an exciting creative opportunity and helped me expand my digital skills beyond simple database creation and PowerPoint design. Thinking about issues relating to education and travel and having to arrange these objects spatially helped illuminate connections I might otherwise never have noticed when writing my final qualifying paper. It helped me better structure my arguments and expanded the scope of my research well beyond eighteenth-century England.
Other Relevant Experience: I worked full-time as an Executive Assistant in the Counsel’s Office at The Metropolitan Museum of Art while attending BGC.
Job Search:
I am interested in pursuing collections management, exhibition design, or research positions in the future and would be thrilled to remain at the Met. However, my interests primarily center historic preservation, urban archaeology, and museum administration. I would love a position with the Landmarks Preservation Commission or at a local history or historic house museum.
Contact: [email protected]
Nicole Dee-Collins
Master of Arts, Bard Graduate Center
Bachelor of Arts, University of Rhode Island (French)
Bachelor of Science, University of Rhode Island (Textiles, Fashion Merchandising, and Design)
Qualifying Paper: “Shoulders down; arms back; chest open; and waistband properly HIGH up”: Dandyism, Fashion, and the Perception of Masculinity in Late-Georgian Britain
My QP examines the ways in which the dandy was perceived and depicted between 1790 and 1850, and how this was critical in shaping and reinforcing the new trend towards understated elegance in male fashions and the perception of masculinity in early-nineteenth-century Britain, using garments, texts, etymology, and visual material as evidence.
QP Research:
Through a generous grant from BGC, I was able to travel to London in January 2020 to complete research for my QP. The purpose of my trip was to study rare late-eighteenth- and early-nineteenth-century men’s fashion periodicals at the British Library and extant examples of menswear from the same period at the Victoria and Albert Museum’s Clothworkers’ Centre. I was able to see numerous periodicals and complete research into what types of garments were popular for men in different years and how the depictions of the male body changed during approximately 1770s-1830s. At the V&A, I was able to see six garments, including a suit from the 1770s, a suit from the 1810s, a pair of pantaloons from 1815, a pair of trousers from the 1820s, a frock coat from the late 1830s, and a tail coat from 1828. I used methods of close looking to examine the construction, sizing, styles, cut, materials and any labels left in the garments to better understand the changing styles of this period. All of the materials I was able to study in London were incredibly helpful for my QP.
Internship: Victoria and Albert Museum, in the V&A Research Institute (VARI)
Internship Influence:
I had the pleasure of completing my internship at the VARI at the V&A in London in the summer of 2019. It was a fantastic experience, and I had the opportunity to work with the museum’s esteemed curatorial staff. I worked on an exhibition that closely mirrors my research interests in seventeenth- and eighteenth-century men’s fashion and completed object-based research on items in the museum’s collection. It was thrilling to feel like I was meaningfully contributing to a future exhibition and helping curators that I had long admired. I was also able to meet so many leading academics and scholars in my field and learn about the exhibition-making process at one of the top museums in the world.
Study Trip: Paris
Digital Project: I created plans for an exhibition on seventeenth-century British men’s fashion and masculinity using SketchUp.
Other Relevant Experience:
Throughout my two years at the BGC, I worked with our curators and assisted with exhibition preparation for the shows in the BGC Gallery.
I am primarily interested in curatorial, collections management, or research positions in a fashion and textile or decorative arts departments in museums or historical societies. I am focusing my search in the Northeast, with a particular interest in the Boston Metro Area and the NYC Metro Area. However, I am not opposed to relocating to another area of the country.
Contact: [email protected]
Jacqueline Mazzone
Master of Arts, Bard Graduate Center
Bachelor of Arts, St. Johns University (History)
Qualifying Paper: A Taste for Death: Love, Humor, and Suicide in an Eighteenth-Century English Manuscript Recipe Book (Clive Wainwright Award)
My QP examines two manuscript recipe books. One is from the Old Sturbridge Village Research Library and has two love remedies in which the “cure” is suicide. The second is a related manuscript from Beinecke Rare Book and Manuscript Library at Yale University. The paper explores the importance of humor in manuscripts as a way for an individual to express their opinions about topics they thought were important, such as love and suicide. As such, these manuscripts are a reflective lens that modern readers can use to better understand broader cultural conversations in early modern England.
QP Research:
My research started with just one manuscript, and finding the related manuscript at Beinecke Rare Book and Manuscript Library was a surprise, as it is incredibly uncommon to have two manuscript recipe books that are so similar. I also was able to find one of the main printed sources for the manuscripts, another rare occurrence. BGC funded my research trips to Sturbridge and Yale University. I was able to see both manuscripts in person and photograph them, which was incredibly important for comparing the two during the writing process.
Internship: Old Sturbridge Village, Collections and Research Library Intern, Sturbridge, MA
Internship Influence: Were it not for my internship at Old Sturbridge Village, I would not have found the manuscript the became the center of my QP. More than that, however, I gained so many professional experiences, from collections management skills like pest-control and inventorying, to curating my own display cases. Most importantly, I made lasting connections with professionals I met throughout the summer, as well as a group of talented and enthusiastic peers who interned across all the departments of the museum.
Study Trip: Berlin
Digital Project: I created a Sketch-Up for an exhibition entitled Life of a Meal: Food and Dining in Early Modern England for the “Exhibition as Medium” course.
BGC Influence:
Before coming to BGC, I was interested in food history, but I did not realize that it was a field that I could research. My first semester, I took a class with Deborah Krohn entitled “In Margrieta’s Kitchen” and I’ve been hooked ever since. I have taken all of the courses that Professor Krohn has offered over the past two years, and her enthusiasm for the topic has fueled my own interest. When I found my QP topic, she helped me as my advisor, always willing to read drafts or just discuss problems I was having with my research. Her excitement for my project pushed me to work harder and make it the best it could be. Thanks to Professor Krohn, I have spent the past two years researching in a field I am passionate about and that I hope to continue to contribute to for the rest of my career.
Other Relevant Experience:
Exhibitions Assistant, BGC Gallery; Public Educator, Intrepid Sea, Air, and Space Museum.
Job Search:
Ideally, I hope to find a position as a collections manager or curator for a historic house or living history museum, with a focus in early American material culture.
Contact: [email protected]
Rachael A. Schwabe
Master of Arts, Bard Graduate Center
Bachelor of Arts, Loyola University Chicago (Art History and English Literature)
My Qualifying Paper studies the performative objects that the New York-based artist, Janine Antoni created in the 1990s. In these early performances, Antoni made physical traces on malleable materials like chocolate, lard, and soap with everyday movements—gnawing, mopping, licking, weaving, and winking. The evidence of Antoni’s craft transforms her objects into sites of interaction in which the viewer empathizes with the haunted marks of Antoni’s laboring body. This contemporary model of embodiment perpetuates a Victorian sensibility of object-as-conduits. Though separated by 100 years, Antoni’s performative objects and nineteenth century hair works constitute a material culture of empathy that destabilizes subject-object relationships.
QP Research:
In the process of my QP research, I reached out to Janine Antoni’s studio and arranged a visit and a conversation with her and her assistants. This visit provided the backbone of my understanding of Antoni’s process. To supplement the Victorian component of my paper, I participated in a workshop hosted by a Brooklyn-based master jeweler, Karen Bachmann, that was dedicated to hair works. Wrapping horsehair and wire around a mandrel solidified my understanding that creating hair works is a meditative and devotional practice. I also visited Philadelphia, PA to see the historian and collector John Whitenight’s collection of hair works and to talk to the artist, Melanie Bilenker about her process of working with hair to create “images that look the way they feel.” My conversations with John and Melanie were incredibly informative–not only for contextual information about nineteenth-century parlor culture, but in terms of talking through the meaning of making hair works.
Internship: Museum of Art and Design, New York: curatorial intern for the exhibition Vera Paints a Scarf: The Art & Design of Vera Neumann, on view August 8, 2019 – January 26, 2020
Study Trip: Berlin
Digital Project: I created the website “Handmade Worlds: An Annotated Guide to the Craftsperson’s Body” in which I examined images of craftspeople including William Morris, Marianne Brandt, and Prissy Andrews. I sought to place the craftsperson’s body at the center of an analysis of their performed identity. The website may be viewed at https://handmadeworlds.commons.bgc.bard.edu/
BGC Influence:
Elissa Auther’s courses have been foundational to my understanding of the field of craft history and the relational aesthetics of craft. My internship assisting with Elissa’s Vera Paints a Scarf exhibition at the Museum of Art and Design helped me to realize how the object-based research approach at BGC could be enacted in the form of an exhibition beyond BGC.
I am also grateful to have been mentored by Emily Reilly, Carla Repice, and Olivia Kalin in BGC’s education department. I have grown as an educator in the process of empowering teens and specialized adult groups to see deeply, think critically, and build their object-interpretations freely. My role as the Teen Program Coordinator for BGC’s Lab for Teen Thinkers has solidified my passion for youth engagement and creating opportunities for teen identity formation.
Other Relevant Experience:
Through my work with the BGC Gallery’s education department, I was appointed the Teen Program Coordinator and Lead Student Educator. For more on the Teen Program, see: https://teenthinkers.bgcdml.net/. I also co-wrote the Educator Guide for the BGC Gallery’s spring 2020 exhibition on Eileen Gray: https://exhibitions.bgc.bard.edu/eileengray/educators-guide/#fb0=1.
Job Search:
I am interested in any jobs involving accessibility, youth engagement, public programs, interpretation, and gallery education. I admire the teen programs at MAD and the Brooklyn Museum! Outside NYC, I really admire institutions like the Walker Art Center, the Fabric Workshop & Museum, the Kohler Art Center, San Francisco MoMA, and Massachusetts Museum of Contemporary Art. I am also interested in academia and university-affiliated museums, and I enjoy following the programming at the Smart Museum (University of Chicago) and Block Museum (Northwestern University) back home in Chicago.
Contact: [email protected]
Danielle Weindling
Master of Arts, Bard Graduate Center
Bachelor of Arts, Middlebury College (Art History and Gender, Sexuality, & Feminist Studies)
Qualifying Paper: I Have Seen Her in the Mirror: Elsa Schiaparelli, Surrealist Fashion, and Female Agency
Throughout her career, Italian-born couturiere Elsa Schiaparelli (1890-1973) made pointed use of Surrealist aesthetic strategies to comment on the construction of post-World War I femininity, the social conditions of modern womanhood, and dressing as a form of agency. This qualifying paper explores Schiaparelli’s creative interpretation of the female body through her use of display mannequins as well as through an analysis of four of her most provocative pieces from 1936-1938: The Desk Suit, Shoe Hat, Skeleton Dress, and Tears Dress. Through her fashions, Schiaparelli presented wealthy clients with an opportunity to engage with Surrealism as a form of social critique.
QP Research:
In January 2020, I traveled to Paris and London to conduct research for my Qualifying Paper, I Have Seen Her in the Mirror: Elsa Schiaparelli, Surrealist Fashion, and Female Agency. With support from the Bard Graduate Center and the Bonnie Cashin Fund, I visited a range of archives and museums with research materials related to Italian-born couturiere Elsa Schiaparelli. In Paris, I visited the Archives de Paris, which collects, inventories, and preserves a series of design sketches, drawings, photographs, and marketing materials which Maison Schiaparelli donated to the City of Paris. While in Paris, I also visited the Textile Documentation Center at the Musée des Arts Décoratifs to view press coverage, official correspondences, fashion illustrations, and acquisition documents related to the museum’s collection of Schiaparelli garments. In London, I visited the Clothworkers Center at Blythe House to view Schiaparelli garments belonging to the Victoria & Albert Museum’s Fashion and Textile collection. While at Blythe House, I was able view the acquisition files for these garments in the V&A’s Word and Image Department. These appointments were essential to my research regarding the life and legacy of Elsa Schiaparelli and proved central to the primary sources included in my final Qualifying Paper.
Internship: Cooper Hewitt, Smithsonian Design Museum, New York, NY: curatorial intern for the exhibition “Willi Smith: Street Couture ” on view March 13 2020—October 25, 2020
Internship Experience:
As a Curatorial Intern for the Cooper Hewitt, Smithsonian Design Museum I worked closely with the project team for the upcoming exhibition, Willi Smith: Street Couture. The first retrospective of American designer Willi Smith (1948-1987), this exhibition focuses on Smith’s interdisciplinary design process through key works from his iconic streetwear company WilliWear Ltd., as well as a selection of photography, video, design drawings, patterns, and ephemera. Working alongside the Curator of Contemporary Design, I have developed a holistic understanding of the research, planning, and strategy that goes into creating exhibitions and public programs. My internship responsibilities spanned both the big and small picture, from sourcing research materials and maintaining exhibition checklists, to preparing editorial content for publication, the web, and in-gallery didactics. Working with non-traditional exhibition materials—fashion, ephemera, and other forms of material culture—made the planning of this exhibition both exciting and challenging.
Study Trip: Berlin
Digital Project: I participated in the creation of the digital interactive for the BGC Gallery exhibition Jan Tschichold and the New Typography, fall 2018.
Job Search:
Over the past five years, I have worked in an array of departments, including curatorial, collections management/archives, publications, and marketing and communications. Looking forward, I am open to any and all of these types of positions. I am most interested in positions at museums and cultural institutions with strong fashion & textiles, photography, or drawings, prints & graphic design collections. In the greater northeast these institutions include but are not limited to: Cooper Hewitt, MAD, The Museum at FIT, MoMA, MCNY, and the Museum of Fine Arts, Boston.
Contact: [email protected]
Caleb Weintraub-Weissman
Master of Arts, Bard Graduate Center
Bachelor of Arts, State University of New York at Geneseo (History)
Qualifying Paper: Photography and the Roycroft Press: Photogravures, Halftones, and Mythmaking in East Aurora
In my QP I examine how the founder of the Roycroft Press, Elbert Hubbard, deployed specific photographic printing techniques in order to promote his business, movement, and, most importantly, himself. I specifically look at photogravures, which were considered the finest type of prints that could be reproduced in books, and halftones, which, in contrast, were the cheapest and easiest to make. By utilizing both Hubbard could appeal to different markets in his efforts to build a direct relationship between the workers at the Roycroft campus in East Aurora and consumers across the United States.
QP Research:
While I was researching the Roycroft movement for my qualifying paper I went to look at materials stored at the Rare Books, Special Collections, and Preservation department of the University of Rochester Library. One of the things I examined there was a collection of the personal and business correspondence of Elbert Hubbard, which was extremely helpful in my efforts to understand the persona he presented to the American public during the heyday of his celebrity. I also unexpectedly came across a huge number of postcards, many of which claimed to show life on the Roycroft campus, that were rarely shown in existing literature on the topic. These postcards really inspired me to think about the Roycroft movement as an enterprise that had attracting tourists to their headquarters in East Aurora as a central goal.
Internship: Christie’s New York, Twentieth-Century Design Department
Study Trip: Paris
Digital Project: I worked on the digital interactive website for the upcoming Navajo Weaving exhibition at the Bard Graduate Center Gallery.
Other Relevant Experience: I’ve also worked at The Whaling Museum & Education Center of Cold Spring Harbor and the Livingston County Historical Society.
Job Search:
I’d really love to get my foot in the door of a curatorial department of a museum, though I would also be interested in working in collections management.
Contact: [email protected]
Master of Arts, Bard Graduate Center
Master of Liberal Arts, Harvard University Extension School (Museum Studies)Bachelor of Arts, Boston University (History, Economics)
My master’s thesis traces the shifting definitions of appropriate jewelry as an indication of the often-contradictory messaging directed at women navigating concerns about class, wealth, and virtue in a rapidly changing world. The discourse surrounding the deployment of jewelry, present in fashion periodicals and etiquette manuals, speaks to the broader experience of women of this period, the complex pressures negotiated in the spirit of belonging, who was dictating those guidelines, and the slippage between these claims and lived experience.
Fellow, Digital Media Lab, Bard Graduate Center: maintained and updated BGC websites.
Internship Influence:
This summer I had the pleasure of being the BGC graduate intern at the Walters Art Museum in Baltimore. William Walters (1820–94), a wealthy industrialist who made his fortune in the liquor, banking, and railroad industries, began a private collection which his son, Henry Walters (1848–1931) inherited and expanded. The Walters’ collection comprised the initial holdings of the museum that Henry Walters donated to the city of Baltimore. The Walters opened to the public in 1934. It is a medium-sized encyclopedic museum with particularly strong holdings in European and Asian art, manuscripts, and Ethiopian art. During my tenure at the museum, I was supervised by Dr. Ellen Hoobler, the William B. Ziff, Jr. Associate Curator of the Arts of the Americas, 1200 BCE–1500 CE and Dr. Jo Briggs, Associate Curator of Eighteenth– and Nineteenth–Century Art.
I am looking for an assistant or associate curator position in the decorative arts department of a large, encyclopedic museum with a strong collection of American decorative arts and material culture, such as the Philadelphia Museum of Art, Museum of Fine Arts, or the Met.
Contact: [email protected]
Bachelor of Arts, McGill University (Art History)
This paper examines the architecture of Biosphere 2, an ecological research facility in Arizona, arguing that it represents a distinct type of environmental design and planning that appeared in the United States after World War II and modeled the whole earth and its resource systems.
Using newspaper sketches and period ephemera, I created a digital exhibition that explored public reception toward New York’s Chinatown at the turn of the twentieth century, specifically as attitudes toward Chinese immigrants were shaped by notions of public health. I learned about curating an exhibition and planning it on SketchUp; this research also turned out to be a historically relevant case for exploring the social aspects of today’s pandemic.
Fellow, Digital Media Lab, Bard Graduate Center: maintained and updated BGC websites.
My experience in the non-profit cultural sector has taught me to perform administrative tasks and communications vital to day-to-day operations. At my most recent internship at the Climate Museum, I was primarily responsible for website design and production; however, the collaborative, start-up environment gave me the chance to observe and participate in marketing and event planning, as well as contribute by researching and composing profiles for prospective donors and board members.
I want to put my writing, editing, research, web design, and media production skills to use for a museum, auction house, consulting firm, private collection, journal, or other cultural organization in New York or Canada.
Contact: [email protected]
