AboutMy work examines the exhibition, sale, and critical reception of Italian art and how it shaped and was shaped by national and international socio-political shifts. My scholarship has been included in the recent volume Postwar Italian Art History Today: Untying ‘the Knot’ (Bloomsbury Press, 2018), where her chapter titled “Buying Marino Marini: The American Market for Italian Art after WWII” looks at politicized collection practices during the early Cold War. I also have two forthcoming essays: one on the 1949 exhibition “Twentieth Century Italian Art” at the Museum of Modern Art (MoMA) for a book due out late 2019 (The First Twenty Years at MoMA 1929-1949, Eds. Sandra Zalman and Austin Porter. London: Bloomsbury Press.), and another on the 1947-48 ceramic Crocifisso by Lucio Fontana for a 2020 Art Institute of Chicago (AIC) exhibition catalogue.
EducationPh.D., 2015, University of Michigan: Doctor of Philosophy in History of Art
M.A., 2009, School of the Art Institute of Chicago: Master of Arts in Modern Art History, Theory, and Criticism
B.A., 2005, University of Wisconsin-Madison: Bachelor of Arts in Art History with a Certificate in Religious Studies
(2019) “Exhibiting Italian Democracy in the 1949 “Twentieth Century Italian Art” at the Museum of Modern Art,” in The First Twenty Years at MoMA 1929-1949, Eds. Sandra Zalman and Austin Porter. London: Bloomsbury Press. (in press)
2018 “Buying Marino Marini: The American Market for Italian Art after WWII,” in Postwar Italian Art History Today: Untying ‘the Knot’, Eds. Sharon Hecker and Marin Sullivan, London: Bloomsbury Press. 155-172.
(2020) “Exhibiting Italian Modernism after WWII,” in Italian Modern Art, special issue “Methodologies of Exchange: MoMA’s Twentieth-Century Italian Art, 1949” eds. Raffaele Bedarida, Silvia Bignami, and Davide Colombo.
Exhibition Catalogue Entries:
(2020) “Lucio Fontana Crucifix,” in Material Meanings: Selections from the Constance R. Caplan Collection, Chicago: Art Institute of Chicago. (under contract)
2016 “Art for the People: Federal Arts Project’s Creation of American Taste” in Art for the People: WPA Prints and Textiles from the Permanent Collection, Murray: Murray State University.
2015 “Biographies” and “Bibliography,” in Three Michigan Architects, Eds. Joseph Rosa and Nancy Bartlett, Ann Arbor: University of Michigan Museum of Art.
2019 Review: “Metaphysical Masterpieces 1916-1920: Morandi, Sironi, and Carrà” at the Center for Italian Modern Art, Italian Art Society Bulletin XXX, 1 (Winter 2019), 4-5.
2009 Review: “A Case for Wine: from King Tut to Today (The Art Institute of Chicago, July 11-September 20, 2009),” Chicago Artists’ News, Vol. XXXVI, No. 8, September 2009
2009 Review: “Science Experiments: Dominic Paul Moore & Laurel Roth at the International Museum of Surgical Science,” Chicago Artists’ News, Vol. XXXVI, No. 4, April 2009
(under review) The Art and Politics of Exhibiting Italian Design in Post-War America: Considering the 1950-53 Exhibition “Italy at Work: Her Renaissance in Design Today” (Routledge)
(writing) Marino Marini and Italian Modernism: Italian Sculpture Before and After WWII
(under review) “Fascism Lite on Display at MoMA’s 1949 Twentieth Century Italian Art,” in Curating Fascism, Eds. Raffaele Bedarida and Sharon Hecker.
Upcoming Talks and Conferences(2019) “Not Just Pots: Ceramic Production by Italian Sculptors After WWII,” SECAC 2019, Southeastern College Art Conference, Chattanooga, TN; 16-19 October 2019
(2019) “Marino Marini and the Market for European Sculpture in the USA after WWII,” to accompany the exhibition Marino Marini: Nudes at the Center for Italian Modern Art, New York, NY, 19 November 2019
MembershipsCollege Art Association
Italian Art Society