// Exhibition and Curatorial
As an intern in the Department of Prints, Drawings and Photographs at the Yale University Art Gallery (YUAG), I used forensic techniques, and research in English, French and German in order to discern provenance and catalogue artworks. I also had the opportunity to aid LaTanya Autry, a visiting fellow, and Judy Ditner, the curator of photography, in the research of two exhibitions.
While interning at the MoMA, NY, as the only college junior in a class of seniors and post-graduates, I compiled a Fluxus archive of artworks and contextualizing ephemera.
Before the Event/After the Fact: Contemporary Perspectives on War
“Before the Event/After the Fact offers a wide-ranging examination of the representation of war in contemporary photo-based practice, presenting works that depict training sites, combat zones, forensic reconstructions, and popular entertainment. The exhibition highlights conceptual, documentary, and architectural imaging techniques, investigating the visual relationship between staged images and real events, and between factual data and their digital representations. Photographs by Adam Broomberg and Oliver Chanarin, An-My Lê, and Peter van Agtmael combine the apparent clarity of documentary imagery with the ambiguities of reality itself, while video installations by the filmmaker Harun Farocki and a digital animation and interactive work created by the interdisciplinary design studio SITU Research capture the present and future of digital-imaging technologies and their potential applications.” Yale University Art Gallery
Let Us March: Lee Friedlander and the Prayer Pilgrimage for Freedom
“This exhibition presents photographer Lee Friedlander’s images of the Prayer Pilgrimage for Freedom, a critical yet generally neglected moment in American civil rights history. On May 17, 1957—the third anniversary of the landmark Supreme Court decision Brown v. Board of Education, Topeka, which outlawed segregation in public schools—thousands of activists, including many leaders from religious, social, educational, labor, and political spheres, united in front of the Lincoln Memorial, in Washington, D.C. At this first large-scale gathering of African Americans on the National Mall, an event that was a forerunner of the 1963 March on Washington at which Martin Luther King, Jr., delivered his famed “I Have a Dream” speech, protestors called on federal authorities to enforce desegregation, support voting rights, and combat racial violence. Friedlander photographed many of the illustrious figures who attended or spoke at the march, such as Martin Luther King, Jr., Rosa Parks, Ella Baker, Mahalia Jackson, and Harry Belafonte, and he wove among the demonstrators on the ground to capture the energy and expressions of the day. In commemoration of the sixtieth anniversary of the Prayer Pilgrimage for Freedom, the Gallery exhibits this set of images publicly for the first time.” Yale University Art Gallery
Fluxus: MoMA Archive
While working at MoMA, I combed through much of the museum’s collection conducting research in order to classify Fluxus artworks. While searching through files MoMA had acquired from an art collector years earlier, I stumbled upon what appeared to be a personal letter from popular 20th century artist Christo. Enclosed in the letter was a piece of his 1985 artwork The Pont-Neuf Wrapped.