madden fellow, the madden museum of art
As Madden Fellow since 2019, I work to research, interpret, and display in exhibitions the 133 object Madden Collection.
Co-curator, Thematic Highlights from the Madden Collection, 2021
Curator, Relationships and Collecting: The Madden Collection, 2021
Co-curator, Lay of the Land: Interpretations of Scapes, 2020 (virtual due to COVID-19)
Co-curator, Thematic Highlights from the Madden Collection, 2021
Curator, Relationships and Collecting: The Madden Collection, 2021
Co-curator, Lay of the Land: Interpretations of Scapes, 2020 (virtual due to COVID-19)
a good day in art school, 2019
Shown at the BFA expo at Cornish College of the Arts in 2019, A Good Day in Art School contextualized the personal and artistic journeys of each of the exhibiting artists by showing one piece they created in their first year at Cornish. It was a testament to both the enormous growth of the artists and an invitation to investigate underlying themes and creative currents in an art practice across four years. It also functioned as an exhibition lounge area, inviting BFA expo attendees to reflect on the accomplishments of the artists and the unique, transformative environment of an arts college.
the closet gallery
Curator of the Closet Gallery at Cornish College of the Arts from fall 2017-spring 2019. The Closet Gallery was dedicated to showcasing student works and operated completely independently from faculty and college administration.
selected exhibitions
anything but, Nana Emelogu, James Kennon, Idalis Madrigal, Adam Makkar, Gillian Martinez, and Haleigh Wanchena; co-curated with Idalis Madrigal, Emma Chalut and Reina Suji Yoon), March 2019
An interrogation of the white cube, this exhibition disrupted both physical and conceptual gallery space by utilizing the walls and ceiling as methods of display, as well as disrupting the idea that the gallery is inherently neutral by amplifying personal and political art.
An interrogation of the white cube, this exhibition disrupted both physical and conceptual gallery space by utilizing the walls and ceiling as methods of display, as well as disrupting the idea that the gallery is inherently neutral by amplifying personal and political art.
Prisma Chroma, Sean Lafferty and Gillian Martinez, October 2018
This show, which surveyed the glassworks created at Pilchuck Glass School a few months prior, brought together two varying approaches to glass that still both focused on technique and and new applications for the medium, from vibrant colors to nostalgic cast shapes, reflected in the approach to display of each artist's work.
This show, which surveyed the glassworks created at Pilchuck Glass School a few months prior, brought together two varying approaches to glass that still both focused on technique and and new applications for the medium, from vibrant colors to nostalgic cast shapes, reflected in the approach to display of each artist's work.
Personal Renaissances, Celestine Ocean, Aidan Sakakini and Alicia Weissenbach, September 2018
Reclamation, Nikita Ares, Tenzing Lhamo Dorjee, Idalis Madrigal, Gillian Martinez, Mari Nagaoka, Kaylah Saltzman-Bravo, Haleigh Wanchena, 2018
Reclamation featured seven women and non-binary identifying people of color. This show replaced a previously scheduled show after allegations of abuse against these communities to assert the importance of these voices in the gallery space and the varying experiences of those at the intersections of identities.
Reclamation featured seven women and non-binary identifying people of color. This show replaced a previously scheduled show after allegations of abuse against these communities to assert the importance of these voices in the gallery space and the varying experiences of those at the intersections of identities.
Pilgrimage, Tammie Dupuis, January 16-27, 2018
Pilchuck Revisited, group show with Monyee Chau, Tammie Dupuis and Quinlyn Johnson, Oct. 15-28, 2017
for full show rosters and documentation