In 2014, with the support of the Andrew W. Mellon Foundation, CCL launched a summer seminar intensive, which introduces art history doctoral candidates at the outset of their careers to the daily challenges and strategic questions of museum practice.
Xuxa Rodríguez is a PhD candidate in Art History at the University of Illinois at Urbana-Champaign specializing in 20th and 21st century Latinx and Latin American Art, with focuses in Afrodiasporic art and theory of the Caribbean, performance art, social practice, and feminist and queer theory. Her dissertation, “Performing Exile: Cuban-American Women’s Performance Art, 1972–2014,” is the first to examine Ana Mendieta, Carmelita Tropicana, María Magdalena Campos-Pons, and Coco Fusco together, arguing their work embodies U.S.-Cuba diplomatic relations of the late 20th century. She has served as a 2017–2018 Smithsonian Predoctoral Fellow at the Smithsonian American Art Museum, a 2016–2017 Foreign Language and Area Studies Fellow, a 2014 Smithsonian Latino Museum Studies Program Fellow, and a 2013–2016 Graduate College Distinguished Fellow at the University of Illinois at Urbana-Champaign. She has interned and worked for Figure One Exhibition Lab Space, Frost Art Museum, Krannert Art Museum, the Smithsonian American Art Museum, and Spurlock Museum. Her curatorial practice occupies the intersections of the affective, collaborative, immersive, and sensorial to facilitate projects that center artist’s voices, dance, installation, music, participation, performance, and readings. In 2018–2019, she will serve as a Luce/ACLS Dissertation Fellow in American Art.
Miranda Saylor is a PhD candidate in the Department of Art History at the University of California, Los Angeles, where she specializes in art of viceregal Mexico and early modern Spain. She graduated magna cum laude from the University of Pennsylvania. Miranda’s dissertation examines the profound influence of the Spanish mystic author María de Ágreda on sacred art in the Americas. More generally, her research interests explore print culture, female piety, and Marian imagery in the early modern Ibero-American world. She has assisted with curatorial projects organized by El Museo del Barrio, the Victoria and Albert Museum, and the University of Pennsylvania Museum of Archaeology and Anthropology. Most recently, she worked on Los Angeles County Museum of Art’s exhibitionFound in Translation: Design in California and Mexico, for which she also contributed to the catalogue.
Marina Tyquiengco is PhD candidate in the History of Art and Architecture at the University of Pittsburgh, advised by Professor Terry Smith on contemporary Indigenous art. She received her BA from the University of Virginia with a double major in Art History and Foreign Affairs. While at the University of Virginia, she interned at the Fralin Museum of Art and the Kluge-Ruhe Aboriginal Art Collection. After graduating, she continued to work in the arts at a for-profit gallery and nonprofit art center. In 2016, she received her MA in Art History from the University of Pittsburgh with a project on reuse of ethnographic photographs by contemporary Aboriginal artists. She has presented her research at the Australian and New Zealand Studies of North America and at the Southeastern College Art Conference. She was the inaugural intern for the 57th Carnegie International where she conducted a digital humanities project based on recent curators’ travel patterns. Her dissertation will focus on Indigenous artists’ use of their bodies in work made from the 1990s to today in Australia, Canada, and the United States. She is currently serving as the Editor-in-Chief forContemporaneity: Historical Presence in Visual Culture.
Juliana Barton is a Ph.D. candidate in the History of Art at the University of Pennsylvania, specializing in modern architecture and design. Her dissertation, “The Model Kitchen: Domesticating Modernism in the American Home, 1933–1963,” examines the kitchen as the site of domestic debates about modernism, technology, taste, and identity in the mid-twentieth century, charting its role as an agent of progression and regression in American culture. More generally, she is interested in how domestic and exhibition spaces participate in the politics of gender, race, class, and nationalism. Her work has been recognized with support from the Center for Advanced Study in the Visual Arts and the Cornell University Dean’s Fellowship in the History of Home Economics. She holds a B.A. with Highest Distinction in American Studies and Art History from the University of Virginia. Prior to graduate school, she worked as the exhibitions coordinator at the Center for Architecture and as a curatorial intern at the Museum of Modern Art. In the 2017- 2018 academic year, she will be the Andrew W. Mellon Graduate Fellow in European Decorative Arts after 1700 at the Philadelphia Museum of Art.
Erica DiBenedetto is a Ph.D. candidate in the Department of Art and Archaeology at Princeton University, where she specializes in modern and contemporary art. Her dissertation, “Drawing from Architecture: The Conceptual Methods of Sol LeWitt’s Art, 1965–1980,” examines how LeWitt approached the historical problem of art’s relationship to architecture largely through drawing, with consequences for both artistic and architectural practice. Erica’s research has received various awards, including predoctoral fellowships sponsored by the Smithsonian American Art Museum as well as by the Morgan Library and Museum and the Menil Collection. Erica holds master’s degrees from Princeton University and the Williams College Graduate Program in the history of art. Her professional experience includes curatorial department positions at Carnegie Museum of Art and graduate internships at the Princeton University Art Museum and the Williams College Museum of Art (WCMA). At WCMA, she organizedThe ABCDs of Sol LeWitt(2008) with Lisa Corrin.
Lecturer in Art History
Kristopher Driggers is a Ph.D. candidate in Art History at the University of Chicago, where he studies Pre-Columbian art in Mesoamerica. His dissertation, “History and Idolatry in the Codex Durán Paintings,” examines how manuscript illuminations made in Early Colonial Mexico crafted a visual discourse on the long history of Aztec cult. His recent work has been supported by a Ford Foundation Predoctoral Fellowship and an Erasmus Dissertation Research Fellowship, which have enabled him to conduct eld research with objects in Mexico City and Madrid. In 2011, Kristopher received his B.A. in History of Art from Yale University. He has interned and worked at the Museo de Arte Latinoamericano de Buenos Aires (MALBA Fundación Costantini), Yale University Art Gallery, Metropolitan Museum of Art, and the McNay Art Museum.
Clarisse Fava-Piz is a doctoral student in the Department of History of Art and Architecture at the University of Pittsburgh, where she specializes in nineteenth-century Art of Europe and the Americas. Her dissertation examines transatlantic exchanges in sculpture between France, the United States, and Argentina during the period of Rodin, and analyzes issues of mobility and artistic identity in the creation and the translation of monuments from Parisian Salon culture to the public space. Clarisse received her M.A. in Art History from the Université Paris Ouest Nanterre - La Défense. Her master’s thesis explored questions of transnationalism and cultural transfers brought about by the migration of Spanish sculptors from Madrid and Barcelona to Paris at the turn of the twentieth century. She has previously held positions at the Getty Research Institute, the Galerie Patrice Bellanger, the National Gallery of Art in Washington, D.C., and the Institut National d’Histoire de l’Art in Paris. In June 2016, she was an invited lecturer at the Museo Nacional del Prado in Madrid, Spain, where she gave a talk on “Miguel Blay en París: Esculpir en la época de Rodin.”
Institute of Fine Arts, New York University
Julia Pelta Feldman is a Ph.D. candidate at the Institute of Fine Arts, NYU, where her research focuses on New York’s downtown scene in the 1970s. She has previously worked as archivist at The Museum of Modern Art, New York, and as curatorial assistant at NYU’s Grey Art Gallery; currently, she is a Joan Tisch Teaching Fellow at the Whitney Museum of American Art. She is also founding director of Room & Board, an artist’s residency and salon in Williamsburg, Brooklyn.
Madeleine Haddon is a fourth-year Ph.D. candidate at Princeton University in the Department of Art & Archaeology. She specializes in nineteenth-century French and Spanish painting. Her dissertation, “Local Color: Race, Ethnicity, and Gender in Nineteenth-Century Paintings of Spain,” focuses on the preoccupation with Spain in nineteenth-century art and its relationship to color, both human and painted. Madeleine is also a 2017–2018 Graduate Affiliate of the Program in European Cultural Studies at Princeton. Before coming to Princeton, she was the Executive Assistant to the Director of the Center for Curatorial Leadership from 2012 to 2014. She has previously held curatorial positions at the Metropolitan Museum of Art, Yale University Art Gallery, Princeton University Art Museum, and Sally and Werner H. Kramarsky Collection. Madeleine has also worked at the Studio Museum in Harlem andVanity Fair. She received her B.A. in the History of Art from Yale University. Her thesis, “The Maja in Francisco de Goya’sLos Caprichos,” earned an Andrew W. Mellon Travel Grant to support her research in Madrid, and was awarded the A. Conger Goodyear Prize by Yale’s Department of the History of Art and the Yale University Art Gallery.
Margaret Innes is a Ph.D. candidate in the History of Art and Architecture at Harvard University, where she specializes in the history of photography. Her dissertation examines the visual rhetoric of left-wing mass media in America between 1926 and 1951 in relation to photographic and curatorial practices of the period, with a particular focus on the reception of montage and worker photography. She completed a B.A. in Studio Art and French Studies at Wesleyan University and an M.A. in Art History at Hunter College, CUNY and has worked for Magnum Photos and the photo book imprint Steidl Dangin. She has held research positions and internships at the International Center of Photography, the Magnum Foundation, and Deborah Bell Gallery. She is currently the Patricia and Phillip Frost Predoctoral Fellow at the Smithsonian American Art Museum in Washington, D.C. and will serve as a 2017–2018 Luce/ACLS Fellow in American Art.
Lexi Johnson is a Ph.D. Candidate in Art History at Stanford University. Originally from Chicago, Lexi graduated from Princeton University with a B.A. in Art History, where she worked with Rachael DeLue and Gayle Salamon on her undergraduate thesis, “Queering George Bellows and the Question of ‘Gay Art.’” She focuses on American art history, visual culture, and issues of gender and sexuality, especially re-examining our understanding of American art using feminist and queer theory. She is currently at work on a dissertation titled, “Turning the Page: America’s Lesbian Magazines” that explores lesbian magazines published in the United States since World War II. Lexi has worked at the Princeton Art Museum, the Whitney Museum, and the Terra Foundation for American Art. At Stanford, she co-curated the exhibitMissing Personsand is now researching for an exhibition on Andy Warhol’s contact sheets,Contact Warhol, which will be co-curated by Richard Meyer and Peggy Phelan and open at the Cantor Arts Center in Fall 2018.
Charles is a doctoral candidate in art history at Columbia University. A specialist in eighteenth-century French art, he is interested in visual traditions and media beyond the familiar hierarchies of the academy system. His dissertation focuses on wax-based objects – sculpture, painting, and anatomical models – that supersede established Enlightenment categorizations of art and science. Among his fellowships, Charles was most recently the Ayesha Bulchandani Graduate Intern and Interpretive Fellow at the Frick Collection, where he designed course materials for a range of audiences, led public tours, and directed gallery instruction workshops. At Columbia, he produced a series of pedagogical events as a Lead Teaching Fellow and in previous years taught Art Humanities. Charles received his M.A. in the History of Art from Williams College, during which time he co-curatedWorks as Progress/Works in Progress: Drawing in Eighteenth- and Nineteenth-Century Franceat Williams College Museum of Art. He has also held positions and internships at the Clark Art Institute, Guggenheim Abu Dhabi, and Dia Art Foundation.