Curator, writer and historian, working across the fields of design, craft and contemporary art.


Posts in Exhibitions
Voulkos: The Breakthrough Years

This exhibition, co-curated with Andrew Perchuk of the Getty Research Institute and Assistant Curator Barbara Paris Gifford, was the first exhibition to focus on the early career of Peter Voulkos, whose radical methods and ideas during this period opened up the possibilities for clay in ways that are still being felt today. The exhibition opened at the Museum of Arts and Design and subsequently traveled to the Renwick Gallery.

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This exhibition was curated for Friedman Benda Gallery in New York City, in January 2017. A selective core sample of radical design works from the 1960s through the late 1980s, the show was sheathed in a projection of ‘white noise’ and a low-volume hiss of feedback.

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Postmodernism: Style and Subversion 1970 to 1990, co-curated with Jane Pavitt with the assistance of Oliver Winchester, opened at the V&A in 2011 and subsequently toured to MART in Rovereto and the Swiss National Museum, Zurich. The exhibition traced the intellectual and stylistic progression of postmodern art and design, from its initial radicalism to its eventual commodification. The show was accompanied by a major catalogue with 40 commissioned essays, and a synthetic curatorial overview.  The exhibition design, by Carmody Groarke and A Practice For Everyday Life, drew on period motifs while presenting a contemporary setting within the V&A’s Victorian architecture. 

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Industrial Strength Design

A monographic study of a Milwaukee-based designer, Industrial Strength Design: How Brooks Stevens Shaped Your World was on view at the Milwaukee Art Museum in 2003. Staged in the museum’s newly opened wing, designed by architect Santiago Calatrava, the show included several vehicles, among them the Skytop Lounge observation train car from the streamlined 1947 Hiawatha, and a period Oscar Mayer Wienermobile.

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fix fix fix

The perfect repair would be an invisible one. The hope is to completely restore a broken object to its original function and appearance. But no repair is perfect. It’s not possible to turn back the clock, and no matter how skilled the restoration, it will be detectable - at least to expert eyes. This means that, aesthetically speaking, fixing works against itself. It involves a process of self-erasure; the more skilled the repair, the less visible it will be.

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