My work focuses on the intersection of conservation, art history and theory, and material culture studies. In Spring 2016, I joined the Department of History of Art and Material Studies at the University College London. Prior to this, as Andrew W. Mellon Visiting Professor in the curricular initiative Cultures of Conservation, I taught graduate seminars on conservation, art history, and museology at the Bard Graduate Center in New York.
My primary research and teaching interests lie, among others, in ethics, aesthetics, and philosophy in and of conservation, film, video, installation, and electronic media, contemporary and post-war art, and the concepts of time, change, identity, and archive (as discourse and physical space) both in artworks and in objects of material culture. In conservation, I focus specifically on the notions of authenticity, intentionality, and conservations’ epistemic dimensions, that is, knowledge derived from, and generated by, diverse practices, theories, and cultures of conservation. I conducted this research at the Max Planck Institute for the History of Science in Berlin, where, in the Fall of 2015, I was a visiting scholar within the research group Art and Knowledge in Premodern Europe. My current research project titled Object in Flux concerns the material legacy of Fluxus objects, media, events, and ephemera and is supported by the Getty Foundation residential grant (2016-2017).
I obtained my Ph.D in 2013 from the University of Amsterdam, Institute of Art History and Cultural Studies with a thesis focusing on conservation, time, and change in film, video, and multimedia works of art, with a particular focus on Nam June Paik. A revised form of this research titled Paik’s Virtual Archive: Time, Change, and Materiality in Media Art has been published by the University of California Press (February 2017).
In September 2015, my book Revisions-Zen for Film was published by Bard Graduate Center/The University of Chicago Press. Reviewed in Art Forum, Critical Inquiry, and Journal of Curatorial Studies, among others, Revisions-Zen for Film accompanied an eponymous exhibition at the Bard Graduate Center Gallery located on Manhattan’s Upper West Side (September 17, 2015—February 21, 2016). This exhibition focused on the ways in which artworks endure over time in the face of remediation, obsolescence, aging materials, and changing interpretations of their meaning. The exhibition was accompanied by a series of public events organized at the Bard Graduate Center: Scholars’ Day and a Symposium titled Revisions-Object, Event, Performance since the 1960s (September 21, 2015) with the participation of more than 15 international scholars in film, video, performance, museum, and conservation studies.
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