Category Archives: feminism
The BRCA1/BRCA2 test is a genetic mutation marker tests that indicates risk for breast and ovarian cancer. The tests were in the public eye earlier this year, when Angelina Jolie had a double mastectomy after testing positive for the mutations. Someone like Jolie has nearly unlimited financial resources, but this is obviously not the case for the average person.
Cancer.gov’s helpful BRCA1/BRCA2 FAQ clearly indicates that coverage for testing varies by insurance company and can cost as little as hundred and as much as thousands of dollars. The financial challenges the test presents, as overwhelming as they may seem, are just the tip of the iceberg. If you are lucky enough to afford the genetic testing, you also need to go to genetic counseling, which also may or may not be covered by your insurance.
A BRCA1 mutation marker indicates a nearly 65% chance of developing breast cancer and 39% chance of developing ovarian cancer. A BRCA2 mutation indicates a 45% risk of developing breast cancer, and an 11% risk of developing ovarian cancer. With such a high risk, many women opt for prophylactic surgery, which includes a double mastectomy as prevention for breast cancer and the removal of both ovaries and fallopian tubes as prevention for ovarian cancer. The decision to have prophylactic surgery is life-altering.
Women who elect to have one or both surgeries will endure a long recovery period of reconstructive surgery and hormone therapy, which once again, may or may not be covered by insurance. It sickens me that at such a traumatic moment in a woman’s life, she is essentially penalized for being proactive and seeking preventative care with an utter lack of financial support. Depending on her personal situation, she may also not have emotional support, and the cost of more genetic counseling or therapy may also be too costly.
I was one of my mother’s primary caretakers in the last months, weeks, days, and hours of her life. I was the only person who could get her to stop clenching her teeth long enough to give her a drop of morphine after the metastatic brain tumor inhibited her speech. I went to bed every night to the sound of the oxygen machine that helped her breathe despite the two huge metastasized lung tumors, praying so hard to a god that I didn’t believe in that I’d wake up to her smiling face dancing in the living room – completely cured.
Instead, nearly five years ago, I held the death certificate in one hand citing “metastatic breast cancer” as the cause of death while peeling the “do not resuscitate” signs off of the front door and refrigerator.
It’s October, which means that it is breast cancer awareness month. Some of us are all too aware of breast cancer, of cancer in general, and its devastating effects. Instead of wearing a bunch of pink, please get mad for people like me – people who lost someone near and dear to them and who still have a second traumatic experience to look forward to that often includes a hefty financial and emotional toll.
Though I’m not ready quite yet, I will have the BRCA1 and BRCA2 test in my early 30s. What I will do with the results weighs on me heavily. I am quite sure I would elect to have prophylactic surgery so that my family may not have to re-live my experiences. I am waiting because I am not ready to make those decisions. I’m sharing my story because after five years, I am finally ready to do so.
This is the one thing my mother gave me that I do not cherish.
Please give some serious thought to BRCA1/BRCA2 testing if you have a history of breast or ovarian cancer in your family. Research your insurance company, and please send an angry letter if you find that they do not cover testing, counseling, or reconstruction. It will have a much greater impact than wearing pink.
I am a loyal J. Crew customer. I get super excited when the new catalog comes, flipping through the pages lusting after the fashionable clothes. I found the Spring issue particularly adorable, because of the cute little boy getting his toenails painted by his mom, with pink Essie nail polish – my favorite!
This ad, which I was melting into a puddle of goo over, apparently made many people upset. Upset enough to air ridiculously ignorant stories on major news networks.
John Stewart put together some great clips of ridiculous pink toenail polish news stories, which can be seen in this amazing video: Toemageddon 2011 – This Little Piggy Went to Hell, which I highly suggest watching. You’ll laugh and possibly even cry.
I’m a life planner and I am fascinated with gender studies. Obviously I’ve already decided that I am going to actively try to raise my future children as gender neutral as possible. If my son’s favorite color is pink and he asks for an Easy Bake Oven for Christmas, you better fucking believe I’ll buy it for him. If my daughter wants a bug farm and a Creepy Crawler maker, she’ll get that too. There is an inexplicable and incessant need in U.S. society for clear gender boundaries and gender roles. They are learned behaviors, perpetuated by a patriarchal society that needs to separate out of fear of the possibility of equality.
Now I’ll discuss a couple of the most discouraging comments made about this ad. As reported on CCN, Erin Brown from the Media Research Center called the ad “blatant propaganda celebrating transgendered children.” I see two major problems with this statement. 1) painting a 5-year-old boy’s toenails hot pink does not make him transgendered. 2) why the fuck shouldn’t transgendered children be celebrated?
Another excellent quote comes from Glenn Beck’s sidekick Keith Ablow, who is somehow an M.D. He states, “gender distinctions have a place in society. I think it is a message she meant to send – it’s an attack on masculinity.” Once again, two major issues. 1) gender distinctions in society function only to oppress and alienate. It creates a false binary. Yet Mr. Ablow would like to perpetuate gender stereotypes and roles. 2) This boy is FIVE. He is basically asexual at this point in his life. Yes, he identifies himself as a boy and pees standing up. He does not even understand what this mystique of masculinity that people like Ablow try so desperately to maintain. This myth that men need to be macho and powerful and can’t like the color pink or paint their toenails. I hope for this little boy’s sake that he doesn’t grow up to be one of those types of men. The world doesn’t need any more of those.
The controversy surrounding this ad makes me realize just how difficult it will be to raise children gender neutral. There is constant pressure from everywhere, especially from the media and pop culture, to adopt “gender appropriate” behavior. I am upset about the controversy surrounding this ad, too, but for incredibly different reasons.
This is an abridged version of a paper that I wrote for a History of Photography course I took in Fall of 2008.
The mysterious Countess di Castiglione, who commissioned hundreds of photographic portraits of herself from prominent Parisian studios, left a very prolific record of her life. In this paper I will discuss the way in which the Countess’s peculiar life gave her the agency to commission these photographs and control her self image. Due to her eccentric and fetishistic behavior, her photographs are generally bizarre and provocative. Using the ideas of feminist theory and gaze theory, I will discuss the way in which the Countess was able to use her social status and agency to obsessively construct her self identity before any one else could construct it for her.
I argue that the motivation behind having so many photographic portraits taken was her narcissistic and seemingly neurotic desire to preserve and document her beauty. Her apparent narcissism certainly stemmed from the fact that she was constantly receiving positive attention about her looks from both men and women. She was undoubtedly one of the most beautiful women of her time as Frederic Loliee says in his history Women of the Second Empire, “She was perfection. She enjoyed getting dressed up and making her presence known at exclusive functions such as royal balls.” She also took advantage of her sexual appeal by using her beauty to seduce some of the richest and most powerful men. Her frequent affairs with prominent men of the mid to late nineteenth century were clear indications of the power of her beauty and the way in which she affected men. Perhaps her obsession with documenting herself was a way of taking claim of her image and objectifying herself before any one else could. Being a prominent member of the court since the age of sixteen must have made her slightly jaded. Especially due to the fact that she was known more for being an object of desire than for playing the important political and social roles that she wished to play.
Though it was not uncommon for elite members of French society to have their portraits taken conveying different identities, the Countess’s photographs stand apart. They were not used for advertising or monetary gain and as Elisabeth Brofen says, “the photographs show with extraordinary clarity how self staging, apparently a safeguard and immortalization of the I, is accompanied by the destruction of the self” (156). La Castiglione’s obsession with her own self image led to a unique artist and model relationship that produced prolific amounts of fascinating photographs of a woman trying to define her self image using the medium of photography.
The advent of photography created an environment of quick and easy commodification. Instead of sitting for a painted portrait, patrons could go in and have their photograph snapped in a few minutes time. With the creation of the carte-de-visite, or calling card, people could disseminate images of themselves to whomever they chose. Though it appears as if the Countess never actually intended to circulate the unconventional portraits she deliberately pose for, she was undeniably concerned with making her own identity.
Photography also aided in the wide dissemination of pornography. Instead of taking photographs of the entire body, sometimes these illicit photographs would commodifying single body parts, like legs. In later photographs of the Countess’s legs as an old woman, the Countess overturns the notion of sexualized body parts by emphasizing her de-sexualized, aging body.
There is a tradition of women with some sort of agency, particularly political agency, commissioning their own portraits. As strong willed women with political agendas, these women used their agency to commission portraits of themselves in order to have control of the way they were depicted instead of letting other people have to opportunity of defining them. This, it seems, is very similar to what the Countess di Castiglione did with her series of self portraits. Instead of letting other people, particularly male artists or her male family members, decide how she would be presented to the public, she wanted to be in charge of her image. She, as a Countess, was also in a similar position of the possibility of accessing political power.
Though there is not a strong tradition of women with agency (the ability to act as she chooses) to commission unconventional or risqué portraits of themselves to create and solidify her own identity, there are some unique cases. This shows that, though the Countess is a particularly intriguing case, she was not the first woman to commission portraits to self-consciously create her identity.
Arguably the most intriguing photographs of the Countess are the photos in which she consciously makes the viewer aware of engaging in the act of looking. By countering the viewer’s gaze, the Countess questions exactly who is the subject and who is the object. Although she is the object of the photograph, in the photos where she is holding a half mask in front of her eye, titled Game of Madness, the Countess in turn makes the viewer both the looker and the looked at. The subject is almost always the person who has the power in the subject/object relationship. It is no surprise that the Countess would want to actively engage in the subject position, even in a situation where she is inherently objectified.
The radical and particularly intriguing aspect of the gaze photos of the Countess are dependent entirely on the time period in which they were created. During the Second Empire women in France did not have many freedoms and their agency in the arts depended entirely on their access to money. As a woman for whom money was not an issue, the Countess was able to commission portraits of herself that were not necessarily conventional or socially acceptable. Another reason why she could have these portraits taken of herself was due to her very intimate relationship with Pierre Louis Pierson. Perhaps if she had not developed such a strong friendship with Pierson she would not have been able to convince another photographer to take these risqué or scandalous photographs of her, regardless of how much money she offered.
In many ways it seems as if the Countess was ahead of her time. She was unknowingly, or perhaps very deliberately, engaging in a critical discourse that involved questioning the gaze and the position of women in 19th century French society. As a member of female aristocratic minority with agency in the arts, the Countess and her hundreds of photographs give scholars insight into the life of a woman who did not always play by the rules and was a product of almost every aspect and intersection of life in 19th century Paris, not just that of the upper class elite.
I’ve decided to write a series of blog posts which, though different in scope and concept, work off the ideas presented in the previous post(s). By doing so, I hope to emulate my thought process – to manifest the series of connections that are created in my brain while thinking about a certain topic. Specifically, this series of posts will discuss different facets of the concepts of agency and the power of the gaze.
I have already discussed the concept of agency, the ability to act/do, in previous posts. The gaze, however, is something that I have only mentioned briefly in my discussion of the spectacle. “The gaze” is an important concept in the art historical discipline. While teaching the introductory surveys, I would often ask the students where the figures (if there were figures in the painting) were looking. Though it may seem like a rather superficial, perhaps meaningless, question, the gaze of the figures is important in both formal and conceptual analysis. If the figures are looking directly at the viewer, they may be inviting of challenging the viewer’s gaze. If the figure(s) are not looking at the viewer(s), the viewer(s) can be spectators, voyeurs, or active participant(s) in the scene.
The gaze is inherently powerful. The act of looking is, in some ways, a privilege, and it can be a display of dominance or an attempt at intimidation. Though not particularly relevant to contemporary American society, there have been, and still are, places and time periods where only certain people could look at certain people/things. The privilege of looking was dependent on race, class, and/or gender. Generally, “the gaze” refers to the male gaze, particularly the heterosexual, privileged, white male’s gaze. This dates back to ancient art. Think ancient Greece – Aphrodite of Cnidos, in particular. Though the Roman copy is not as beautiful, the nude statue of the “goddess of love” (dubbing her a goddess made her nudity more acceptable), was adored by many men. There are ancient accounts that some men got so excited that they “left a stain on her.” As she coyly tries to cover her genitals in the Venus Pudica pose, she is actually drawing attention to her nudity and vulnerability. The fact that she does not look at the viewer head on puts the viewer in a position of acting as a voyeur, which adds an element of excitement and scandal to the viewing experience.
There were dozens, hundreds of male nude statues. The nude male body, however, was not an object of desire. Male nudity, instead, was a symbol of both athleticism and herocism. Even statues of nude men were created for the gaze of other men. To the heterosexual man they were a symbol of what the man should hope to be. To the homosexual male they were the same symbol, and, perhaps secondarily, objects of desire. The statues had commanding gazes which met the viewer’s eyes. They were confident, self aware, and proud. They were not created as objects for women to lust after, but as reminders of the Greek emphasis on and appreciation for athleticism, youth, and beauty.
The male gaze has always been the most powerful gaze, and it still remains the most powerful gaze… which will be the concepts expanded upon in the next blog post.
Since moving to Boston mid-June, I have been working for a temp agency, which has placed me in some really interesting administrative roles. On the side, though, I work for third party marketing companies as a Promotional Model/Brand Ambassador/Spokesperson. It is actually a really fun/interesting gig, as I get to interact with lots of different people and learn about some cool products.
Most recently I was promoting a new men’s shaving product at a wholesale retailer. (I’m not sure how much info I’m allowed to divulge on the internet, so I am going to be as vague as possible.) I was responsible for telling people about the new product and also handing out samples of the same brand’s shaving cream. The shaving cream had the same name/branding as the blades themselves, and was marketed towards men to use to shave their face.
I was handing out 2.5 ounce samples of the shaving cream to customers at the store, which is pretty darn good for free. I was shocked at the amount of people, specifically women, who asked me if the product was for men/sort of got offended if I tried to offer it to them. WHAT? It is FREE shaving cream. Just because it is marketed towards men does not mean that it will not work for you, as a female, to shave whatever you want to shave with it. I couldn’t get over it. Do people honestly think that a product won’t work as well, or even at all, if you are the opposite gender of the marketing target?
It’s amazing/scary just how successful companies are at creating false binaries. For some reason, some people (I am definitely not included in this, as I’ve used tons of men’s products, even men’s deodorant!) truly believe that products “designed specially” for one gender cannot be used by the other gender. Mind blowing. Seriously. Shampoo works on all hair, male or female. So does shaving cream. Shavers, too. And I must admit that the five blade comfort blades that were created for “men” looked pretty awesome for shaving my legs.
The creation and maintenance of false binaries is problematic and has led to the perpetuation of marginalization and oppression of certain groups based on race/class/gender. If products are separated dependent on gender, race, class, etc. it opens the door for value judgments. One product is more effective, better quality, etc. even though they are probably the exact same product in different packaging. Do you remember the old Secret deodorant slogan “strong enough for a man, but made for a woman?” Yeah, I think that pretty much says it all.
In high school I was a self proclaimed anti-feminist. This was because the idea had been planted in my head that feminists were, by their very nature, man-hating women with radical politics who burned their bras. It wasn’t until college, graduate school really, that I finally realized that there is a reason why feminism has been branded this way towards the younger generation of young girls and women: it has the potential to be incredibly powerful.
By making feminism something that you shouldn’t be excited to align yourself with, and my making feminist politics seem removed from the life of the average woman, feminism is contained. Once I finally, reluctantly decided to embrace feminism, I realized that there are many girls and women who are in the same boat as I was. I now feel obligated to share how feminism has changed the way I think and to try to make more women aware of what feminism can do for them and how they think about the world around them.
My fundamental problem with feminism from the ages of 13 – 20 was that I incorrectly thought feminism was hypocritical. I wanted to know why, if women were calling for equality, they weren’t championing humanism. I thought it was ridiculous to even acknowledge that gender divide and instead call for equality for PEOPLE, not just women. This was because I was incredibly naïve and had not yet realized that it is impossible to disregard gender difference. Through feminist art historical practices I was able to finally understand the value of feminism: as a tool to illuminate the ways in which women are oppressed due to the constraints they are forced to work in, which are different from those of men. By acknowledging the ways in which women were/are oppressed by patriarchial power structures, it opened my eyes to the ways in which gender, race, and class play an important roles, not just in the case of women, but in all marginalized groups.
I’m not really a girl power, “I am woman hear me roar,” type of gal, but I definitely do identify myself as a feminist. I think that I should be in charge of my sexual health and reproduction rights, I want to get paid as much as a man does for doing the same job, and I don’t want to support or perpetuate the normalization of domestic violence towards women. Are you with me on one…two… all three of these issues? Guess what, you’re probably a feminist, too! Embrace it!
If I’ve sparked your interest at all, check out Jessica Valenti’s book: Full Frontal Feminism: A Young Women’s Guide to Feminism and Why it Matters (I have to thank Professor Kelly Dennis’s office door promoting for this book recommendation!)
9. We want to glorify war — the only cure for the world — militarism, patriotism, the destructive gesture of the anarchists, the beautiful ideas which kill, and contempt for woman.
10. We want to demolish museums and libraries, fight morality, feminism and all opportunist and utilitarian cowardice.
It is in Italy that we are issuing this manifesto of ruinous and incendiary violence, by which we today are founding Futurism, because we want to deliver Italy from its gangrene of professors, archaeologists, tourist guides and antiquaries.
Italy has been too long the great second-hand market. We want to get rid of the innumerable museums which cover it with innumerable cemeteries.
Museums, cemeteries! Truly identical in their sinister juxtaposition of bodies that do not know each other. Public dormitories where you sleep side by side for ever with beings you hate or do not know.
The above passages are taken directly from F.T. Marinetti’s 1909 Futurist Manifesto.
Marinetti was an Italian poet and philosopher who attacked Renaissance perspective and bourgeoisie values. Obsessed with war, speed, and machines, Marinetti wanted artists to break free from the canon and create violent, radical works that represented modern life. Marinetti’s ideas were impressive, avant garde, and highly political. Like many radical ideas, Futurist works ended up being total failures, as they have been taken out of context and no longer successfully represent the ideological ideals they were created to convey.
Case in point: not many people really understand the (not particularly pleasant) ideologies of the futurist movement, as they are not necessarily visually apparent in Futurist works. For example:
Boccioni States of Mind: The Farewells, 1911
From this Boccioni piece entitled States of Mind: The Farewells, created in 1911, the bright, abstracted shapes are actually sort of fantastic and cheerful. Though the concepts of speed, machine, and modernity are conveyed by the paintings formal characteristics, the angular shapes and the dream-like composition do not convey the the concepts of violence and destruction that are so central to the Futurist’s Manifesto.
Balla: Girl Running on a Balcony, 1912
Giacomo Balla’s Girl Running on a Balcony, painted in 1912 is even less successful at illustrating the Futurists most important ideologies. This painting looks much like Georges Seurat’s canonical pointillist work, La Grande Jatte created circa 1884-1886. Balla’s use of light, bright colors makes this painting anything but ominous and his reference to the art historical canon does not suggest the obliteration of culture. Though it too conveys an infatuation with movement, as all futurist works do successfully, but there are once again no illusions to destruction – especially not the destruction of art or art history.
Boccioni Unique Forms of Continuity in Space, 1913
Lastly, Boccioni’s Unique Forms of Continuity in Space, a sculpture created in 1913, is the icing on the top of the not so successful cake. This sculpture of is the centerpiece of the brightly lit, ENTIRE ROOM of exhibit space at the Museum of Modern Art, New York. Yes, the artistic and social movement that wanted to destroy museums and libraries and equated museums to cemeteries has its OWN ROOM at the Museum of Modern Art. It’s own really beautiful, really impressive, incredibly misleading room…that also does not hint at destruction, war, or radical politics. The Futurists failure by ending up with their own room in one of the most prominent museums, museums being the foremost institutions that they wanted to destroy, is the perfect example of why form needs to meet function, or in this case – ideology. Oh, irony. You’re great.
I’ve noticed that art that makes commentary on the body/involves the body leaves the most lasting impression on me. I guess this post is about unpacking these images, films, occurrences, etc. and figuring out exactly why and how I have such a visceral response to them.
From previous blog posts, I’ve made it largely apparent that I am fascinated with the idea of the spectacle. In this instance, I will also be using the word “spectacle” as defined by the Situations and Letterists International, both examples here taken from Guy Debord’s Society of the Spectacle:
“Though separated from what they produce, people nevertheless produce every detail of their world with ever-increasing power. They thus also find themselves increasingly separated from that world. The closer their life comes to being their own creation, the more they are excluded from that life.”
“The fetishism of the commodity — the domination of society by “intangible as well as tangible things” — attains its ultimate fulfillment in the spectacle, where the real world is replaced by a selection of images which are projected above it, yet which at the same time succeed in making themselves regarded as the epitome of reality.”
I will also be expanding on the notion of spectacle with what it particularly means to me, which is a hybrid between the ideologies of the SI/LI and the dictionary definition of: “something exhibited to view as unusual, notable, or entertaining; especially : an eye-catching or dramatic public display.” For me, the spectacle, in relation to the body, involves using the body (with or without consent of the person) as something to be viewed or provide pleasure and/or entertainment. The two examples of the body as spectacle that come to my mind are “ethnographic” presentations of people and pornography. Yes, they seem pretty unrelated right now, but bear with me.
The practice of displaying people is centuries old. Particularly after the colonization of Oceania, the Americas, and Africa “indigenous” people were sent back to Europe for display at fairs as “ethnographic displays.” The most well known example of this is the Hottentot Venus, an African woman who was sent to Europe as a “specimen” due to her engorged secondary sexual characteristics and “odd” (not European) aesthetics. A brilliant commentary on this practice is Coco Fusco and Guillermo Gómez –Peña’s performance piece circa 1997, The Couple in the Cage. This piece, which is one of my favorite performance pieces, shows the injustice and continuance of these practices. We’d like to believe that these practices no longer exist, that humans are not turned into spectacles, but think back to the last time you visited your favorite art or natural history museum. Remember that Ancient Egyptian mummy? Yeah, that is a human body. I know; it’s easy to forget.
Now what do “ethnographic displays” and mummies in museums have to do with pornography? Well, in these adult videos bodies are on display – in this case, not really as specimens, but as objects of pleasure and enjoyment. I guess in some ways it is not THAT much different than the theater or cinema, in which actors and actresses use their bodies and talents to entertain. I think what, in my mind, connects pornography with the display of bodies is the degrading and careless way in which many of its subjects are treated. Discussing pornography also provides an excellent transition to my next topic: the body as commodity.
When discussing the body as commodity, all that I can think of is prostitution and sex slavery. Once again, two very different things, though they are really only differentiated by one, rather important aspect: consent. My first experience unpacking the body as commodity and commentary on prostitution was exploring Picasso’s Demoiselles D’Avignon. In Picasso’s fragmented cubist painting, he is making a harsh commentary on the barbarous nature of selling one’s body for money. Particularly commenting on the crude behavior of seemingly sophisticated Parisian life in the early 20th century, which was rampant with prostitution and sexually transmitted diseases, Picasso uses the notion of primitivism to criticize the Western world, rather than the common practice of using primitivism to denigrate non-European (and therefore inferior) cultures. Though the female subjects of Picasso’s painting, as prostitutes, are choosing to be commodities, their bodies are shattered, their faces are ugly; they are far from beautiful or inviting, which was (and still is) the common glamorization of sex for sale.
I’ve had many debates over whether or not prostitution is a symbol of barbarism for a culture, of whether or not prostitution as an economic function of society, as an unsightly byproduct of capitalism somehow justifies its existence. To me, the body used as spectacle, but particularly turned into commodity can only be explained by this quote by Walter Benjamin: “there is no document of civilization that is not simultaneously a document of barbarism.” In my mind, prostitution is as disturbing as sex trafficking and it is the physical manifestation of a culture’s barbarity. It is the underbelly of a culture that is in denial of its own primitivism.
Welcome to my Art/Art History blog! I am a second year master’s student at the University of Connecticut, and I am looking to start a museum career upon graduation in May! I would describe myself as tech savvy, quirky, intelligent, fun, helpful, and insightful. I am interested in engaging with and utilizing social media tools to make a memorable and lasting impression on possible employers.
I am an incredibly driven and motivated person. I graduated an entire year early at the age of 20 from UMass Amherst with a bachelor’s degree in Art History with a minor in Classics. From there I dove straight into the Art History master’s program at UConn, Storrs.
I have had awesome work/internship experiences in the midst of all the schoolwork. I am currently a Graduate Teaching Assistant at UConn, teaching two sections of 20 students and assisting with the survey courses: Ancient to Medieval and Renaissance to Present. I also coach long, high, and triple jump at my high school alma mater for the Indoor and Outdoor Track seasons. I have also been interning in the American Painting and American Dec Arts Departments at the Wadsworth Atheneum for over a year. The project that I am most proud of was my work obtaining copyrights and rights/reproduction permission for the exhibition catalogue American Moderns on Paper: Masterworks from the Wadsworth Atheneum Museum of Art which is currently on display at the Amon Carter Museum.
At UMass I worked in the Image Collection Library, maintaining the slide collection as well as helping create a new, online image database using Luna Insight and Inscribe. I absolutely loved this job, and it left me with a passion for slide libraries and fascination with catalouging cultural objects. I also worked as an executive assistant at a local bank, as well as a gallery guard and docent.
My combination of teaching experience, museum experience, library/meta data experience, paired with my enthusiastic outlook and unwavering motivation make me an excellent addition to any museum staff.
In this blog I will write about my experiences while teaching, working with, and thinking about ART! I hope you enjoy!