ABOUTFormer Deputy Director of the MAK Center for Art and Architecture at the Schindler House in West Hollywood, California, managing fundraising, production, and communication for over fifty exhibitions from 2009 to 2019. Highlights: Closed Down Clubs with Fiona Connor (2018); How to Read El Pato Pascual: Disney’s Latin America and Latin America’s Disney with Jesse Lerner and Rubén Ortiz Torres (2017); A Vast Furniture by Carmen Argote (2015); Everything Loose Will Land: 1970s Art and Architecture in Los Angeles with Sylvia Lavin (2013); Sympathetic Seeing: Esther McCoy and the Heart of American Modernist Architecture and Design (2011); 91 92 93 with Andrea Fraser, Simon Leung, Lincoln Tobier (2011); and How Many Billboards? Art In Stead (2010) with Michael Asher, Ken Gonzalez-Day, Renée Green, Kori Newkirk, Yvonne Rainer, Martha Rosler, and Allan Sekula, among others.
Co-editing, editorial assistance, and supervision for MAK Center exhibition catalogs and publishing projects: How to Read El Pato Pascual: Disney's Latin America and Latin America's Disney (London: Black Dog Publishing, 2017); Routine Pleasures (Vienna: Verlag für moderne Kunst, 2016); SchindlerLab.org (2015); Everything Loose Will Land: 1970s Art and Architecture in Los Angeles (Nürnberg: Verlag für moderne Kunst, 2013); Sympathetic Seeing: Esther McCoy and the Heart of American Modernist Architecture and Design (Nürnberg: Verlag für moderne Kunst, 2011); and more.
Selected catalogs edited (freelance): Below the Underground: Renegade Art and Action in 1990s Mexico (Pasadena: Armory Center for the Arts, Forthcoming) with texts by Amy Sara Carroll, Daniela Lieja Quintanar, Lorena Peña Brito, Alexis Salas, Irene Tsatsos, et al.; Empty Fields, ed. Marianna Hovhannisyan (Istanbul: SALT, Forthcoming); John Knight, Vacant Possession (London: Cabinet Gallery, 2018) with text by Robert Snowden; I can call this progress to halt (Los Angeles: LACE, 2017) with texts by Adham Hafez, Shoghig Halajian, Suzy Halajian, Gelare Khoshgozaran, Rosalind Nashashibi, et al.; John Knight, Bohemian Grove (Berlin: Galerie Neu, 2015) with text by Isabelle Graw; John Knight, Quiet Quality (London: Cabinet Gallery, 2014) with text by Pedro de Llano; Glen Small: Recovery Room (Los Angeles: Assembly, 2013).
Selected published writing: "Traveling Salesperson," Artillery (May/June 2019); "History on the Make," X-TRA Contemporary Art Quarterly 20.4 (Summer 2018); "Let the Building Be the Sign," Art Los Angeles Reader / Terremoto (2017, with Brian Mann); "A Sense of Place in the Work of John Knight," in CUL-DE-SAC (L.A.: REDCAT, 2017); "The Gentrification of the People’s Market: Interview with director Dylan Valley," Archinect (2014); Centerfold, L.A. Forum for Architecture and Urban Design Newsletter (2013); "Support Group," X-TRA Contemporary Art Quarterly 13.2 (Winter 2010).
Writing instructor for Temple University’s Los Angeles Study Away Program since 2017, teaching an undergraduate writing course that analyzes the history and popular image of Southern California.