I'm a curator and provenance researcher finishing my doctoral dissertation in Art History at the University of Illinois Urbana-Champaign. I specialize in French art and visual culture. My dissertation project looks at how artists expressed support and criticism for the French plunder of Europe's art collections through the fine, decorative, and popular arts around 1800. I'm interested in intersections between art, cultural property, and curatorial practice.
Publications
“Martin Fabiani.” Art Market Dictionary. Berlin: De Gruyter, 2021 (forthcoming).
“Commemorating Spolia in Napoleonic France.” Nouveaux regards sur les saisies patrimoniales en Europe à l’époque de la Révolution française. Edited by Pierre-Yves Kairis. Turnhout: Brepols, 2021.
“Revealing the Concealed: Exhibiting Provenance Practice.” Collecting and Provenance: International and Multi-Disciplinary Contexts. Edited by Jane Milosch and Nicholas Pearce. Lanham, MD: Rowman & Littlefield, 2019.
“Spolia and Memory in Post-Revolutionary France.” Athanor XXXVI (2018), 35-43.
Provenance: A Forensic History of Art. 2017. Exhibition booklet published by the Krannert Art Museum, University of Illinois.
“Reconstructing a Wartime Journey: The Vollard-Fabiani Collection, 1940-1949.” International Journal of Cultural Property (2015) 22, 505-526.
“Renewing Nazi-Era Provenance Research Efforts: Case Studies and Recommendations.” Museum Management and Curatorship (2014) 29:4, 297-310. Reprinted in Curating Art. Edited by Janet Marstine and Oscar Ho. Abingdon, U.K.: Routledge Books, 2021.
“Commemorating Spolia in Napoleonic France.” Nouveaux regards sur les saisies patrimoniales en Europe à l’époque de la Révolution française. Edited by Pierre-Yves Kairis. Turnhout: Brepols, 2021.
“Revealing the Concealed: Exhibiting Provenance Practice.” Collecting and Provenance: International and Multi-Disciplinary Contexts. Edited by Jane Milosch and Nicholas Pearce. Lanham, MD: Rowman & Littlefield, 2019.
“Spolia and Memory in Post-Revolutionary France.” Athanor XXXVI (2018), 35-43.
Provenance: A Forensic History of Art. 2017. Exhibition booklet published by the Krannert Art Museum, University of Illinois.
“Reconstructing a Wartime Journey: The Vollard-Fabiani Collection, 1940-1949.” International Journal of Cultural Property (2015) 22, 505-526.
“Renewing Nazi-Era Provenance Research Efforts: Case Studies and Recommendations.” Museum Management and Curatorship (2014) 29:4, 297-310. Reprinted in Curating Art. Edited by Janet Marstine and Oscar Ho. Abingdon, U.K.: Routledge Books, 2021.
Conferences and Invited Lectures
“Between biens nationaux and private property: Printed galleries and the ownership-by-proxy of plundered art.” Consortium on the Revolutionary Era. Talahassee (2022). (Paper accepted.)
“The First Modern Restitutions: The Restoration Louvre as a Paradigm for Decolonization.” Southeastern Art Conference. Lexington (2021). (Paper accepted.)
“Absence and Ubiquity in the Louvre’s Commemoration of Napoleonic Art Pillage.” Imperial Material: Napoleon's Legacy in Culture, Art, and Heritage, 1821-2021. Cardiff University (2021).
“Documenting Plunder: The Dessins Denon as a Vision of Museum-Building in the Modern Era.” Association of Historians of Nineteenth-Century Art, 17th Annual Graduate Student Symposium, New York (2021). Symposium prize winner.
“Art Theft in Wartime and Legal Frameworks.” University of Illinois College of Law (2020).
“Exhibiting Provenance.” Provenance Webinar Series: Sharing Research, Asking New Questions. Association of Art Museum Curators (2018).
“Commemorating Spolia in Napoleonic France.” Nouveaux regards sur les saisies patrimoniales en Europe à l’époque de la Révolution française, Institut Royal du patrimoine artistique/Koninklijk Instituut voor het Kunstpatrimonium, Brussels (2018).
“Public Engagement through Provenance.” American Alliance of Museums Annual Meeting, Phoenix (2018).
“Variations and Copies: A Challenge for Provenance Research.” Warum Dauert das so lange? Einblicke in die Praxis der Provenienzforschung zur NS-Raubkunst. Gemäldegalerie, Berlin (2017).
“Provenance and the Museum Public.” Provenance Research Exchange Program, Staatliche Museen zu Berlin (2017).
“Memory and Spolia in Post-Revolutionary France.” 35th Annual Graduate Student Symposium, Florida State University (2017). Symposium prize winner.
“The Vollard-Fabiani Collection at the National Gallery of Canada, 1940-1949.” World War II-Era Provenance Research Roundtable, Getty Research Institute, Los Angeles (2016).
“Provenance Research in Canada: Current Projects and Resources.” World War II-Era Provenance Research Roundtable, Getty Research Institute, Los Angeles (2014).
“The First Modern Restitutions: The Restoration Louvre as a Paradigm for Decolonization.” Southeastern Art Conference. Lexington (2021). (Paper accepted.)
“Absence and Ubiquity in the Louvre’s Commemoration of Napoleonic Art Pillage.” Imperial Material: Napoleon's Legacy in Culture, Art, and Heritage, 1821-2021. Cardiff University (2021).
“Documenting Plunder: The Dessins Denon as a Vision of Museum-Building in the Modern Era.” Association of Historians of Nineteenth-Century Art, 17th Annual Graduate Student Symposium, New York (2021). Symposium prize winner.
“Art Theft in Wartime and Legal Frameworks.” University of Illinois College of Law (2020).
“Exhibiting Provenance.” Provenance Webinar Series: Sharing Research, Asking New Questions. Association of Art Museum Curators (2018).
“Commemorating Spolia in Napoleonic France.” Nouveaux regards sur les saisies patrimoniales en Europe à l’époque de la Révolution française, Institut Royal du patrimoine artistique/Koninklijk Instituut voor het Kunstpatrimonium, Brussels (2018).
“Public Engagement through Provenance.” American Alliance of Museums Annual Meeting, Phoenix (2018).
“Variations and Copies: A Challenge for Provenance Research.” Warum Dauert das so lange? Einblicke in die Praxis der Provenienzforschung zur NS-Raubkunst. Gemäldegalerie, Berlin (2017).
“Provenance and the Museum Public.” Provenance Research Exchange Program, Staatliche Museen zu Berlin (2017).
“Memory and Spolia in Post-Revolutionary France.” 35th Annual Graduate Student Symposium, Florida State University (2017). Symposium prize winner.
“The Vollard-Fabiani Collection at the National Gallery of Canada, 1940-1949.” World War II-Era Provenance Research Roundtable, Getty Research Institute, Los Angeles (2016).
“Provenance Research in Canada: Current Projects and Resources.” World War II-Era Provenance Research Roundtable, Getty Research Institute, Los Angeles (2014).
Exhibitions
Provenance: A Forensic History of Art
Krannert Art Museum, University of Illinois, Urbana-Champaign
13 May 2017 – 18 December 2018
Krannert Art Museum, University of Illinois, Urbana-Champaign
13 May 2017 – 18 December 2018
Selected Awards
Mervat Zahid Foundation Prize, Association of Historians of Nineteenth-Century Art (2021)
Graduate College Dissertation Completion Fellowship, University of Illinois (2020-2021)
Kate Neal Kinley Memorial Fellowship (2019-2020)
Social Sciences and Humanities Research Council of Canada Doctoral Fellowship (2018-2020)
Fulbright Doctoral Award (France) (2018-2019)
Provenance Research Exchange Program Grant, Smithsonian Institution and Stiftung Preußischer Kulturbesitz (2017)
Illinois Distinguished Fellowship, University of Illinois (2015-2018)
Graduate College Dissertation Completion Fellowship, University of Illinois (2020-2021)
Kate Neal Kinley Memorial Fellowship (2019-2020)
Social Sciences and Humanities Research Council of Canada Doctoral Fellowship (2018-2020)
Fulbright Doctoral Award (France) (2018-2019)
Provenance Research Exchange Program Grant, Smithsonian Institution and Stiftung Preußischer Kulturbesitz (2017)
Illinois Distinguished Fellowship, University of Illinois (2015-2018)