ACADEMIA

I am very fortunate that since an early age, my parents instilled in me a love for learning and a respect for the value of an education. My education can be described as interdisciplinary (government, art history, museum studies, communications), which contributes to a deeper understanding of museums today. While this page describes my formal educational experiences, I am a firm believer that learning occurs across a variety of formal and informal spaces, expected and unexpected moments, and unbounded by time. I always seek experiences that provide new opportunities for learning, and also for giving back knowledge in the form of teaching and exchanges.

TEACHING

2014
Lecturer, Marketing Management in the Digital Age
Arts Management Program
Claremont Graduate University

2013
Lecturer, Visual Culture and Communication
Annenberg School of Communication
University of Southern California

2011
Teaching Assistant and Lecturer
The Communication Revolution, Entertainment and the Arts
Annenberg School of Communication
University of Southern California

1998
Teaching Assistant, Spanish Colonial Revival Art and Architecture
Department of Art History
University of Southern California

1995
Lecturer on modern and contemporary Greek art
Beaver College (study abroad program) – Athens, Greece

Ph.D.               University of Southern California (USC), Los Angeles, CA – 2012
Annenberg School for Communication & Journalism
Awarded Provost Fellowship & Dissertation Completion Fellowship
Concentration: Media, Culture, and Community

Dissertation: The Changing Nature of Museology in the Digital Age: Case Studies of Situated Technology Praxis in U.S. Art Museums
Dissertation Committee: Larry Gross (Chair and Advisor), Anne Balsamo, Selma Holo
* This dissertation was published by AltaMira Press in 2013 with the new title Museums in the Digital Age: Changing Meanings of Place, Community, and Culture

Dissertation Abstract
The digital age is a networked space of individuals, places, and information that flow together. Within this global, distributed space lies the museum as one of its active nodes. The space of the new museology is similarly de-centered and nonlinear, as museums adapt their traditional roles and practices to this changing cultural environment. Recent developments in mobile telecommunications, wireless technology, Web 2.0, and geospatial technology, contribute to a dispersed museum experience in the digital age with authority and interpretation also dispersed onto the visitor. Yet despite shifting away from their local, physical museum spaces, museums are not disregarding their local communities or their physical collections and spaces, but rather are undertaking a synthesized vision of local and global, fixed and mobile, physical and virtual, hegemony and populism. Through their use of technology today, museums disregard the limitations of these traditional binary terms, focusing more on visitor interests and affinities that provide strong bonds to the museum and cultivate social relations. This thesis analyzes five case studies of art museums in the United States that are remarkable for their innovative uses of technology (onsite and online). These five museums are: The Indianapolis Museum of Art, The Walker Art Center, The San Francisco Museum of Modern Art, the Brooklyn Museum, and the Museum of Modern Art in New York. Each museum was analyzed regarding the relation to its physical locality, its online use of technology (website, blogs, social media), onsite use of technology, and through individual interviews. While these cases illustrate the most pioneering uses of technology in art museums today, their significance lie rather in understanding the cultural and localized contextualization of how they use technology. The new museology places a priority on serving and engaging community, yet defining one’s community becomes challenging in the digital age, despite the reductionist efforts of visitor-centric museums. Each museum has its own trend-setting story to tell about its own places, communities, cultures, and how technology is applied towards those ends. To understand museums in the digital age is to understand the interrelation of their local and global places, communities, and cultures, and to all the points and flows of interaction within their distributed network.

M.A.                 University of Southern California (USC) – 2000
Museum Studies Program, Art History Department (with honors, Phi Kappa Phi)

B.A.                 Pomona College, Claremont, CA – 1988
Major: Government, Art History

ACADEMIC HONORS

2011-2012
Dissertation Completion Fellowship, University of Southern California

2011-2012
HASTAC Scholar (Humanities, Arts, Science, and Technology Advanced Collaboratory)
Co-organized online forum on “The Future of Museums”

2007-2011
Provost Fellowship, University of Southern California

2000
Phi Kappa Phi, All-University National Honor Society, University of Southern California

1997-1999
Recipient of Academic Scholarships – University of Southern California
The Art History Department; The Mexican American Alumni Association

RELATED EDUCATION

2009
International School on Digital Transformation – Porto, Portugal
Organized by the University of Porto and the University of Texas, Austin

2009
USC Annenberg Summer Institute on Methods and Statistics, CA

2008
National Science Foundation EDGE-SBE FIRST Summer Institute

2004
Advanced Leadership Institute, The National Association of Latino Arts and Culture – San Antonio, TX

2002
Leadership Institute, The National Association of Latino Arts and Culture – San Antonio, TX

1989
Art Appraisal Certifying Course, New York University