EXPERIENCE

  • Getty Digital, J. Paul Getty Trust | Senior Software Engineer | March 2024—current

  • Etsy | Senior Software Engineer | October 2023—February 2024, previously Software Engineer II (March 2021—October 2023) and Software Engineer I (March 2020—March 2021)

  • Grace Hopper Program at Fullstack Academy of Code | Software Immersive Teaching Fellow | November 2019 to February 2020

  • Brooklyn College | Graduate Teaching Fellow/Instructor | September 2016 to May 2019

  • Martha Rosler Studio | Archival Assistant | May 2015 to September 2015

EDUCATION

  • The Grace Hopper Program, Fullstack Academy | 2019 | 17-week Software Engineering Immersive | link

  • PhD Candidate in Art History, Level III (ABD) | The City University of New York–Graduate Center

  • MPhil, Art History | 2018 | The City University of New York–Graduate Center

  • MA, Art History | 2015 | University of British Columbia, Vancouver BC | Thesis: "Work and the Work of Art: Agnes Martin 1959–1964" | link

  • BA, Art History | 2013 | University of British Columbia, Vancouver BC

AWARDS

  • Early Research Initiative Knickerbocker Award for Archival Research in American Studies | Summer 2019

  • Early Research Initiative Knickerbocker Award for Archival Research in American Studies | Summer 2018

  • Doctoral Fellowship | Social Sciences and Humanities Research Council of Canada | 2015-2020

  • Summer Archival Research Grant | Lost and Found, Center for the Humanities, 2016

  • Ian Wallace Award in Art History | University of British Columbia | 2015

  • Hugo E. Meilikie Memorial Fellowship | University of British Columbia | 2015

  • Joseph-Armand Bombadier Scholarship—Master’s | Social Sciences and Humanities Research Council of Canada | 2013-2014

  • Helen Belkin Memorial Scholarship in Fine Arts | University of British Columbia | 2013

  • Dean of Art’s Prize in Visual Literacy | University of British Columbia | 2013

  • Canadian Society for Asian Arts Prize | University of British Columbia | 2012

WRITING

"Cleverbot Conversation RSQ00962246." For Machine Use Only: Contemplations on algorithmic epistemology. Edited by Mohammed Salemy. &&& and Gwangju Biennale: New York and Gwangju, 2016. Print.

“Superconversations Day 28: Siwin Lo responds to Hu Fang, ‘Why We Look at Plants, In a Corrupted World’,” e-flux conversations (June 2015). http://conversations.e-flux.com/t/superconversations-day-28-siwin-lo-responds-to-hu-fang-why-we-look-at-plants-in-a-corrupted-world/1884. link.

Vikky Alexander: The Temptation of St. Anthony. Catalogue essay. The Apartment Gallery: Vancouver, 2015. Print. 

REVIEWS

Andrés Janacia at 839, Contemporary Art Review Los Angeles [online], December 2024. link.

Rodney Graham at 303 Gallery, Canadian Art [online], March 2019. link.

Indicators: Artists on Climate Change at Storm King Art Center, Canadian Art [print], Fall 2018.

Leandro Erlich: Seeing and Believing, The Brooklyn Rail [online], March 2018. link.

Alice Aycock: The Turbulence Series." The Brooklyn Rail [online], November 2017.  link.

EDITING

Editorial committee. "Issue 11: BLOOD AND EARTH AND SOIL," Shift: Graduate Journal of Visual and Material Culture, 2018. Online. link. 

Assistant editor. Silvia Federici and Arlen Austin, Wages for Housework: The New York Committee, 1972–1977: History, Theory, Documents. New York: Autonomedia, 2017. Print. link.

SPEAKING

Participant, Museum Research Consortium Study Sessions, The Museum of Modern Art, 2019.

“Becoming Digital, Becoming Textile: Medium and Mediation in the Lives of The Tree” A Symposium on the History of Art. Presented by the Frick Collection and the Institute of Fine Arts of New York University, April 27–28, 2018. link.

Invited panelist. Here/Say: Framing, Part III [Criticisms]. Barnard College, New York. November 27, 2017. link.

“Spaces of Possibility: The Location and Production of Knowledge and Narrative in Painting." 33rd Annual Society for Interdisciplinary French 17th Century Conference, London, Canada/Société d’Études Pluridisciplinaires du XVIIe Siècle Français, London, Canada, October 2014. link.

“Re-take of Amrita: A Genealogical Look At Vivan Sundaram’s Photographic Intervention.” 70th Annual South Eastern College Art Conference, Sarasota, Florida, October 9, 2014. link.

“The Canned and the Wooden: Irony, the Readymade, and Native-Art-as-Usual.” Assimilation, Appropriation, and Autonomy: Cultural Influence, Borrowing, and Resistance in the Arts, University of California Riverside’s Third Annual Graduate Student Conference, Riverside, CA, May 2014. link.

“Botschaft e.V.: The Corporation as Medium and Message." Visual Impetus VII: Conceived, Created, and Consumed, University of Victoria Art History Graduate Student Conference, Victoria, Canada, January 2014. link.

“Laughter in an Unspeakable Silence: Irony, Vernacular Wood, and Native-Art-as-Usual.” 9th Annual University of British Columbia Undergraduate Art History Symposium, Vancouver, Canada, March 2013.