About

Now











I am currently a postdoctoral fellow at the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art at Concordia University, Montreal (2026-2027), working alongside Gabby Moser on a reseach project titled “You can always just leave,” investigating past acts of exiting, refusal, withdrawal, and other practices of freedom by feminist artists as blueprints for addressing current social, cultural and political emergencies. Examining  writings, performances, films and conceptual artworks from the early 1970s through to today, it explores and activates the “undetonated potential” (Freeman 2011) of earlier feminist practices in the present. 

As part of “You can always just leave,” we are organizing, with Fulvia Carnevale (Claire Fontaine) and Helena Reckitt (Goldsmiths), the upcoming Refusals and other practices of freedom, a feminist research residency and summer school in Palermo, from May 14 to 16, 2026.

and In my research, writing, and teaching, I seek to trouble conventional art history and historiography by engaging with the scholarly possibilities of fandom and friendship, overidentification, close reading, archival detours and deviations, and the bringing-together of gossip, anecdotes, repetitions, oral history interviews, correspondence, citations, and other improper objects (Latimer 2015), both as feminist methodology and writing strategy. 

ThenI was a SSHRC Postdoctoral Fellow in the Department of Film and Media, Screen Cultures and Curatorial Studies at Queen's University (2023-2025), where I expanded my research on Lozano by placing her in explicitly feminist conversations with Yoko Ono and Yvonne Rainer, artists who respectively played pivotal roles in introducing transnational and queer perspectives to the predominantly straight and white feminism of the New York art world between 1960 and 1980. 

I have a Ph.D. in Art History (2023) from Queen’s University (Kingston, On), which was funded by a SSHRC Canada Graduate Scholarship, and a Doctoral Tri-Agency Recipient Recognition Award from Queen’s University.  My thesis, “In and out of feminism: the experimental writings of Lee Lozano and Lucy Lippard,” examined the layered connectedness of Lozano’s and Lippard’s writing practices of the 1960s and 1970s, arguing that their words created and occupied a malleable interstice within their practices and conventional art discourses – an alternative space in which their work was at once autobiography, theory, fiction, criticism, conceptual art, and life/work. The dialogue I establish between Lozano’s Private Books (1968-1972) and many conceptual Pieces, and Lippard’s novel I See/You Mean (1979) and numerous other works of fiction, supports an analysis of the feminist labour that constitutes, drives, and sometimes complicates these marginal forms and early examples of autotheory. 

Articulated around close reading and recent archival finds, this research refocuses and revalues anecdotes, gossip, citations, and footnotes, both as legitimate historical evidence and theoretical framework. Haunting conventional and acceptable forms of feminisms, it mobilizes contemporary queer feminist methodologies and theories, namely shadow feminism (Halberstam 2011) and the figures of the wilful subject and feminist killjoy (Ahmed, 2010, 2014, 2017, 2023) to push against normative relationalities established between Lozano and Lippard and to question the histories, knowledge and ways of knowing that have cast Lippard as feminism, and Lozano as the (constitutive) ‘outside’ of/to feminism. Destabilizing and introducing friction against accepted narratives of second-wave feminism in the arts, this research simultaneously expands understandings of Lippard and Lozano's respective experiments in writing and contributes to the history of feminist praxis and genealogies of feminist writing, critical, and performative methodologies as they emerged within and against conceptualism in the 1960s and 1970s.