Katie Manyin, BMC, ‘23

Gender Socialization and Gender Specific Education

Semester: Fall 2023

Faculty Advisor: Elise Herrala

Field Site: Girls Inc.

Field Supervisor: Brionna Pendelton

Praxis Poster: 

Praxis Independent Study Poster Final


Further Context:

In addition to my work in the classroom facilitating Girls Inc. curriculum, one of my goals for this independent study was to analyze how Girls Inc. ‘s gender-specific educational programming affected girls’ understanding of their gender identity. I was able to do this analysis through recording field notes after my classes, and then coding the field notes for patterns
relating to the girls’ gender expressions and behaviors. At the end of the semester, I wrote a memo summarizing my findings throughout all of my classes. Here is an excerpt from that memo:

The two major themes that stood out to me after looking through my Girls Inc. field notes were the girls’ fixation on beauty and physical appearance and their lack of self-confidence. While these patterns aren’t surprising to me, I was surprised by the contradiction I observed between the girls’ astute awareness of societal inequities and the pressures put on women, and their occasional inability to identify these issues in class. For example, the 7th grade students in my media literacy class consistently demonstrated that they are aware of the harmful beauty standards that our society pushes on women, yet they are clearly still affected by this all-encompassing messaging, and sometimes even perpetuate harmful beauty standards
themselves. The contradictions that my students in Girls Inc. have demonstrated with regard to beauty standards highlight the very human experience of being able to identify when something is harmful and wrong, yet struggling to completely divorce oneself from societal pressures.

The girls in my classes have consistently demonstrated both a keen awareness of the pressure put on women to look, dress, and act a certain way, while also making comments in class that are hypercritical of their own and even other people’s appearances. One key example of this contradiction happened during my second week at The Community Academy of Philadelphia. During this session, we had the girls look at and analyze different advertisements. One of the “advertisements” I gave a group of girls to look at was really just a cover of Seventeen magazine. This cover featured a picture of Camilla Cabello, and one of the most
prominent headlines on the cover said “Get OMG Hair While You Sleep! (Seriously).” Right away, the girls in the group called out how ridiculous the idea of “OMG” hair is, as one girl mockingly asked, “What does OMG hair even mean?” Her tone told me that she understood that the idea of “OMG Hair” is so abstract and subjective, and that by using this phrase, Seventeen is implying that our hair has to look a certain way to be considered beautiful and worthy of praise.

Yet, just a few moments after the girls started making fun of the idea of “OMG Hair,”, the conversation turned to a critique of Camilla Cabello’s hair and outfit on the cover of the magazine. The girls declared that she did not have “OMG hair,” and then went on to talk about how horrible her outfit was. Therefore, even just after recognizing that it is unnecessary to put
pressure on women to look a certain way, and in this case have “OMG hair,” the girls started pulling apart a woman’s appearance. While the girls demonstrated the ability to recognize and call out misogyny in the media, they also still participated in the culture of critiquing women’s appearances themselves. This illustrates how incredibly hard it is for the girls to break out of the sexist fixation that our society has on women’s appearances, even when they recognize the harm that this fixation can cause.

Throughout my fieldwork at Girls Inc., I have also seen many girls fixate on their own physical appearance, even when we were not discussing any related topic. For example, when we did an assignment called “What’s Special About Me” with the fifth graders in which they had to write something they liked about themselves, many of the girls wrote about an aspect of their physical appearance that they liked. While it is beautiful and powerful for girls to voice what they like about their physical appearance, the fact that they went straight to that part of their identity instead of aspects of their personality speaks volumes about what young girls are taught to value about themselves. In addition to many girls struggling to write things that they liked about themselves in the “What’s Special About Me” activity, girls in all three of my placements communicated to me, in various ways, that they believe that they are ugly. Because these girls
are constantly receiving the message from the world that they should put incredibly high value on the way they look, they start to be highly critical of their physical appearance, which can contribute to lowering their self esteem.

The observations I made of the girls’ behavior in my Girls Inc. classes only reinforced for me how important it is to talk to girls about sexism and societal pressures from a young age. In my opinion, we can’t reach girls soon enough.

Tarin Martinez, BMC ’23

Representing Spaces

Semester: Spring 2023

Faculty Advisor: Gary McDonogh

Field Site: Voith & Mactavish Architects

Field Supervisors: Daniela Voith & Isabella Bartenstein

Praxis Poster: 

Tarin Martinez_Praxis Poster_Final


Further Context:

For my Praxis course this semester, I continued an internship I had at Voith & Mactavish Architects. One of the firm’s founding partners, Daniela Voith, is a Bryn Mawr alumna and Architecture studio professor; I had taken her course in Fall of 2019, which is where I discovered the architecture field and found my passion in it. Voith & Mactavish Architects (VMA) is an architecture, interior design, and historical preservation firm in Center City, Philadelphia. They primarily specialize in cultural and educational spaces, such as independent high schools, churches, college dorms, and residential. Daniela once described it as “spaces where people care about the space.” This intrigues me, as it gives the opportunity (and budget) to really consider and design meaningful and purposeful spaces, and consider what goes into that design. As I had done in my previous time at VMA, this semester I continued my support in producing renderings of current and past projects. These renderings mainly consist of elevations, plans (of both buildings and campuses), and sections. The buildings I have worked on are primarily educational settings – classrooms, dorms, administrative spaces.

The process starts with the designs being drawn into a modeling or drafting software such as CAD or Revit. In my time at VMA, I have been able to pick up a working knowledge of both programs, as well as Photoshop. The drawings need to be “cleaned,” by simplifying them. The purpose of this is to most clearly convey the purpose of the drawing – some are for presentations, some are for interviews, or the website. The goal is to make the drawings easily readable to anyone, students, other design professionals, visitors to the website or our social media pages. In addition to being readable, the goal is also to make them beautiful and distinctly VMA. After the drawings are “cleaned,” for any unnecessary or distracting lines or items, the linework is put into Photoshop. Here, using brushes and standard company colors, the renderings begin to come to life. The tactics used to create the VMA look are derived from founding partner Cameron Mactavish’s hand water colors that were an important part of the company’s original designs and work – their identity, even.

My skills come in through the cleaning, and then the reading of the drawings, working to figure out what each line represents in the real site, and what is important to convey the vision for the space to the viewer, as well as what is visually appealing. I work with the project architects to do this, they tell me what they want the rendering to convey or focus on, and what’s what in the drawing. I add in wall poche, coloring in the walls and adding in weight. After that comes programming, for plans. Programming is the delineation of spaces by function. To convey this artistically in a rendering, we use different standard colors to signify the usage of those spaces clearly (blue for a bathroom, or orange for a study, for instance). In renovations or additions, I also often usually am asked to depict the difference between existing and new walls. If I am doing a larger site plan, I may investigate the surrounding area via Google Earth to be able to produce a more comprehensive picture. The final touches are adding in trees and other relevant landscaping, as well as artistic fades and highlights. Depending on the “cleanup,” time and clarity of the original drawing linework, a rendering can take anywhere from a few days to a week or more. Part of this time is spent reviewing the work I have done with the project architect or my supervisor, Isabella Bartenstein, who taught me the company standards and tricks of the trade. Their feedback comes in the form of “redmarks,” their red markings on the drawing being instruction on how to tweak the renderings.

My experience at VMA has given me an incredibly valuable insight into the industry. What is it like to work in this type of environment? A smaller firm, a creative environment, a woman-owned business. I’ve been able to observe the day to day life of interior design professionals, architects, and the business administration of a firm like this, and consider what I want my life to look like. While I had hoped to have found a clearer vision of what exactly I would like to do as a career, this experience, like my experience at Bryn Mawr, has taught me that there are more paths than I could have ever imagined existed. I have also found that even after several years of immersion in architecture education and the industry, I still find that practically anything architecture related interests me. My work rendering, and past work drafting in the studio at Bryn Mawr and at VMA, is something I can become pleasantly highly engaged with and lose track of time doing. Beyond just observations, I have also made an effort to talk to my coworkers about their experiences. I feel this has provided me a real inside-look at the architecture and design industry that many don’t get the chance to experience until after they graduate. Besides the technical skills that VMA has imparted me with, my time with them has enhanced my professional and communication skills within an office. I am very pleased to not only have learned about the industry, but also about myself and my work style. I enjoy project based work, with a balance of logical creativity. I hope to continue my relationship with VMA, improve my hard and soft skills, and find a way to be as valuable as possible to the company!

Palmer Jones, BMC, ’24

Healing Futures

Semester: Spring 2023

Faculty Advisor: Darlyne Bailey & Gwenn Prinbeck

Field Site: Youth Art & Self-Empowerment Project (YASP)

Field Supervisor: Felix Rosado

Praxis Poster:

Palmer Jones_Praxis Poster_Final


Further Context:

After being placed with Healing Futures in a praxis class a previous semester, I wanted to continue my involvement and co-created an Independent Study. Healing Futures is Philadelphia’s first youth-focused pre-charge diversion program, tackling youth incarceration. Through Healing Futures, I gained more trust and confidence in myself by facilitating Restorative Community Conferences, which are the last step in a restorative justice process when a young person causes harm to someone else in the community. Following the Circle Process, derived from indigenous practice, the person harmed, responsible youth, and invested community members gather together to address the harm caused. Together, we create a Restorative Plan for the responsible youth that aims to resolve the harm to the best of their ability whilst instilling confidence in the community’ ability to resolve conflict without problematic interference. My role also consisted of running weekly workshops in preparation for the conference as well as skill development in my administrative abilities including, note-taking and record keeping.

My experience working with the organization, community, and youth has helped shape me into a more informed and motivated individual. I found that my engagement with the program encouraged me to better myself so that I could continue being supportive despite the harsh realities I witnessed. In relation to my major, I believe we cannot have environmental justice without having individuals who want to see such justice be carried out. “Empowered people empower people” is a phrase I found myself repeating often. By empowering youth to take accountability for the harm they cause (rather than villainizing and punishing them), they build trust in themselves and others and become reacquainted with what it means to be in a community, and are thus better positioned to be mindful of how they interact with the environment.

Trying youth as adults and their resulting displacement from their communities due to the corrupt juvenile court system can be metaphorically compared to seeds trying to grow in bad soil. When a seed is not sprouting, it is more likely that the soil in which it is trying to root is not sufficient, rather than being a faulty seed. Just as the polluted soil can stunt the growth and development of seeds, the injustice system can hinder their growth and development. This can result in long-term negative consequences, including the perpetuation of poverty, crime, and social inequality. To address this issue, we must work to remove the toxins from the soil and provide the necessary resources and support for youth to grow and flourish. This involves addressing the root causes of systemic racism and disempowerment in society, investing in community-based programs and services, and reforming the juvenile justice system to ensure that it provides a rehabilitative and restorative approach to justice for all youth.

Keon Parsa, HC ’24

Equity & Active Transportation

Semester: Spring 2023

Faculty Advisor: Gary W McDonogh

Field Site: The Bicycle Coalition of Greater Philadelphia

Field Supervisor: Patrick Monahan & John Boyle

Praxis Poster:

Keon Parsa_Praxis Poster_Final


Further Context:

During the 2023 Spring semester, I interned with the Bicycle Coalition of Greater Philadelphia, located in Center City.  The main project I was working on was the Connecting Communities project, which sought to address one crucial barrier that was preventing residents from underserved communities from accessing the Circuit Trails, a network of hundreds of miles of shared use bike and pedestrian paths across the greater Philadelphia area.

The barrier in question was a lack of access, be it a lack of information or a lack of a safe route to get from the trail to their house.

The map shown on the poster is of Trenton, New Jersey.  When driving, residents would be routed mainly through busy arterial roads that are designed to move cars quickly.  These roads are not usually accommodating to people walking or biking.  The map highlights alternative routes that help connect neighborhoods to the trails on low-stress neighborhood streets, which most people who drive likely would not have known about.  This can sometimes be challenging because car-centric planning deliberately seeks to discourage through-traffic on neighborhood roads, instead pushing it to busier streets.  This can result in longer, more awkward navigating when walking or biking.  In addition, things like creeks, highways, and railroads act as physical barriers that significantly reduce the number of routes, generally only to select busy roads.

This is why, in addition to providing information to residents, the project seeks to identify important stretches that should be targeted for improvement in the future, such as including a bike lane, crosswalk, or improved sidewalk.

Aside from making the maps, I was also involved in preparing visual content to present these maps to the community and interested parties.  This involved using a tool new to me: ArcGIS StoryMaps.

Interning at the Bicycle Coalition was a very positive experience for me because I was able to directly engage with the Connecting Community project, along with others, while developing relationships with my mentor and faculty advisor.  I was able to practice previously learned skills, including mapping and technical work, while also developing new ones, like graphic design and bicycling related research.  It has also helped to prepare me for my upcoming summer internship at the Washington Area Bicyclist Association in Washington DC.


Jasmin Diaz Tello, BMC ’23

Diverting Youths’ Cases From the Courts to a Restorative Justice Process

Semester: Spring 2023

Faculty Advisor: Darlyne Bailey & Gwenn Prinbeck

Field Site: Youth Art and Self-Empowerment Project (YASP)

Field Supervisor: Felix Rosado

Praxis Poster:

Jasmin Diaz Tello_Praxis Poster_Final


Further Context:

This spring I was able to continue doing my Praxis study at the same organization that I did last year, Youth Art-Self Empowerment Project (YASP) – in their Healing Futures diversion program. I am absolutely grateful to have been able to go back and create a bigger impact in the program. Last semester I was mostly an observer and participant in our sessions with the young kids, this semester I carried the same duties as a Healing Futures facilitator. I facilitated most of the sessions every time I went into the office (3 times a week). I helped organize events such as Restorative Community Conferences (RCC) and Fun Days for the responsible youth. I have felt like a true social justice leader with my time in the Healing Futures program and have learned how to connect with the Philadelphia youth even further. I fully embraced empathy, trust, and the unexpected – the three most essential things in this kind of work.

I adore spending my time and effort at YASP, and I am happy to share that I will continue doing so into the following year even though I am graduating in May. I have received American Friends Service Committee’s (AFSC) Robert Andrew Stuart Fellowship. With this fellowship I will be continuing to work with Healing Futures and with AFSC’s Emerging Leaders Cohort (ELL). I am lucky enough to continue doing what I love to do in not just a familiar setting but in a new one as well that will push me to grow into an even better leader. With my experience at YASP and the help of my faculty supervisor, Dr. Bailey, I have unlocked a love for social service and will be getting a master’s in social service in the following years to be able to create an even bigger impact for change.

The way the Healing Futures program works is as follows: we receive referrals from the Philadelphia District Attorney’s Office of young people who have been arrested for a variety of crimes. If the youth choose to enroll into the program, we reach out to the person(s) harmed. For weeks we then prepare everyone for a RCC where all parties come together with two of our facilitators and community members to talk about what happened and what needs to be done to put things more right. At the RCC, a restorative plan is developed that the responsible youth then must complete for the next few months. Once the plan is completed, all charges are dropped, and it is as if the arrest never happened. This allows them to move on in life without carrying the burden of a permanent charge on their criminal record society has made it to be for something that youth did when they were young.

Isolde Gerosa, BMC ’23

Increasing Environmental Literacy

Semester: Spring 2023

Faculty Advisor: Don Barber

Field Site: 

Field Supervisor: Gillian Mulder

Praxis Poster:

Isolde Gerosa_PIS_Praxis Poster_Final


Further Context:

Hi! My name is Isolde, I’m a senior Environmental Studies major at Bryn Mawr, and for my Praxis Independent Study I interned with Seaside Sustainability (SS). I titled my course Sustainability in Education, as I specifically worked under SS’s Green Scholars program, on their Environmental Literacy team. This team focuses on the production of the Green Scholars curriculum – a textbook style educational tool designed to teach middle to high school students the basics of environmental science. The curriculum currently comprises a number of topics, from chapters detailing systems in weather and climate, to case studies explaining issues in environmental justice. There is no publication date yet, but we hope to
promote it to a number of schools across the United States once it is fully finalized!

The majority of my work focused on editing sections of the curriculum itself. I was tasked with adding diagrams and images to specific sections, as well as creating challenging discussion questions or quizzes for the end of some chapters. Some weeks, my tasks were to review sections for content enhancements and grammar checking. We are also in the process of converting sections of the curriculum to a video format, therefore I also worked on outlining chapters to a script style.

The entirety of my internship was online, allowing me to connect with interns all across the country, and meet other dedicated and passionate environmentally-focused students. Working remotely also introduced its own set of challenges, such as difficulty in connecting with my fellow team members. The dynamic environment at SS creates a constant flow of
interns, coming and leaving every few months. This makes it difficult to create an eloquent flow to the curriculum, as a large number of narrators each provide their own voice to just one chapter.

Overall, every aspect of my internship has taught me a number of lessons – from education programming to functioning in a remote workplace. I am looking forward to completing my internship this summer!

Hannah Cohen, HC ’25

The Environment of Tepe Hissar, Iran: Using Material Culture to Illustrate a Society’s Relationship with its Surrounding Environment

Semester: Spring 2023

Faculty Advisor: Astrid Lindenlauf

Field Site: The Penn Museum

Field Supervisor: Katy Blanchard

Praxis Poster:

Hannah Cohen_Praxis Poster_Final


Further Context:

Having just transferred into Haverford College, I did not hear of Bryn Mawr’s Praxis Program until my field advisor, Katy Blanchard, recommended that I look into completing a Praxis Independent Study.  I met Dr. Blanchard through my Professor for ARCH 244: Great Empires of the Ancient Near East after inquiring about how I could continue learning about the subject now that the semester was drawing to a close.  My Professor, Dr. Swerida, recommended that I get in contact with the Keeper of the Near Eastern collections at the Penn Museum of Archeology and Anthropology who was not only well versed in the history of the ancient Near East but also had worked with many students in the Bi-College Consortium and had, in fact was a Bryn Mawr alum herself (as a Classical Languages major, I found the fact that Dr. Blanchard had majored in Bryn Mawr’s Classics department to be quite exciting as well but, alas, I digress).  Dr. Swerida also put me in contact with my faculty advisor, Professor Lindenlauf after I had decided to take up Dr. Blanchard’s recommendation and pursue a Praxis Independent Study.

My original goals for the course consisted of merely two things: gaining a better understanding of how to use material culture to study ancient societies (for as much as my archeology course revealed my love of studying the ancient Near East,  it also revealed my tendency to avoid looking at artifacts in favor of looking at textual evidence) and learning more about the ancient Near East.  After talking to Dr. Blanchard and Professor Lindelauf about my Praxis, however, I realized the extent to which taking an independent study would let me delve into a specific topic.  My previous desire to be an biologist (a marine biologist in particular) left me with a longstanding interest in ecology, environmental science, and other related topics and, even though I now study the humanities, I wanted to find a way to combine my long standing interest in the environment with my newer fascination with ancient societies.  Upon telling this to my two advisors, Dr. Blanchard recommended I focus on looking at the collections of Tepe Hissar – a site which, in spite of having a rich culture and plentiful collection, was often overlooked.  And thus is how this Praxis Course was formed.

In the museum, I focused primarily on the technical aspects of interacting with the artifacts.  Many of the smaller artifacts – animal figurines, spindle whorls (which are small donut-shaped artifacts that were used to create wool.  See fig. 7 for an image), and hand tools were stored in drawers which needed to be inventoried to ensure they were all accounted for in both the drawer and the museum’s data-base.  The objects were also rehoused so that they would be better preserved and easier to access.

One of the largest tasks I had in the museum was photographing the artifacts.  Even though the museum has had the artifacts for quite some time, many had not been photographed and those that were needed their photographs updated so that the pictures would have greater clarity.  There were two modes of photography that I used at the museum: shot-down photography and shot-on photography.  The shot-down photography was used for flat objects such as potsherds (see figs. 2 and 3) as it only captured two sides of the object whereas the shot-on photography was used for objects with greater three-dimensionality as it could capture all sides of an object.  The photos I took are currently being uploaded in the database and, in conjunction with updates to the objects descriptions, will allow for researchers to have a greater ability to find the objects in collections that would be most useful for them to study.

The academic component of my course was equally as interesting as the field-work.  My first readings were from the then most recent (and, I must say, well timed) edition of the American Society of Overseas Research’s magazine (the December 2022 publication) which focused on the wide range of ways in which different societies in the Near East interacted with and perceived animals.  My readings gradually grew more specific and soon I focused on learning about the site of Tepe Hissar itself by reading articles concerning the stratigraphy of the site, the artifacts found at the site, and even an analysis of what the people of Tepe Hissar ate.  The readings and the discussions I had with Professor Lindenlauf regarding them allowed me to not only view but also analyze the artifacts of Tepe Hissar which I worked with, making the fieldwork component of my course even more meaningful than I had found it before.

I am going to assume that I won’t be able to hold your attention for much longer so, rather than telling you about all of my findings, I am going to briefly elaborate on my favorite: how the dog depicted in fig. 9 helped me conclude, alongside other materials, that sheep were highly valued in Tepe Hissar.

When talking to Professor Lindenlauf during one of our meetings, I mentioned that I always thought it would be interesting to look at society’s values through the traits present in dog breeds that originated from that region.  Dogs are one of, if not the, oldest domestic animals and so, they have historically been present in many societies, each of which selectively bred the animals to retain characteristics that allowed the dog to perform the role(s) which they thought it was necessary for a dog to perform.  With the help of Dr. Blanchard, I found a depiction of a dog from Tepe Hissar, of course, this would be the animal figurine from fig. 9.  While looking at the dog I noticed how it had the shape resembling that of a mastiff and, after doing some further research, I discovered that there was indeed a mastiff that originated in Iran during this time: the sarabi dog (also known as the Persian mastiff).  This dog was bred for the purpose of guarding sheep and so, looking at this dog in addition to the depictions of sheep and artifacts that indicated the creation of secondary products from sheep made me realize just how important sheep were to the people of Tepe Hissar.  Furthermore, I also realized the extent to which I improved in my ability to analyze artifacts!  This skill, and all the others that I have learned, will help enrich my academic career; I am particularly excited to apply them next year while studying abroad in Rome.  I also thoroughly enjoyed getting a chance to explore ancient peoples relationships with the environment and I hope to further study ancient societies through this lens.

Frances Millar, BMC ’23

Applied Museum Practices II – The Fabric Workshop and Museum

Semester: Spring 2023

Faculty Advisor: John Muse

Field Site: The Fabric Workshop and Museum

Field Supervisor: Christina Roberts

Praxis Poster:

Frances Millar_Praxis Poster_Final


Further Context:

Spring 2023 was my second semester participating in Praxis IS, as I was lucky enough to extend my internship placement at the Fabric Workshop and Museum and my advising relationship with Professor John Muse (of Haverford’s Visual Studies program) after a wonderful experience in the fall semester. Working in FWM’s Education department has continued to be an incredible supplement to my academic work within my History of Art major, especially as I have been completing my senior thesis and beginning my career in the arts this term. As a small institution that is both a contemporary art museum and a working artist’s studio, the work of FWM is inherently collaborative and interdepartmental. Under Director of Education, Christina Roberts, my work in the education department has been varied and engaging, taking place in both the museum’s office and studio spaces.

At the beginning of the semester, I was tasked with designing the content for a proposed workshop, rag rug weaving in collaboration with the (then upcoming) artist-in-residence exhibition, Henry Taylor’s Nothing Change, Nothing Strange. This show, which I helped open in March, features a large loom and woven element, among other sculptural components. Having interned previously at a historic weaving guild and fiber arts education center, the Little Loomhouse in Louisville KY, I had a background in weaving that made me apt for this project. Over the course of a few weeks, I researched weave structures, tested the weave structures in conjunction with the looms and warp threads we had onsite, and timed the run of the weaving project from start to finish to ensure it could be completed within the allotted time. The result was a unique design woven from scrap fabrics and heavily inspired by the use of tartan in Taylor’s exhibition. Throughout the semester I also helped with a variety of studio projects and tasks, like creating dye mordant for a natural dye workshop, mixing inks, demonstrating silkscreen techniques to tour groups, and teaching another intern to use a sewing machine. I also assisted with a major collaboration event – the opening of Radically Merrimeko at the Swedish American Historical Museum in South Philadelphia. At the exhibition opening, Christina Roberts and I assisted over one hundred twenty museum guests in creating their own Merrimeko-inspired prints using collage and silkscreen processes. Working with physical materials in the studio is not only incredibly personally rewarding but is key to my understanding of the work of FWM.

I’ve been involved in many efforts in the office as well as the studio. At the end of the fall semester, FWM hosted a fundraiser and closing ceremony for their Fall 2022 college/post-graduate and high school apprentice cohorts. This event, which I helped to promote, was a great success, bringing in nearly $8,000 in direct support of the program. This spring, I corresponded with the donors we recruited at the event, facilitating the gifting of printed banners in thanks for their contributions. I helped with institutional/program funding in other ways too, like assisting in writing grant applications. As FWM is a non-profit organization, external funding is key to our ability to provide exhibitions and programming. In the latter half of this semester, I spent considerable time doing research for the exhibition of an upcoming artist-in-residence, Jessica Campbell, whose show will open in October. For this project, I researched her oeuvre, exhibition themes, and potential partners for collaboration.

My work at the Fabric Workshop and Museum this semester has been invaluable to me as a young person entering the museum/arts field. Through two semesters, I have thoroughly developed and improved a skillset in museum administration practices that will be vital to my career. I am very grateful to have worked alongside Christina Roberts, as well as my faculty advisor John Muse, who has been instrumental in my understanding of the Philadelphia arts community, knowledge of museum/visual studies theory, and professional development.