Kenna Pettigrew, BMC ’26

Praxis Course: Museum Studies Praxis Seminar

Semester: Spring 2026

Faculty Advisor/Professor: Monique Scott

Community Partner: Icebox Project Space

Praxis Site Supervisor: Timothy Belknap

Praxis Poster:

HART_KennaPettigrew

 

Further Context:

This semester, I worked as a curatorial intern for Icebox Project Space, an independent, artist-run gallery in Kensington. I secured my internship by cold emailing Icebox to inquire about whether or not they  were open to hosting an intern, one of the co-curators, Tim Belknap, invited me to come see their current exhibition last winter, in December 2025. I saw the show, we had a brief meeting, and we were both fairly confident right off the bat that Icebox would be a good fit for me.

Throughout my spring season at Icebox, there were three different programs I got to participate in: an audiovisual experimentation series called Light and Sound, a collections research side project, and an annual video festival called 20/92. Icebox is an incredibly dynamic space, and patrons will find that the gallery space can look entirely different week-to-week depending on the current project.

During Light and Sound, which runs from late January to the end of March, Tim assembles an audiovisual platform using lighting design, video mixing, and an eight-foot-tall disco ball mounted on Icebox’s ceiling to bring in local performance artists, musicians, DJs, and anyone else attracted to the singularity of his platform to host events of every caliber. As an intern, working during Light and Sound looked meant getting hands-on coaching about how he does his AV set-up while a show is going. From there, I went on to independently run lights for upcoming performances, which was really exciting.

In between Light and Sound and the launch of their video festival, Tim and I worked on a side project he had going in Germantown – a curatorial project at the Madonna Art Museum. The Madonna Art Museum is an emergent religious art collection belonging to the Basilica Shrine of Our Lady of the Miraculous Medal in Germantown. After a preliminary appraisal and a visit from an expert in Renaissance art from the Metropolitan Museum of Art, Tim and I were able to use available information to do further collections research and prepare for a grand opening event scheduled for mid-May.

By the end of April, I received my final assignment: cataloguing entries for Icebox’s annual 20/92 video festival. As an art history major most interested in contemporary art who was concurrently completing my thesis on a feature film, it was such a welcome task to see what emergent filmmakers are trying worldwide. I learned a lot of valuable curatorial lessons by sitting down with Tim and Logan to discuss not just the artistic merits of each individual piece, but how they would fit thematically with other films we were considering admitting and, most importantly, how they would suit the immersive environment of the Icebox’s screening room. I’m very excited to attend the festival in mid-May and see all the films in their final form!

I greatly enjoyed my time as an intern at Icebox, and it was such an affirming feeling to be in a space that is so aligned with my interests and goals for the future as I prepare to graduate and enter the working world. I’m so looking forward to continued involvement at Icebox during my post-graduate life, when I’ll be living in Philadelphia!

Angela Coppola, HC ’26

Praxis Course: Museum Studies Praxis Seminar

Semester: Spring 2026  

Faculty Advisor/Professor: Monique Scott

Community Partner(s): Harriton House

Praxis Site Supervisor: Laura Carpenter

Praxis Poster:

HART_AngelaCoppola

 

Further Context:

This semester, I interned as a transcriber at the Harriton House, a historic house and landmark in Bryn Mawr. I found out about this internship possibility through the Museums Fair from last semester and inquired more about the praxis by emailing Laura Carpenter. Transcribing was not a skill I was accustomed with, but with my newer interest in archives, I thought it would be great to explore.   

During the spring semester, I transcribed the daybook of Charles Thomson. His daybook was started in 1789, right after he stopped working at Continental Congress. From then on, his life transformed from secretary to agriculturist. By working on this daybook, the Harriton House seeks to achieve an accessable and searchable document for Harriton House visitors and members to use. In addition, through my project, I took notes on some of the names and location mentioned in his daybook. This information could potentially be used for a later project on a more in-depth look into Charles Thomson’s life. For some of this research, I had to explore consensus records and genealogical websites to learn more about a person mentioned in the daybook. I had never tried searching these types of websites before, so this experience was enlightening.  

To summarize the history of the Harriton House, it was originally owned by a Welsh settler, built in 1702-1704. The house was named Bryn Mawr for “Big Hill” and sold to Richard Harrison. Harrison originated in Maryland where he owned tobacco plantations, thus the Harriton House was made into a plantation. After Harrison’s death in 1745, his wife Hannah Norris owned the property, it being managed by tenant farmers. After her death in 1774, the property was passed to Hannah Harrison who married Charles Thomson that same year. Thomson then become the owner of the property due to the inheritance laws at the time. It’s during his time owning the Harriton House that Charles Thomson wrote the daybook. I learned the history of the house throughout the semester and was able to connect it with some of the information found in the daybook. 

Some of the challenges I encountered was re-learning cursive. Cursive was something I was taught in school, but I never properly incorporated it into my life. As such, I had to have a cursive alphabet out when I first examined the daybook. Over time, I improved my cursive comprehension to point where I no longer needed the alphabet out. I also had to understand the characteristics of Thomson’s writing to improve my transcribing skill. For example, I learned that Thomson writes his “T” a certain way, as well as spelling words wrong, like “drizle” for “drizzle.” In addition, I learned about old age vernacular for farming and building. These were some of the learning curves, I had to refine in the project. 

I enjoyed interning at the Harriton House, as I was able to explore a separate field of museums studies. In this internship, I learned multiple skills, such as transcription, cursive, and genealogical research. I found the most rewarding part of my project to be personifying the author and people mentioned in the daybook. With this perspective, the daybook became less of a monotonous task and more of an intimate look at Charles Thomson’s life and relations. In addition, when transcribing in person at the Harriton House, I understood more about the daily behind-the-scenes of a historical house and small non-profit. I was able to sit in on interviews and view how the thought that goes into programming at the Harriton House. I think this project helped me figure out that I am interested in archive work and looking forward to exploring the possibilities in that career field. 

Pearl Bromley, BMC ’28

Praxis Course: Museum Studies Praxis Seminar

Semester: Spring 2026

Faculty Advisor/Professor: Monique Scott

Community Partner(s): University of Pennsylvania Museum of Archaeology & Anthropology/ Penn Museum

Field Supervisor: Katherine Blanchard

Praxis Poster:

HART_PearleBromley-compressed

 

Further Context:
For my Museum Studies Praxis Internship this semester, I worked as a collections management intern at the Penn Museum beneath Near Eastern Section Keeper Katherine Blanchard. As to how I secured my placement at the museum, I had initially cold-emailed Katy in June of last year. With a brief email exchange, we zoomed together several times over the summer discussing my interests and academic background, at which point she confirmed that I  would be interning with her in the fall.

Throughout the semester, my praxis work focused on one main project, in which I was tasked with acquisitioning material from the site of Gibeon—or el Jib. The site itself is just Northwest of Jerusalem in the Palestinian Territories, more specifically in the West Bank. The city is over 5,000 years old, with initial settlement dating back to the Early Bronze Age (c. 3300–2000 BCE), and is most famous for its presence in the Old Testament with it being the location where Joshua made a peace treaty with its inhabitants. Its excavation was led by archaeologist James B. Pritchard through the University of Pennsylvania, with over five field seasons between 1956 and 1962. The majority of objects maintained by the museum from Gibeon originate from tomb groups, and are primarily ceramics, including oil lamps, jugs, bowls, as well as small finds such as human and animal figurines, metal jewelry, knives, and other miscellaneous pieces.

As to my role in acquisitioning this collection, I would typically process a group of objects, one shelf—or drawer—at a time. In order to acquisition an object group, I engaged in several steps including confirming the museum and registration numbers of the artifacts, taking them to be photographed in either the shot-on or shot-down photography studio, sending the digital photographs to my supervisors to be edited and uploaded to the website for publication, and then finally rehousing and reorganizing the artifacts back on the shelf/drawer from where they originated.

Ultimately, I was able to process and upload over 2,000+ object photos, which are publicly accessible on the Penn Museum’s Digital Collections Website for the first time since their excavation. I learned a lot from this internship, not only how to acquisition collection material, but how to properly engage as a steward of a collection. While these artifacts may be housed within the walls of the Penn Museum, they are not inherently owned by the museum, but rather maintained by its wonderful staff. Objects like those excavated at Gibeon hold great cultural value for the ancient heritages they represent, and in properly maintaining them, not only are they kept safe and accessible, but are given the respect they deserve as pieces of an ancient past—emblematic of contemporary cultures in Palestine today.

Tess Rivera, BMC ’27

Praxis Course: Museum Studies Fieldwork Seminar

Semester: Spring 2026

Faculty Advisor/Professor: Monique Scott

Community Partner(s): The University of Pennsylvania Museum of Archaeology and Anthropology

Field Supervisor: Katherine Blanchard

Praxis Poster:

HART_TessRivera

 

Further Context:

This semester, I interned at the University of Pennsylvania Museum of Archaeology and Anthropology with the Near Eastern collection. I worked under the keeper of the collection, Katherine (Katy) Blanchard, and alongside another Museum Studies Praxis student. Katy introduced me to the biblical site of Gibeon, which is located in current day El Jib, just outside of Jerusalem, Palestine. The site was excavated by the Penn Museum in conjunction with the Church Divinity School of the Pacific from 1956 to 1962. Finds from the excavations include pottery, jewelry, and small metal objects. I worked over the course of the semester on documenting the artifacts from this site, making them accessible to the public in the museum’s online collection website. Each day at the museum looked mostly the same. I would first check in with Katy in the basement’s storage rooms about how much I could ideally accomplish that day and whether we
had any additional meetings to attend between projects. I would then head over to the many shelves where the Gibeon objects lived, and I would take a shelf of artifacts into the next room to be inventoried. I made note of each field number and accession number, as well as any abnormalities such as pencil markings or incorrect information listed in the museum’s system.
Once the objects were inventoried, I transferred them to one of two camera setups with a gray backdrop, depending on whether the images needed to be taken from above or from a standing tripod. I photographed each object from all angles before rehousing the objects into fresh bags to be put back on their shelf. This process was repeated multiple times each day. Today, images of over 900 objects have been made available on the collection website. Objects from this site had never previously been photographed or otherwise documented outside of the names and numbers listed in the museum’s computer system. It was an extremely rewarding experience to be able to give these objects a new life. In addition to learning how to handle and photograph artifacts, I was able to gain a new perspective on what
museum work entails. There are so many museum career paths other than curation, and it was wonderful to be able to explore these other paths via hands-on participation. I look forward to utilizing the skills from this Praxis internship in my future museum career.

Susan Robinson BMC ’27

MAKING COMPLEX CONCEPTS ACCESSIBLE THROUGH OUTREACH

Praxis Course: HART420: 

Semester: Spring 2026

Faculty Advisor/Professor: Monique Scott

Community Partner: The Franklin Institute

Field Supervisor: Carly Netting

Praxis Poster:

HART_Susan Robinson

 

Further Context:

My Praxis experience focused on community outreach and science education. One of my main responsibilities was collaborating with The Franklin Institute Ambassadors to develop materials for interactive learning activities with an emphasis on making human biology accessible and engaging for younger audiences. My work involved creating clear age-appropriate written explanations to accompany each body system based upon their Body Odyssey Exhibit. A central component of this project was an outreach activity designed for children ages 5–12. It features a layered human body puzzle representing the skeletal, muscular, and nervous systems. Each layer can be added or removed so participants can better visualize how the body is structured and how different systems interact with one another. This hands-on visual approach supports learning by making abstract biological concepts more concrete and accessible. I
especially wanted for younger learners who benefit from interactive experiences. One of the main challenges I encountered was translating complex biological concepts into language that children could understand. This required me to think critically about how to simplify information
without losing scientific accuracy or meaning. This process highlighted the importance of accessibility in science communication and pushed me to be more intentional in how I present information to different audiences. Through this experience I strengthened my ability to clearly
and effectively explain scientific ideas while adapting my communication style to meet the needs of a specific audience. Overall, this Praxis experience reinforced the value of outreach and education in making science more inclusive and approachable. It further developed my interest in
combining science with public engagement and educational initiatives in future work.