Category: Semester

Olivia Kaplan, BMC, ’24

The Clearly Collective

Semester: Fall 2023

Faculty Advisor: Matthew Feliz

Field Site: The Clearly Collective

Field Supervisor: Olivia Cleary

Praxis Poster: 

Cream Simplified Professional Portrait University Research Poster-3

 

Further Context:

Clearly Collective, a visionary custom silk scarf company, stands at the intersection of art, fashion, and architecture. This women-owned startup specializes in crafting exquisite silk scarves inspired by monumental architecture from any location. Each scarf is a canvas, meticulously designed to capture the essence and beauty of iconic landmarks, structures, and lifestyle; the Clearly Collective transforms these elements into wearable masterpieces. These intricate patterns, details, and motifs are thoughtfully curated and placed together to evoke a sense of connection and appreciation. The heart of the company lies in its commitment to
celebrating cultures, lives and memories through its designs. The scarves serve as a visual journey, showcasing the unique charm and significance of various locations.

As a college senior, the significance of real-world experience cannot be overstated. While academic knowledge forms a solid foundation, the transition from classroom learning to practical application is where true growth and readiness for the professional world occur. Real-world
experiences I have gained from working with The Clearly Collective have offered me invaluable insights into the complexities of various industries, providing me with the opportunity to apply problem solution and analysis skills to actual situations.

These experiences not only enhance problem-solving skills but also open up the world of opportunities ahead. The exposure to real-world challenges has instilled a sense of confidence and self-efficacy, empowering and strengthening my interests.

While working at the Clearly Collective, I have been given the opportunity to learn and grow in my academic and career interests. I have also been given the chance to be a member of a small team working to make a big impact. The ability to learn and grow with the company has offered exposure and skills unlike anything else I have experienced.

A large part of the work, besides working on designing scarves, has been a combined effort to learn client outreach, business development, and media skills. These expertise and trials ensure the development of effective and engaging content, enabling the company to offer unique and high-quality product and customer experience. Business development skills have been
fascinating, learning from a women-owned and founded company, how strategic growth, including market analysis, client acquisition, and partnerships building to expand the reach and impact of the brand. Meanwhile, media development play a pivotal role in crafting compelling
narratives, creating visually appealing content, and finding desired and few clients, continuing to grow platforms for marketing and brand building.

The Clearly Collective engages with its audience across various platforms, creating a community that shares a passion for art, fashion, and architectural marvels. As time goes on, the collective hopes to bring in more stories and memories of places: towns, neighborhoods, and communities, to create meaningful pieces anyone can enjoy.

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.

Keyla Benitez ’24

Bringing Fleisher’s Past to the Future: Digitizing their Artistic Archives!

Semester: Spring 2023

Praxis Course: HART 420 Museum Studies Fieldwork Seminar

Faculty Advisors: Matthew Feliz &  Monique Scott

Field Site: Fleisher Art Memorial

Field Supervisors: Bailey Dodds & Catherine Lee

Praxis Poster:

NEW_KeylaBenitez_FinalPraxis Poster_rez

 

Further Context:

The Samuel S. Fleisher Art Memorial, located in South Philadelphia, has provided art education and cultural programming accessible to all since 1898. As part of their commitment to accessibility and inclusion, they have initiated a project to digitize their creative archives and bring Flesher’s past to the future. The project’s primary goal is to identify historically significant documents and methods for digitization. I worked with Bryn Mawr’s Archivist and Digital Collections and Metadata Librarian to develop digitization and outreach strategies that are effective and sustainable.

The project’s social justice lens means that the digitized archives will be accessible to everyone, regardless of their abilities or background. The project also created a preservation plan for a 116-year-old scrapbook created by Samuel S. Flesher himself. The scrapbook provides unique insight into the founder’s vision for the institution, its early days, and the founder’s life. However, the scrapbook is deteriorating due to its age and delicate nature. I worked to develop a plan to protect and preserve the scrapbook for future generations.

The project serves as a reminder of the vital role that institutions like the Flesher Art Memorial play in promoting community engagement. By digitizing historical documents and making them more accessible and inclusive, Flesher is preserving its history and making it available to a broader audience. This highlights the importance of accessibility and inclusion in safeguarding cultural heritage and fostering creative spaces welcoming to everyone.

In conclusion, an important initiative is for Flesher to digitize its artistic archives and bring Flesher’s past to the future. The project’s commitment to accessibility and inclusion is crucial in preserving cultural heritage and making it available to everyone. The project also demonstrates the Flesher Art Memorial’s ongoing commitment to its mission and the people of
Philadelphia.

Nyla McNeil, BMC ’26

Ancient Artifacts and Contemporary Connections

Semester: Spring 2023

Praxis Course: HART 420 Museum Studies Fieldwork Seminar

Faculty Advisors: Matthew Feliz &  Monique Scott

Field Site: The Penn Museum

Field Supervisor: Katherine Blanchard

Praxis Poster:

Nyla McNeil PRAXIS Poster - Final

 

Further Context:

Participating in the PRAXIS: Museum Studies course gave me the incredible opportunity to work at the Penn Museum on a rehousing project in the Near East Department. Before beginning the project, I established multiple overarching goals to give me insight into my potential career possibilities and explored my ethical questions about museum work. My time at the Penn Museum satisfied these goals, gave me a stronger sense of purpose in the museum sector, and cemented my profound appreciation for the behind-the-scenes collections management in Museums.

Our rehousing project was relatively simple, but it became a space for constant hands-on learning and complicated my understanding of preservation practices within museum collections. At the Penn Museum, several large shelving units housed artifacts in rows of wooden boxes. Our jobs were to complete an inventory of each box’s artifacts, photograph them based on proper orientation sanctions, re-bag each item, and return it to a more compact plastic bin. This work was seemingly simple but posed several challenges throughout. Photography was particularly challenging as my coworker, Samantha, and I had to learn dynamic practices for two different photo orientations (shot down and shot on).

Moreover, we frequently handled delicate materials, some of which needed to be photographed as a collection of several sherds or broken pieces. This tedious procedure taught me to pay greater attention to detail and to view object photography through the lens of a researcher. For example, when taking a photo, I had to ask myself questions such as: What unique grooves or curvature do I need to capture, or How would this item be oriented upright if it were still fully intact?

Despite the significant takeaways from the project itself, much of my newfound insight came from the questions and conversations brought up with my supervisor and coworker regularly. My supervisor, Katy, was incredibly willing to answer our questions and share her expertise from many years of experience in archaeological excavations and at the Penn Museum. Furthermore, Katy gave my coworker and I uniquely insightful opportunities such as:

  • Letting us sit in on a meeting that discussed a new exhibit’s cultivation (from the ground up).
  • Setting us up with meetings with department faculty that met our interests.
  • Taking us on a private tour at another local Philadelphia Museum, Pennsylvania Academy of the Fine Arts.

Throughout the experience, Katy’s openness to questions, her relaying of archaeological insight, and her genuine appreciation for her profession made it memorable and valuable.

Spencer Auerbach, BMC ’24

Representation Matters

Semester: Spring 2023

Praxis Course: HART 420 Museum Studies Fieldwork Seminar

Faculty Advisors: Matthew Feliz &  Monique Scott

Field Site: Bryn Mawr College Special Collections

Field Supervisors: Carrie Robbins & Marianne Weldon

Praxis Poster:

Final_SpencerOPraxis Poster Session

 

Further Context:

For this semester, I worked in the Bryn Mawr Special Collections. Specifically, I worked on creating new cataloging guidelines around artists’ demographic information. This includes such information as race, ethnicity, and gender. Before this semester, there were no consistent guidelines for how to put this information in the collection database. My final product for the semester is in fact a proposal for these new guidelines. I created these guidelines in collaboration with another intern, Graziella. The two of us spent a lot of time considering language. What language should be used to talk about race? Where should this language be used? These are difficult questions that do not have a good answer.

To start the semester off, we began by looking at how other institutions catalogue this data. We collected the information in order to try and understand the industry standard. Once we had finished this process, we began looking inward. This included looking at the efforts around cataloging diversity in the collections. We also did work to understand what was possible with Embarke, the college collection management software. Once this process was done, we could begin work on drafting our recommendations. Our recommendations include suggestions such as where to display the information about an artist’s demographics, how to determine the appropriate language for describing artist demographics, and how to determine an artist’s demographic information. When the recommendations were done, we began testing them on some of the artists in the collection. Based on that, we refined our suggestions.

 

Graziella Pierangeli, BMC ’24

Representation Matters

Semester: Spring 2023

Praxis Course: HART 420 Museum Studies Fieldwork Seminar

Faculty Advisors: Matthew Feliz &  Monique Scott

Field Site: Bryn Mawr College Special Collections

Field Supervisors: Carrie Robbins & Marianne Weldon

Praxis Poster:

Final_REVISEDGraziellaPierangeli Representation Matters (24 36 in)

 

Further Context:

Olivia Harkins-Finn, BMC ‘23

Teacher Institute Intern at the Toledo Museum of Art

Semester: Spring 2023

Praxis Course: HART 420 Museum Studies Fieldwork Seminar

Faculty Advisors: Matthew Feliz &  Monique Scott

Field Site: The Toledo Museum of Art

Field Supervisor: Grace Toth

Praxis Poster:

Final_Olivia H-F Poster

 

Further Context:

For my praxis this semester, I got to work remotely for the Toledo Museum of Art where I interned in person over the summer. My position this semester has been particularly fulfilling because I am helping support the planning of a nation-wide Teacher Institute funded by the National Endowment for the Humanities. Institutes like this one are supported by the NEH a lot, but this year is the first time an art museum will be hosting one.

The Teacher Institute at the Toledo Museum of Art is described on their website as follows: “Exploring a work of art’s story, symbolism, and context can shape our perceptions of the world. The Toledo Museum of Art’s week-long summer institute will help K-12 teachers develop skills and teaching strategies to facilitate their students’ investigations into Native American and African American perspectives and contributions to American History through visual culture.” You can read more about the Teacher Institute on their website here.

My specific role has been to primarily create pre and post institute resources for the participating teachers. This includes lesson plans surrounding artists we will focus on during the week of the institute. I have also been working on workshop guides surrounding specific exhibits that will be up at the museum over the summer. Additionally, I helped compile resources for teachers surrounding their stay in Toledo. Teachers have also come to me for help coordinating accommodations and other things for their stay. Overall, I have really enjoyed my internship this semester!

Julie Knoepfler, BMC ’24

Special Collections Research: Locating Delaware Artifacts at External Institutions

Semester: Spring 2023

Praxis Course: HART 420 Museum Studies Fieldwork Seminar

Faculty Advisors: Matthew Feliz &  Monique Scott

Field Site: Bryn Mawr College Special Collections

Field Supervisors: Allison Mills & Carrie Robbins

Praxis Poster:

Final_Julie_KnoepflerPoster_HART420

 

Further Context:

For my Praxis project, the main goal was to learn if any artifacts from the Delaware Tribe, procured by donors whose collections have ended up at BMC Special Collections, are also being held at other institutions. Due to the great imposition this research would have taken on tribe members and the necessity of repatriation happening in as few rounds as possible, it is key that this research was conducted.

The first part of the research involved confirming the names that the Delaware tribe has gone by (or have been called) throughout their history and to also learn where tribe members have lived from about 1800 to 1920. This information was key for me, when looking through museum databases. I created a spreadsheet and listed every name that the tribe went under so that when I searched museums, I wouldn’t miss any results. Locations were also important so that if an object was tagged with one of the relevant states, I’d know to investigate it further or to narrow my searches to certain states.

The second part of my research was looking for the identities of donors. Many of the names on the scans my supervisors provided were only of initials and/or last names. We didn’t know who most of these people were or details about their lives. Therefore, I conducted research through census data, searching for full names and identities. Knowing the donors’ identities would allow me to learn which institutions they were associated with so I would know to search through their museum collections. Ultimately, I learned the identities of up to eight donors (for three, I am making an educated guess, but I was unable to fully confirm their identity) out of approximately 23 unknown donors on the scans.

The last part of my research involved my various trips to the archives of Swarthmore, Haverford, and The Academy of Natural Sciences. While my visits to Swarthmore and Haverford were useful, I found the most information at the Academy of Natural Sciences. Through my visit, I found letters and documents between donors and institutions (or curators), some of which confirmed the move of artifacts to these institutions. I also found letters between donors and archaeologists who purchased items or asked for the recipient’s expertise. Lastly, many of these letters confirmed sites where artifacts were excavated (and who excavated them).

Results: In total I was able to find artifacts at the Ohio History Connection and the Smithsonian that might be of Delaware origin. The next step involves working with the tribe to try and confirm whether these objects are in fact Delaware artifacts.

Hilda Delgado, HC ’23

Curatorial Research at Monument Lab

Semester: Spring 2023

Praxis Course: HART 420 Museum Studies Fieldwork Seminar

Faculty Advisors: Matthew Feliz &  Monique Scott

Field Site: Monument Lab

Field Supervisor: Aubree Penney

Praxis Poster:

Final_HildaDelgado_PosterMonumentLab

 

Further Context:

At Monument Lab I was able to learn a myriad of skills that I think will be very helpful in my future endeavors. My work primarily consisted of conducting curatorial research. I contributed to their curatorial pipeline which facilitates further research of artists for the rest of the Monument Lab team. I also had the opportunity to do research on Contemporary Latinx artists. This was really fun to do because my interest lies in Latinx art, so it was informative as I was able to learn about new artists and delve deeper into artists that I wanted to learn even more about!

It was really interesting to see how a non profit engaged with art, monuments, and history. Through my work with Monument Lab I learned about artists doing work to rethink and reconstruct how we view history and how monuments intersect to achieve this. At the end of my internship with Monument Lab I gave a presentation on a few artists I had found that I thought would make a good fit for Monument Lab projects in the future. This is where I feel like I learned the most about Monument Lab’s mission because I had to select artists whose work aligned with Monument Lab’s work. In my research I found a lot of artists whose work engaged with the public and it revealed to me the importance of community and collaborative work to move towards the larger goal of equity and rethinking monuments.