Dh6UVjYVQAEiAQTI am a Paul Mellon Centre for Studies in British Art Postdoctoral Fellow and Visiting Lecturer in the University of Edinburgh’s History of Art department, where I received my PhD in 2016. I was previously a Postdoctoral Research Fellow at the University of Edinburgh’s Institute for Advanced Studies in the Humanities, and I have held short-term research fellowships at Yale Center for British Art, the Winterthur Museum, Garden and Library, the Huntington Library, and the Harry Ransom Center at the University of Texas at Austin.  In June 2019 I will take up a Post Doctoral Fellowship in History at the University of Derby. In the 2018-19 and the 2019-20 academic years, I will also take up a visiting scholarship at the University of St Andrews and a second short term fellowship at the Winterthur Museum, Garden and Library.

My research focuses on visual and material culture in eighteenth- and nineteenth-century Britain and North America. I am currently revising my doctoral thesis for publication as a monograph exploring the role of emotions and social relations in the material culture of the eighteenth-century home, as well as working on research projects on eighteenth-century corpulence and on collage made between 1680 and 1912. My monograph, Domestic Space in Britain, 1750-1840: Materiality, Sociability and Emotion, c.1750-1840, is forthcoming with Bloomsbury Academic. I have a book chapter ‘Taste à-la-mode: consuming foreignness, picturing gender’ in the edited volume Materializing Gender in Eighteenth-Century Europe (J. Germann & H. Strobel, eds. Ashgate Publishing, 2016), and my articles ‘Craft(ing) Narratives: Specimens, Souvenirs, and “Morsels” in A la Ronde’s Specimen Table’ and ‘Reflective and Reflexive Forms: Intimacy and Medium Specificity in British and American Sentimental Albums, 1800-1860‘, were recently published in Eighteenth-Century Fiction and Journal 18: a journal of eighteenth-century art and culture, respectively. I have an article on Sontagian campness in macaroni prints forthcoming in ABO: Interactive Journal for Women in the Arts, 1640-1830, and I recently submitted another on gendered representations of needlework in the eighteenth and early nineteenth centuries. Finally, my special issue of Nineteenth-Century Gender Studies on craft and masculinity in the long nineteenth century (co-edited with Dr Katie Faulkner of the Courtauld Institute of Art) was published in January 2019.

I currently teach in the History of Art department of the University of Edinburgh, and have previously taught in its History, Architectural History, and Celtic and Scottish Studies departments. In 2016 and 2017 I taught on the Sutton Trust’s History Summer School at the University of Edinburgh, and from 2013-16 on the University of Ohio’s Summer School, also based at the University of Edinburgh.

From 2015-2017 I co-convened Edinburgh’s Eighteenth-Century Research Seminars, and I have organised and convened several conferences and events at the University of Edinburgh; on behalf of the Association of Art Historians’ Student Members Committee; and sessions at the Association of Art Historians’ annual conference. Most recently, I co-organised the conference ‘Collage, Montage, Assemblage: Collected and Composite Forms, 1700-Present’, which was held at the University of Edinburgh in April 2018. The conference website is available here.

I am a regular contributor to the British Society of Eighteenth-Century Studies’ ‘Criticks’ page, and I have written peer-reviewed book and exhibition reviews for West 86th: A Journal of Decorative Arts, Design History and Material Culture, the Journal of Victorian Culture online, the Nineteenth-Century Studies Association, Eighteenth-Century Fiction, and the Women’s Studies Group 1558 – 1837.

Finally, I recently joined the Association for Art History’s Doctoral and Early Career Network Project Board, serving as an Early Career Representative. If you have ideas about how better to support postgraduate and early career art historians, please get in touch.


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