assistant at the Yale Center for British Art on the upcoming PANELIST BIOS Victorian sculpture exhibition. Her dissertation will address representations of violence in American art of the 1930s. Before beginning graduate studies, Korobkin worked for Engaging Audiences four years in New York City as a non-profit program direc- tor, teaching artist, and muralist serving youth in public Marla Berns is the Shirley and Ralph Shapiro Director of the schools and community-based programs, as well as in drug Fowler Museum at UCLA and an adjunct assistant profes- treatment and detention facilities. Her academic interests sor in the Department of Art History, UCLA. Previously, she in art grow out of and continue to be grounded in her com- was the Director of the University Art Museum at UC Santa mitment to teaching, working with communities beyond Barbara until 2001. Her publishing and curatorial work has the university, and expanding the civic impact of museums concentrated on the arts of Northeastern Nigeria, encom- and humanities departments. passing ceramic sculpture, decorated gourds, programs of body scarification, and issues of gender and identity. She Cyra Levenson, Ed.M., is Associate Curator of Education also organized solo exhibitions on the artists Magdalene at the Yale Center for British Art. Prior to coming to Yale, Odundo and Renée Stout. Most recently she served as the Levenson held positions at the Seattle Art Museum and the lead curator of the major international traveling exhibition Rubin Museum of Art. She has worked closely with schools Central Nigeria Unmasked: Arts of the Benue River Valley and teachers throughout her tenure and has researched and was co-editor and author of the accompanying publi- and published on the topic of visual literacy in museum cation. The exhibition was presented at the Musée du Quai practice. Levenson is also the co-curator of the upcom- Branly, Paris, under the name Nigeria: Arts de la Vallée de ing exhibition Figures of Empire: Slavery and Portraiture la Bénoué. In 2013 Berns received the medal of chevalier of in Atlantic Britain and author of the article “Re-presenting the Order of Arts and Letters of the French Republic. Berns Slavery: Underserved Questions in Museum Collections.” has served on the Editorial Board of the journal African Arts Levenson has a degree in Art Education from Teachers since 2001. College, Columbia University, and has been working in the field of museum education for over fifteen years. Aimee Chang is director of engagement at the UC Berkeley Art Museum and Pacific Film Archive, where she oversees the communications, education, and membership depart- Teaching and Learning with Art ments. Since 2010 she has also been serving as a cura- torial consultant with Asian Arts Initiative in Philadelphia, Ellen Alvord is the Weatherbie Curator of Academic working on a social practice laboratory in the Chinatown Programs at the Mount Holyoke College Art Museum. Her and North Chinatown neighborhoods. Prior to moving to previous experiences in arts education include positions at Berkeley, Chang worked as manager of public programs at the Yale University Art Gallery, the Smith College Museum the Blanton Museum at the University of Texas, Austin; as of Art, the Guggenheim Hermitage Museum, and the Las director of academic and residency programs at the Ham- Vegas Art Museum. Alvord holds a master’s degree in Mu- mer Museum at UCLA, overseeing the newly created Artist seum Education from The College of William and Mary and Residency and Artist Council programs and the museum’s a B.A. from Mount Holyoke College. In her current position, collaborations with UCLA; and as curator of contemporary she collaborates with faculty from a wide range of academ- art at the Orange County Museum of Art. She has written ic departments to develop engaging, cross-disciplinary for exhibition catalogs and journals, including The Studio, experiences for students with original works of art. She the recently released edition of the MIT Press and Whi- also organizes faculty seminars related to object-based techapel Gallery’s Documents of Contemporary Art series, learning and creativity as part of a museum initiative to and “The Artist and The City: New Models for Creative Pub- develop transferrable life skills in college students. Alvord lic Practice,” an examination of Transforma, the artist-led has presented at academic museum conferences on her collective that supported and catalyzed creative responses work collaborating with biological sciences faculty, and to Hurricane Katrina in New Orleans from 2005–10. most recently on MHCAM’s Creativity Initiative at the “Visual Learning: Transforming the Liberal Arts” confer- Luis Croquer is Deputy Director of Exhibitions and Collec- ence hosted by the Weitz Center for Creativity at Carleton tions at the Henry Art Gallery and also oversees educa- College. Along with Linda Friedlaender of the Yale Center tional programs. Recent exhibitions curated by Croquer for British Art, she is co-author of “Visual Literacy and the include Katinka Bock: A and I; Jason Dodge: What We Have Art of Scientific Inquiry: A Case Study for Institutional and Done; Paul Loffoley: Premonitions of the Bauharoque; and Cross-Disciplinary Collaboration,” which appeared in A Now Here is Also Nowhere. Croquer previously served as Handbook for Academic Museums: Exhibitions and Educa- Director and Chief Curator of the Museum of Contempo- tion published in 2012. rary Art, Detroit (MOCAD), where he raised MOCAD’s inter- national profile while broadening local community engage- Jim Harris is the Andrew W. Mellon Foundation Teaching ment. His previous posts include The Drawing Center and Curator at the Ashmolean Museum of Art and Archaeology the Museo del Barrio in New York. at the University of Oxford. He received his B.A., M.A., and Ph.D. from the Courtauld Institute of Art, writing his doctor- Tess Korobkin is a fourth-year graduate student in the al dissertation on Donatello’s polychrome sculpture under History of Art department at Yale University. For the last the supervision of Professor Patricia Rubin. Before taking two years, she has worked as a Wurtele Gallery Teacher at up his current post, he was successively the Andrew W. the Yale University Art Gallery and as a graduate research Mellon Research Forum Postdoctoral Fellow and the Caro- line Villers Research Fellow in Conservation at the Cour- history painting, based on works at Yale, which are avail- tauld, teaching at the Institute as well as at King’s College able on YouTube. Next year, he will be teaching a course London, Birkbeck College London, the Victoria and Albert and giving another series of lectures, on his specialty, Museum, and the National Gallery. Harris has published seventeenth-century Dutch painting. on Donatello and Vasari, polychrome sculpture, Florentine painting, and contemporary drawing, and he has edited two collections of essays. He has presented his research Curators and Education widely in the UK, North America, and Europe. In a previous life, Harris trained as an actor at the Royal Academy of Kelly Baum is the Haskell Curator of Modern and Contem- Dramatic Art before working for over a decade in theatre, porary Art at the Princeton University Art Museum. She television, and music. He likes baseball. has been working as a curator and scholar for almost fifteen years. She has published dozens of essays in such Sarah Lewis has served on President Barack Obama’s Arts journals as October, Art Journal, and TDR: The Drama Policy Committee, been selected for Oprah’s “Power List,” Review, and she has organized many exhibitions, most and is a faculty member at Yale University, School of Art, recently Felix Gonzalez-Torres: “Untitled” and New Jersey in the M.F.A. program. In the fall of 2014, she will be at as Non-Site, for which she received a Warhol Curatorial Harvard University as a Du Bois Fellow. Her book, The Rise: Research Fellowship. In addition to overseeing the Creativity, the Gift of Failure, and the Search for Mastery museum’s Sarah Lee Elson, Class of 1984, International (2014), is a layered, story-driven investigation of how inno- Artist in Residence Program and serving as curatorial vation, discovery, and the creative process are all spurred adviser to the University’s campus art committee, she is on by advantages gleaned from the improbable, the un- currently researching the exhibition Beckett’s Decade. likely, even failure. Her second book, focused on Frederick Douglass, photography, and the American Civil War, will be Cynthia Burlingham was appointed Deputy Director of released by Harvard University Press. Lewis has held posi- Curatorial Affairs at the Hammer Museum in 2011. She is tions at both the Tate Modern and the Museum of Modern also the director of the UCLA Grunwald Center for the Art. Her essays on contemporary art have been published Graphic Arts, a position she assumed in 2005 after serv- widely in magazines such as the New Yorker, Artforum, and ing since 1992 as Associate Director and Senior Curator. Art in America, and in publications produced by Rizzoli, the At the Hammer, she manages the departments of Aca- Smithsonian, the Museum of Modern Art, and the Studio demic Programs, Public Programs, and Exhibitions and Museum in Harlem. She is currently a board member of Publications, as well as all Grunwald Center collection The Andy Warhol Foundation for the Visual Arts, the CUNY and exhibition activities. She also oversees the Armand Graduate Center, the Harvard Alumni Association, and The Hammer Collection of sixteenth- to nineteenth-century Brearley School. She received her bachelor’s degree from European and American paintings; the Daumier and Con- Harvard University and an M.Phil. from Oxford University, temporaries Collection of paintings, works on paper, and and she will receive her Ph.D.