Exhibit the Art of Plasma Designing the Improbable

Sally Metzler

It is almost impossible today to go anywhere in the urban environment and not exist confronted with a flat panel screen emitting video and sound. They are nearly ubiquitous. Although you might plow off the television when you exit the privacy of your dwelling, media distractions do not cease as you cross the border between personal and public space. Step into a skyscraper elevator and rather than a brief respite from the cacophony of the street, you volition likely be faced with an agile modest screen. Regardless of your preference, you are forced to lookout man and listen to the news, weather, or the country of the financial markets. You can convalesce the interruption, yet contribute to the disruption, by snuggly affixing your iPod earphones and maintaining the volume at a level and then that anybody hears your not-then-private concert—to the agitation of those around y'all. The active screen and then prevalent now in elevators has also migrated to hotel lobbies, clothing stores, taxis, and even bus stops have all joined the club of perpetual information download.

This information, however, is rarely new and certainly not "breaking news" as the streaming ticker on the bottom of the screen insinuates. And more often than not, this mental and visual racket volition be a repeat, a rewind of what you have already witnessed. What quantity of CNN footage is really new inside a given hour? The same stories and images are hammered into our mental consciousness at least every fifteen minutes. On a "tedious" news day, or even a "fast" one, if you turn on CNN you will get an proficient in the electric current events of the hour. Inside a one-half an hour or and so, the same narrative is usually, if not always, repeated. I am an eyewitness to this barrage of repetition, as my gym features two big plasma screens—both impossible to ignore and to change the channels—which broadcast CNN and ESPN. These repetitive images and letters that can mesmerize and as opiate have impacted the creative and cogitating forces of our technologically advanced gild. As French philosopher Georges Duhamel in the 1930s appropriately put information technology, "I tin no longer call up what I desire to think. My thoughts take been replaced by moving images."[one] Of course, Duhamel was speaking of early film, rather than ubiquitous plasma screens. Nevertheless, his lambaste applies equally to the subsequent generations of video communication.

I should not single out CNN and ESPN equally the only examples of repetition and rewind of visual media--although their 24/vii methodology of data download positions them in an unmatched arena. The local one-60 minutes news broadcast in any major city, usually presented on three different stations, will feature the identical sequence of news and stories particularly in the outset ten minutes. Even the commercial breaks seem to arise simultaneously. This repetition and sameness are listen-numbing and puzzling, every bit they have get acceptable and even preferred modes of data transmission through our present vehicles of communication technology, principally the apartment console screen.

In the public sector, the apartment console screen is no longer only a staple of gyms and sports confined, as many restaurants now characteristic a plasma screen ablaze and pulsating with some form of attention-grabbing programming. One of my favorite sushi establishments runs non-stop Japanese cooking shows on a large screen over the bar. The screen is visible from several of the dining tables as well equally the street. Admitting a reprieve from news, it is non a pick to acknowledge the screen and the culinary adventures depicted. Once more, the repetition is well-nigh anesthetizing, equally well equally the interruption into the activity one fix out upon initially, in this example to enjoy a prissy evening out dining. The screen and video are there, demanding attention and disrupting your idea process whether you wish or non. Does this signal the demise of penetrating conversation between individuals? Surely, information technology is a challenge to ignore the television or video screen in front of yous and pay attending to what your dinner companion is saying. As touched upon earlier, fifty-fifty taxis have embraced the flat screen. Step inside a taxi, and rather than a greeting solely past your commuter, the local news or atmospheric condition will demand your attending, fragmenting your thoughts. This ambush of the flat screen allows scant fourth dimension for reflection and contemplation. These intrusions into our internal consciousness and concomitantly to the natural flow of creativity are a claiming as we motility forward with the burgeoning expansion and availability of new technologies.

Rewinding and repetition as a ways of visual communication are non modern constructs. In the Renaissance, copying another painting that was admired was never dismissed equally simply a copy nor deemed plagiarism. The derision with which we now acquaintance copies is a contemporary attitude. Young and inexperienced artists were encouraged to copy the masters, to rewind past aesthetic values in order to have the next leap of creative and aesthetic progress. One looked back to look forward. The appearance of reproductive engraving is indeed a form of rewind. When an object or composition was coveted, everyone wanted to possess it, thus the new technology of reproductive engraving and press made multiplicity of a blueprint a reality. Rewinding was and is a form of egalitarianism in that a work of art or the paradigm per se, could exist in multiples, affording the masses the luxury of possessing what was originally a singular, unique piece of work reserved for the privileged 1. Indeed, as Walter Benjamin wrote in his The Work of Art in the Age of Mechanical Reproduction, the repetition of a work of art eliminates the intrinsic aureola, whereby the uniqueness of the object may be lost.[2] However, the adoration of the original was non macerated; conversely, duplication often enhanced veneration. Albrecht Dürer was no less admired when multiple copies of one of his singular compositions appeared, for case his Knight, Expiry and Devil or St. Jerome in his Written report. Whether producing a woodcut or engraving, this new technology of reproduction allowed a rewind of the field of study, mode, and blueprint for every bit many collectors every bit the incised metal plate or woodblock would let.

Although less powerful in quantity with regard to multiplicity, painters fabricated 2nd and 3rd versions of their own popular compositions. Artists also created copies of the piece of work of some other artist every bit homage. The best recent example of the admired copy or rewound way is the painting idea for years to exist by Leonardo da Vinci, then subsumed by most critics into the subsequently Leonardo or copy, notwithstanding in spite of its spurious pedigree, sold for $1.5 one thousand thousand in January 2010. The painting, titled La Belle Ferronnière, is a portrait putatively of Lucrezia Crivelli, mistress of Ludovico Sforza, Knuckles of Milan. In the early twentieth century, it was purchased as an accurate Leonardo and subsequently given to the heir-apparent's granddaughter as a wedding present. When the owners tried to sell it the Kansas City Art Plant, experts deemed it a copy, or even worse, a "fake." The outraged owners, who claimed the painting had been authenticated by an skilful in France while they were residing there, instigated a legal battle, suing one of the experts, the famous art dealer Duveen, for slander. The outspoken Duveen had gone on record with a London reporter that La Belle Ferronnière was a copy afterward Leonardo'southward original in the Louvre. The portrait, although now recognized universally as a re-create, albeit one dating before 1750, commanded a large sum, in fact three times the auction house judge of $300,000-$500,000. For many works of art, such controversy and final verdict of a faux would have been the death knell every bit far as marketability. Notwithstanding, this painting is coveted. The new owners, anonymous at this point in fourth dimension, possess a piece of Leonardo and of his artistic by in some respect.

This issue of Drain explores the concept of rewind. Only what does rewind actually mean? Looking up diverse definitions, it often refers to picture show or reels, whereby the simplistic notion of going dorsum to the starting time equals success. Yet, the argument is obfuscated by the question of where are the lines of demarcation between these polarities of alpha and omega? To codify precision of beginning and ending, the concept of time must exist critiqued, and in many respects, this is but a superficial means of organizing our lives.

Aside from the tradition of multiplicity and repetition, rewind is on occasion a celebration of excellence or a longing for nostalgia and values past. This tin can lead to a renewal when the past is transformed to something new, such in the examples of the Pre-Raphaelite Brotherhood and the Nazarenes, who used their veneration for Raphael and the Renaissance masters towards a new creative expression in the nineteenth century. Even more innovative was the Baroque Gothic architecture of Czech Jan Santini Aichel (1677-1723). He created a novel visual vocabulary by fusing Gothic symbols and Baroque exuberance. The pilgrimage church of St. John Nepomuk in Žd'ár nad Sázavou features a whimsical ground plan in the form of a star and gothic-arch-shaped windows that symbolize the shape of Nepomuk's natural language, the relic of which is encased in glass on the ceiling of the church, memorializing his martyrdom of having his tongue ripped out and his torso thrown into the Vltava River. According to legend, five stars appeared miraculously in a higher place the point in the River where his trunk was bandage, hence the star ground plan of the church. Although adequately obscure and not easily visited, Santini Aichel's church is a masterpiece of architecture---an icon of intellectual and artistic rewind.

Today, we celebrate and despise the notion of rewind. Although society generally respects originality, concomitantly there is often suspicion, and even anxiety when facing the new or unfamiliar. Rewind is in many means nearly the familiar. It makes one comfy, validating self-worth and intellectual status. Rewind manifests in myriad situations. There is the miracle of museum exhibitions employing a subtle message of rewind to ensure trust amongst the public. When the art featured is known, when the artist is famous and admired, the public will flock to view the exhibition every bit opposed to a relatively unknown, although equally talented artist. The majority of today'south public knows the art of Leonardo, Caravaggio, and Monet. Nigh museum directors can exist assured that any exhibition featuring these artists will be a blockbuster, and fifty-fifty visitors who may have never ready human foot before in their museum will buy a ticket. But, conversely, will the public flock to an exhibition by Luini or Solario (in the case of Leonardo da Vinci, these are those most closely aligned with his art), or ane of the followers of Caravaggio, say Simon Vouet or Valentin? Unlikely. Several years ago, the Detroit Found of Art and the Art Institute of Chicago staged an bookish show concerning Italian mannerism and the Medici, and gave the exhibition a title that included the proper name of "Michelangelo," although there were only 3 sculptures attributed to him in the show.[three] False advertisement on the part of the Detroit and Chicago Art Institutes? Perhaps more than the astute acknowledgement that the public would on the whole featherbed an exhibition with names such equally Giorgio Vasari, and esoteric, art historical jargon-filled terms similar mannerism. Furthermore, there is the underlying sentiment and longing to belong to the collective group who are in the know and in tempo with pop civilization, thus embracing the familiar and avoiding the new.

Rewind today and solutions for renewal

For centuries, order has encountered rewind in various forms. From Romans making bronze casts of original Greek sculptures, to reproductive engravings, and to nostalgic art movements, there has been cause for celebration of rewind in its invigoration and augmentation of cultural richness. However, today, there is a telephone call for circumspection in rewind, and the need to limit the seemingly degenerative touch on civilisation by way of plasma screens and in particular their contribution to visual noise. The statement that applied science tin can ruin society is quondam. Applied science has brought a utopia for many. Connecting via email with relatives living continents autonomously enters the positive category. But, there is often the subsequent stage of technology that brings discord to those who embrace information technology. For example, once email and the internet became ubiquitous, a less appealing development of spam, scams, and identity theft ensued. Can this onslaught of visual noise, marking a new terminology, be conquered earlier we attain saturation point? Can we harness the negative effects of this new technology earlier it too develops the intrusive and oftentimes malicious syndrome we have all witnessed on the internet: "trusted sir, please send me your bank business relationship information so that I may eolith my one billion dollars into your business relationship?" In that location is also the claiming of the availability of applied science being slightly alee of its fourth dimension, and particularly ahead of its usefulness or beneficence to social club. For example, having the know-how to implement sleek plasma screens in skyscraper elevators, but at a crossroads of what to feature and present to the viewer 20 four hours a day. What are the limitations to originality, reflection, and creativity in a club that has in many respects go a 24/7 world? How much repetition tin can we endure earlier it drowns the states in a mire of sameness?

At that place has been fascinating research of tardily into this field of visual noise and repetition, searching for alternatives that employ present and time to come flat screen technology, but mitigate its negative effects. Some of the findings--more valuable for pilots, subway operators, and railroad train conductors--are across the scope of this essay. Suffice to say that inventors and scientists are making progress in combating fatigue levels and the imminent danger acquired by long-term exposure to electronic screens and other forms of visual noise endured past personnel who rely on screens for their operations. With varying degrees, almost of the developed world spends a big percentage of waking hours interfacing with machines, and the listing of gateways is always increasing: jail cell phones, blackberries, televisions, games, PDAs, iPods, iPads, and laptops. The convenience and accessibility inherent in these devices are inviting and seductive. Nevertheless the concomitant consistent visual noise degrades the human machine interface effectiveness. Screens and the associated repetition will not fade from the urban surround both public and individual, and volition in fact certainly go more frequent, demanding a solution assuasive one to experience information and its collaborate imagery in an unobtrusive manner.

A new art class and engineering science

The plasma screen--sleek, meaty, and highly adjustable to various spaces and places--has produced a new frontier for art and media communication within quotidian life. Concomitant with the invention of the plasma screen is the barrage of visual noise and the ceaseless interruptions. Like all new engineering, the plasma screen has traversed numerous stages during which the benefits wax and wane, thus demanding reassessment and evaluation. Any new technology proceeds through a metamorphosis of invention, application, purpose, furnishings, and results. One time the initial purpose of watching circulate television receiver on the plasma screen was exploited, the next phase transitioned towards functionality outside of television networks, and focused on public media as well as private enjoyment. Some responses were ambient music and ambient video, pioneered by Brian Eno and Jim Bizzocchi respectively. Eno's work featured music applied to particular visual imagery, harmonized for both ocular and aural success. Simply, as Eno stipulated, the video "must be as easy to ignore as notice," and going further, Bizzochi maintains that ambient video play in the "background of our lives."[four] Ambient music and ambience video have roots in early avant-garde cinema (one only has to remember of Andy Warhol's Slumber) and video art, yet video art was not dependent on the plasma screen for its technology.

A straight response to the invention of plasma screen applied science has been the invention of sub-threshold ambient fine art, and thus a solution to repetition and visual noise. Ambient video art, although pleasant and pleasing, does non address the negative impact of rewinding and interruption of artistic and reflective thought procedure. A key phase of ambient art went ane step farther, proffering a sub-threshold visual solution. Invented past Douglas Siefken, this applied science imbues a loftier level of artistic sensitivity to gainsay quotidian visual noise and benefit our surround, thus increasing the salutary effects of plasma screens. Embracing the notion of rewind and exploiting its capacity for renewal, Siefken implements sub-threshold perception of modify and movement on the digital screen (see: www.translumen.cyberspace). Engaging and constant, his applied science rejects interference with our mindful and nowadays consciousness. His technology and art, divers as Translumenization and Stillism respectively, produce a calming, reflective, and creatively stimulating voice for the electronic display. He engages the viewer with a new art movement, that of temporal art that employs the notion of rewind to arrive at a highly aesthetic and salutary issue for the urban environs. This new technology of digital art solves the problem and alleviates the tension described by Walter Benjamin in that of moving images in film---whereby no sooner has the eye grasped a scene than it has already changed. [5] With Stillism, speed of images, and therefore speed of thoughts, are renewed. Rather than normative film video or stream, Stillism allows, if non leads, the mind towards mindfulness.

The starting point for Siefken's innovation is an image, be it a video or photograph. As remarked by ambient video artist Jim Bizzocchi, for even normative slow-motion ambient video, one of the central requirements for ambient fine art or sub-threshold is the quality of the epitome and the subsequent manipulation of the epitome.[vi] Although Siefken'south applied science can exist applied to any grade of image, regardless of the author, he also has mastered digital photography, producing images that are seamlessly Translumenized for the flat screen. Such an example is his Orchid and Cityscape series. In the Orchid, Siefken begins with an image that captures the magnificence and elegance of a flower in total bloom. Masterfully framed and conceived, the orchid is the über-orchid (figure one). Siefken floats the image in a black sea, depicting the enveloping atmosphere with a hyper-acute sensibility. His Orchid is anything but typical. The bloom appears equally an aeriform shot, a bird'south-center view of the dignity of nature. This unproblematic still intensely powerful image on the apartment screen (or the all the same epitome framed) is an aesthetic triumph. Yet, to translumenize the prototype transports it to another fine art course and sphere of artistic appreciation (see http://world wide web.flickr.com/photos/siefken/4385196646/). Every bit the spectator observes the seemingly static epitome of the orchid, at various intervals i volition glance once again at the orchid and notice the color has changed, the size has contradistinct, and even its position on the screen has shifted. During this passage of time, fifty-fifty if one were to transfix his glance firmly on the screen, the notion of change would be imperceptible. The original image, the starting point of the creative feel, retains its integrity throughout the functioning; the orchid is always there, but will undergo renewal. The sequence of the Orchid is a stochastic fractal, invoking recursion, or the process of repeating the object, in this example the orchid, in a self–similar mode. With Transluminization, the iterations and move are indiscernible, although an alteration in the image has occurred. This temporal art uses sub-threshold extreme gradual change algorithms and patented methodologies (United states patents six,433,839 and 6,580,466) to produce the effect. These dynamic and shifting, yet imperceptibly altered images are displayed with such timing that the eye cannot perceive the differences betwixt adjacent or successive images over at least a five-2d interval, yet over more widely disparate time intervals, the images can be noticeably different. The image is rewound while producing nuanced alterations of its original manifestation. The image stream retains the integrity of a still image at any given point in time, but is in fact a continuously evolving paradigm. Aside from the fractal principle of cocky-similar iteration, translumenization equalizes the blastoff and omega. There is neither a true beginning nor end to the serial of images, thus creating a cohesive retentivity. Equally the digital, temporal art begins with the orchid, changes information technology throughout time, withal rewinds imperceptibly, arriving at neither the start of the orchid nor the finish---there is neither boundary nor demands made upon the spectator. The viewer volition notice the epitome on the apartment screen, but not be forced to take notice. Most of import, the natural menses of mental consciousness remains liberated. There is no narrative to the video and no real end or beginning, thus the viewer is gratuitous of searching for closure, meaning, and arroyo. One now can fully experience the environment strictly according to an individual earth-view. Siefken's solution is prescient. Flat screens will not be going away; they are on the cusp of becoming ubiquitous. Siefken'due south art and technology offers the artful and technological triumph of visual racket.

Siefken has created another highly compelling art course called Geo art that implements Stillism. Different an image he plant, framed, and deftly shot with the digital camera, Geo art is conceptual fantasy. He begins with a geographical muse, exist it topography, a transportation system map, or rudimentary terrain of a metropolis. An example is his fascinating interpretation of the Bavarian city of Munich (fig. two). The epitome appears as a kaleidoscope of minerals, sand, and other earthly materials. Upon get-go glance, one might translate the image as a geological analysis of the metropolis. Yet, it is zero of the sort: Siefken has digitally transformed the network of the Munich subway system into a labyrinth of bright color and mystery. Translumenizing Munich endows the flat screen with an unexpected journeying. The shifting patterns of color, although exceedingly nuanced, demonstrate the vibrancy of the city, proclaiming the constant newness of whatsoever urban environment.

The Artist and Inventor

Equally with many pioneers engaged in a new frontier, Siefken's career genesis represents one of fascinating contrasts. An inventor, engineer, and photographer, perhaps it was inevitable earlier he conflated his multifarious intellect into one remarkable result. At the heart of everything, he has demonstrated that he has mastered applied science, nonetheless never sacrificed artistic integrity, and his photographic stills display his aesthetic apprehending. Simply to make it at such an innovative procedure entailed a circuitous yet adamant route.

By all accounts, Siefken was a prodigy lensman. When other children were still dreaming about what they would grow upward and become, Siefken was being paid for his talent. Built-in in the rural town of Effingham, Illinois, he received his offset camera---a Kodak Credibility Holiday Wink---from his parents on his eighth altogether. Anxious to explore this new contraption, he prepare out with his neighborhood friends, who like most boys spent the afternoon running and jumping or engaged in some course of movement. Knowing little about the mechanics of photography, Siefken started snapping pictures of his friends and their escapades. Finished with the roll, he turned the film in to be printed. Low and behold, much to his disappointment, his efforts of documenting his neighborhood friends produced an entire curlicue of mistiness. One should mention that Siefken's curlicue of mistiness occurred long earlier the digital age, when snapping countless pictures substantially now cost nothing. In 1950s Effingham, every photo counted. After this kickoff unsuccessful endeavor and beingness a fleck precocious and of an intellectual nature, Siefken was adamant to empathise why his pictures turned out blurry.

Even at the historic period of eight, he aggressively pursued this dilemma in terms of art and technology. Siefken marched down to the Effingham public library and began reading every book on photography that he could get his hands on. The simply ones off limits to him were the "figure studies," those photography books that included nude photos; for those he finagled adult friends to cheque the books out for him. A friend four years his senior and who lived two houses down from him in Effingham had a darkroom, and taught Siefken how to develop picture. He learned quickly the effectively points and mechanics of shooting pictures, as by the time Siefken entered high school, he had a real task as a photographer. In fact, before he even owned a commuter's license, the Effingham Daily News employed him as photographer for the subcontract edition. His appointment with the newspaper was in addition to his activities for the loftier schoolhouse yearbook every bit well as a freelance lensman for commercials. While working for the Effingham Daily News, Siefken accompanied the assigned reporter to various farms throughout the area, snapping animals, new equipment, and other newsworthy stories important for the agricultural boondocks. He occasionally went along as photographer for crime incidents, capturing the gruesome results of injuries and suicides in the surface area, often beating the ambulances and police to the scene.

Similar to many young boys, he was intrepid. This exposure to the darker side of life prepared him for his next run a risk: joining the Navy, serving in Vietnam, and shooting aerial combat photography. His initial involvement in entering the Navy stemmed from a want to feel life on a ship, partly from the technological aspect. While in Guam, he was able again to pursue his photographic desires. He served in a Navy studio on the island, and part of his activities included the more than sedate yet daunting chore of shooting portraits of numerous admirals stationed in the Western Pacific. Merely, at only eighteen years of age, being a photographer suddenly took on a thoroughly different implication, equally he was sent to Danang, a city frequently under assail and where Siefken at present had the responsibility of combat and intelligence photography. Working out of a mobile lab, he worked against all of the odds, as he maneuvered in the midst of enemy warfare His terminal aerial assignment in Vietnam, requiring he leap jump from a helicopter, resulted in an injury that sent him out of the military machine and onto his next career motility.

While in Okinawa using loftier-speed imagery to analyze missile tests, Siefken conceived the idea, notwithstanding at that time not the solution, of slow movement video in the extreme. Realizing the demand for a movie that did not change to visible eye, Siefken knew this was the goal, simply without the invention of a apartment panel screen, his programme was ineffectual if not impossible. He never strayed from the thought and importance of the notion of sub-threshold visual perception. Therefore, with the advent of the flat panel screen, he was there on the scene, determined every bit ever to develop his ideas into a working class.

Siefken's invention as an fine art form evolves from the tradition of video and installation art, but unlike its forerunners, it can be both public and private art. The art form called Stillism, is comprised of an prototype manipulated through technological and creative means, and so transformed into a cerebral and aesthetic viewing experience involving highly nuanced changes in image dimension, color, form, and composition. The engineering of capturing the image and arresting its modify at an ephemeral level is translumenization. It is of import to recognize that although move weaves throughout the video, visible action or any visual changes must be imperceptible. Equally an art form, Stillism is a type of video, but until now has been captured under the umbrella term of "ambient video." Stillism goes much farther in its goals and applied science. Stillism is an art form that simultaneously engages the viewer and ignores.

Applied science has changed our sense perception and attending span throughout the centuries. Keeping pace with these progressions, Siefken'southward serial of translumenized images rewind and motility forward, thereby working with our cognitive and visual powers. His Cityscape series, for example, begins with the Chicago skyline. Changes to the epitome in the digital loop, perceived at a sub-threshold level, decrease and add simultaneously. He rewinds the image while contemplating the next stage of changes in visual, intellectual and aesthetic values. Siefken'southward creation of sub-threshold video fine art, or Stillism, represents the frontier in the crystallization of the artful and practical applications of technology. This new art grade has the potential to transform our everyday surround. Harnessing the explosive and enormous advancements in engineering science, Stillism seeks to conquer visual noise and implement an art form that is time-based and non-intrusive to our consciousness. Information technology is the future of our visual culture.

Douglas Siefken, Orchid series from Translumenized, video however.

Douglas Siefken, Munich series from Geo Art

[one] George Duhamel, Scenes de la vie future, essays published by Mercure de French republic 1930. Duhamel was criticizing early moving-picture show in this argument.
[ii] Walter Benjamin published his The Work of Art in the Historic period of Mechanical Reproduction in 1935.
[3] The exhibition was titled The Medici, Michelangelo, and the art of Tardily Renaissance Florence, and organized past the Detroit Constitute of Arts, the Soprintendenza Speciale per il Polo Museale Fiorentino, and the Opificio delle Pietre Dure of Florence, Italy, with the close collaboration of the The Art Plant of Chicago and the Firenze Mostre, Florence. It first came to Chicago in November 2002, traveling to Detroit in February 2003.
[4] These quotes are from a paper past Jim Bizzochi, "The Aesthetics of the Ambient Video Experience," presented at the Digital Arts and Culture Conference in Perth, Australia, September 2007. Bizzocchi offers a detailed test of ambient video's roots in cinema and early video fine art.
[v] W. Benjamin, The Piece of work of Art in the Age of Mechanical Reproduction.
[six] See Bizzocchi's paper, department on Creativity and Ambience.

Sally Metzler received her Ph.D. in Art and Archeology at Princeton University, where she specialized in Renaissance and Baroque art of Central Europe.  She has published on the intersections betwixt alchemic philosophy, mannerism, and the Prague court of Rudolf II.  Her most recent publication was Theatres of Nature. Dioramas at the Field Museum, a catalogue and history of the natural history dioramas.
Professionally, she has held positions as Research Banana at the National Gallery of Art, Main Curator of the Cummer Museum in Jacksonville, FL, and managing director of the D'Arcy Museum at Loyola University Chicago.  She is currently director for KULTURA, inc., an art research house.

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