{"id":10884,"date":"2020-09-08T16:48:36","date_gmt":"2020-09-08T20:48:36","guid":{"rendered":"https:\/\/www.bu.edu\/haa\/?post_type=profile&#038;p=10884"},"modified":"2024-08-19T19:16:29","modified_gmt":"2024-08-19T23:16:29","slug":"toni-armstrong","status":"publish","type":"profile","link":"https:\/\/www.bu.edu\/haa\/profile\/toni-armstrong\/","title":{"rendered":"Toni Armstrong"},"content":{"rendered":"<p><span>Toni Armstrong studies women\u2019s and queer history in the nineteenth- and early twentieth century in the United States, with a particular focus on women art collectors. Toni\u2019s dissertation, &#8220;Taking Care: The Queer Making of American Modernism, 1914-1935&#8221; explores \u201cqueer arts advocacy\u201d through case studies demonstrating alternative modes of collecting, exhibiting, and writing about modern art. Besides written scholarship, Toni is dedicated to expanding the bounds of academia through community organizing, public history, and advocacy for local arts communities. Toni has held internship and research positions at the Worcester Art Museum, Mus\u00e9e national d\u2019histoire et d\u2019art in Luxembourg, Andover Center for History and Culture, Boston Symphony Orchestra, and most recently, the Nichols House Museum.<\/span><\/p>\n<p><span style=\"color: #000000;\"><strong>Research Interests:<\/strong><\/span><\/p>\n<ul>\n<li><span>Late Nineteenth &amp; Early Twentieth Century American Art<\/span><\/li>\n<li><span>Women Art Collectors<\/span><\/li>\n<li><span>Queer Art History<\/span><\/li>\n<\/ul>\n<p><span style=\"color: #000000;\"><strong>2023-2024:<br \/>\n<\/strong>Vice President, <a href=\"https:\/\/www.bu.edu\/haa\/community\/student-organizations\/graduate-student-history-of-art-architecture-association\/\">Graduate Student History of Art &amp; Architecture Association<\/a><br \/>\nSenior Editor, <em><a href=\"https:\/\/www.bu.edu\/haa\/community\/student-organizations\/graduate-student-history-of-art-architecture-association\/sequitur\/\" target=\"_blank\" rel=\"noopener noreferrer\">SEQUITUR<\/a><\/em><strong><br \/>\n<\/strong><\/span><\/p>\n<p><span style=\"color: #000000;\"><strong>2022-2023:<br \/>\n<\/strong><\/span>Junior Editor, <em><a href=\"https:\/\/www.bu.edu\/haa\/community\/student-organizations\/graduate-student-history-of-art-architecture-association\/sequitur\/\" target=\"_blank\" rel=\"noopener noreferrer\">SEQUITUR<\/a><\/em><\/p>\n<p><span style=\"color: #000000;\"><strong>2021-2022:<br \/>\n<\/strong><\/span><span style=\"color: #000000;\"><span>Forum co-Coordinator<\/span>,\u00a0 <a href=\"https:\/\/www.bu.edu\/haa\/community\/student-organizations\/graduate-student-history-of-art-architecture-association\/\">Graduate Student History of Art &amp; Architecture Association<\/a><\/span><\/p>\n<p><strong>MA Paper:<\/strong><br \/>\nSamuel F. B. Morse\u2019s\u00a0<em>The Goldfish Bowl<\/em>\u00a0(1835): Taste, Domesticity, and Early Nineteenth Century Fish-Keeping<\/p>\n","protected":false},"author":17721,"template":"","_links":{"self":[{"href":"https:\/\/www.bu.edu\/haa\/wp-json\/wp\/v2\/profile\/10884"}],"collection":[{"href":"https:\/\/www.bu.edu\/haa\/wp-json\/wp\/v2\/profile"}],"about":[{"href":"https:\/\/www.bu.edu\/haa\/wp-json\/wp\/v2\/types\/profile"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/haa\/wp-json\/wp\/v2\/users\/17721"}],"version-history":[{"count":15,"href":"https:\/\/www.bu.edu\/haa\/wp-json\/wp\/v2\/profile\/10884\/revisions"}],"predecessor-version":[{"id":16682,"href":"https:\/\/www.bu.edu\/haa\/wp-json\/wp\/v2\/profile\/10884\/revisions\/16682"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/haa\/wp-json\/wp\/v2\/media?parent=10884"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}