notes about contributors
Megan Horn is a third-year PhD student. She studies twentieth century American photography and material culture. Her research focuses on the interrelationships between documentary photography and the negotiated conceptions of national identity. Megan has previously held positions at the Museum of Modern Art and the Newport Art Museum.
Carolyn Hauk is a fourth-year PhD candidate in the Department of Art History at the University of Delaware. Her research explores the intersection between empire and environment in art and visual culture of North America from the 19th to early-20th centuries, with a particular geographic focus on the Southern United States.
Melody Hsu is a PhD student in Art History at McGill University, supervised by Prof. Angela Vanhaelen and a recipient of SSHRC doctoral funding. Her research explores the (re)making and exchange of visual and material culture between the Low Countries and East Asia, and early modern prints’ transregional, transcultural, and transmedial trajectories.
Fatema Tasmia is a PhD candidate in the History of Art & Architecture at Boston University. Her research focuses on Tropical Modernism, materiality, and labor in postcolonial South Asia. She has recently presented at SAH 2025 and the Docomomo International Conference 2024. She enjoys traveling, photography and visual narrative storytelling.
Sybil F. Joslyn is a PhD candidate in the History of Art & Architecture at Boston University. She specializes in visual and material culture in America’s long nineteenth century, with her dissertation exploring the role of maritime salvage as process and material in art production and the history of collecting.
Nathaniel Craig received his bachelors from Binghamton University in mathematical sciences and art history before returning as a graduate student in the art history program. His current research focuses on the architecture of home economics.
Jessica Braum (she/her) is a doctoral candidate in Art History at Temple University. Her dissertation examines Kim Lim’s print and sculptural practice through transnational feminist frameworks, reassessing postwar British and Southeast Asian art histories. Engaging feminist theories and multidisciplinary methods, she studies artists working across geographic and cultural contexts. Her writing has appeared in Asian Diasporic Visual Cultures and the Americas, ASAP/Journal, and Passage.