Volume 34

Kaitlin Booher is a PhD student in Art History at Rutgers University. She studies the history of photography with attention to its technical and aesthetic transformations, its social history, and its use as tool for communication at the turn of the 20th century. Her current research explores the work of Adolphe de Meyer and his role in the formation of international codes of advertising photography. Prior to Rutgers, Kaitlin was a curatorial consultant in the Department of Photographs at the National Gallery of Art and assistant curator of photography and media arts at the Corcoran Gallery of Art. Her exhibitions include “Alex Prager: Face in the Crowd” (2013) and “Shooting Stars: Publicity Stills from Early Hollywood and Portraits by Andy Warhol” (2012).

James M. Levinsohn 
is currently finishing the M.A. program in Art History at Rutgers University, where he focuses on the theory of criticism, the history of photography, and contemporary art. In 2012, he graduated with a B.A. in Art History from the University of Chicago, where he received travel grants to research “New Objectivity” artist Christian Schad in Germany. He has worked as a curatorial intern and research assistant at the International Center of Photography, the Museum of Modern Art, and the Princeton University Art Museum, and has taught undergraduate courses in contemporary art at Rutgers University. His Masters’ thesis focuses on the reception and reinvention of photographer Wilhelm von Gloeden in the context of the discourse on postmodernism and photography’s development in the 1970s and 1980s.


Kathleen Pierce is a PhD Candidate whose work considers intersections of art and medicine in France’s Third Republic. Her dissertation project, titled “Surface Tension: Skin, Disease, and Visuality in Third Republic France,” examines a broad range of objects—from dermatological illustrations and wax-cast moulages, to public health posters and vanguard painting—to understand relationships between the surface of the modern body and the surface in modern painting in fin-de-siècle France and its colonies.