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The University of Maryland-Phillips Collection postdoctoral fellowship position for 2021-22 has been filled. Please check back for positions in 2022-23.

REQUIREMENTS
The fellowships are open to untenured scholars who have received their PhDs within the past five years. Applicants must have successfully defended the dissertation and received the doctoral degree by June 2021.

APPLICATION
A complete application consists of the following:

  • A curriculum vitae
  • 1-2 written examples of scholarship (e.g., publications, manuscripts)
  • A cover letter that outlines the applicant’s interest in and fit with the University of Maryland-Phillips Collection Fellowship, describes the applicant’s research goals and potential course topics, and lists potential faculty mentors at the University of Maryland and/or The Phillips Collection.
  • A 1500-word proposal of a research project for the fellowship year.  As examples, this project might include transforming the applicant’s dissertation into a series of journal articles, a book, or an equivalent peer-reviewed (print or digital) publication, or an initial study that might catalyze the next stages of his/her program of research. The proposal should indicate how the applicant’s project and future program of research will be enhanced by collaborations and connections at the University of Maryland Center for Art and Knowledge at The Phillips Collection. 
  • Name, title, affiliation, and contact information for three referees.  Applicants should arrange to have referees send their letters directly to the same e-mail address by the application deadline.

To apply, send a single PDF document to: fellowships@phillipscollection.org.

The Phillips Collection and the University of Maryland are Equal Opportunity, Equal Access, Affirmative Action Employers.

Past Postdoctoral Fellows

Headshot of Alison Boyd

2019–20 Fellow in Modern and Contemporary Art History

Dr. Alison Boyd completed her Ph.D. in Art History and as a Mellon Fellow in Gender and Sexuality Studies at Northwestern University in 2017. She studies the intersection of multiple modernities in American and European art with a focus on the arts of the African Diaspora, the politics of display, and gender theory. Boyd will be working on completing the manuscript for her book, Modernism for America: Negro Art and Primitivism at the Barnes Foundation, 1917-1951. She also plans to work on an article for the Archives of American Art Journal on Horace Pippin’s 1943 painting I’s Comin’

Headshot of Marlaina Martin

2019–20 Fellow in Visual Culture

Dr. Marlaina Martin received her Ph.D. from the Cultural Anthropology program at Rutgers University in 2019. Her research interests include critical race theory, colorblindness, and post-racialism; Black feminism; women’s, gender, and sexuality studies; body and embodiment studies; cultural studies and media production studies; and anthropologies of race, gender, and media. During her fellowship here, Martin is planning to turn her dissertation, “Making Our Own”: Authority, Performance, and Self-Definition Among Black Women Media Makers in New York City, into a book and also to support undergraduate and graduate learning via mentorship and pedagogy.

Headshot of Ashley Lazevnik

2018-19 Fellow in Modern and Contemporary Art History

Dr. Ashley Lazevnick completed her PhD in American art at Princeton University in 2018. She is revising her dissertation into a manuscript for a book that reconsiders American Precisionist painting through the term “precision” in art criticism, poetry, philosophy, and science in the early 20th century. She is launching a new series for American Art, entitled “What’s in a Name,” that proposes new models for thinking about art historical movements. Ashley’s work has appeared in Word & Image and publications from the Ashmolean Museum, the Warburg Museum in Hamburg, and the Museum of Modern Art. Her research has been supported by fellowships with the Smithsonian American Art Museum, The Harry Ransom Center, the American Council of Learned Societies, the Terra Foundation, and the Metropolitan Museum of Art.

Headshot of Kate Cowcher

2017–18 Fellow in Modern and Contemporary Art History

Dr. Cowcher grew up near Stratford-upon-Avon in England and attended school in Chipping Campden. She holds an undergraduate M.A. from the University of Edinburgh, an M.A. from the Courtauld Institute of Art, and PhD from Stanford University. Prior to attending Stanford, she was a Kennedy Scholar at Harvard University. Dr. Cowcher’s doctoral dissertation focused on the art of the Ethiopian revolution and on the movement of artists and their objects between the First, Second, and Third Worlds. Recognizing that Ethiopia maintains a strong sense of its own historical continuity, Dr. Cowcher explored the rupture that led to it becoming the last “People’s Democratic Republic” to be founded before the fall of the Berlin Wall.

Headshot of Max Rosenberg

2016–17 Fellow in Modern and Contemporary Art History

Before starting at the Phillips, Dr. Rosenberg was a Visiting Assistant Professor in the History of Art and Design Department at the Pratt Institute in Brooklyn, New York. A scholar of postwar German art, he worked on a book manuscript based on his dissertation, “Transforming Documenta: Art, Legitimacy and Modernity in Postwar West Germany,” which he successfully defended in 2015. Dr. Rosenberg taught an advanced seminar evaluating abstract painting after World War II in different national or cultural contexts.

Headshot of Nicole Reisenberger

2016–17 Fellow in Visual Culture

As a Graduate Assistant in Digital Art History, Dr. Riesenberger worked in the Michelle Smith Collaboratory for Visual Culture at the University of Maryland to implement digital initiatives for art and museum education. In this role, she helped to develop and execute an interactive augmented reality application that improves experience and accessibility for visitors to the Riversdale House Museum. In the spring of 2017, Dr. Riesenberger co-led a course on museum technology that offered students hands-on experience building and creating content for ongoing digital engagement projects at the Phillips.

Chinghsin Wu

2015‒16 Fellow

Chinghsin Wu received her PhD in Art History from UCLA in 2010, specializing in the art of East Asia, and focusing on visual exchanges between East and West as well as transnational art movements within Asia. She taught at UCLA, UMass Boston, Massachusetts College of Art and Design, Brandeis, Tufts, Brown, and Rutgers University, Camden. She has worked in the curatorial divisions at the Museum of Fine Arts, Boston and the National Palace Museum at Taipei. During her fellowship, she finished her book manuscript where she uses the art of Japanese avant-garde painter, Koga Harue (1895–1933) as a lens to investigate the reception of Western avant-garde movements in Japan and began her next research project, on the formulation of ideas of modernism in East Asia in the 30s and 40s.