Spotlight Interview: Katy Reis

Katy Reis: Co-Founder, Reis Leahy Art Advisors

Columbus, Ohio

WFU Class of 2004

Major: Spanish

Double Minor: Art History & Studio Art

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Katy Reis (pictured left) is the co-founder of Reis Leahy Art Advisors in Columbus, Ohio. Katy recently walked us through her path from Winston-Salem to the burgeoning Midwestern art scene.

DeacLink: Please walk us through your path from graduation day to your current job.

Katy Reis: Once I graduated, I began with an unpaid academic-year internship at the Corcoran Gallery of Art working for the Curator of Prints and Drawings. I simultaneously worked full-time at the National Gallery of Art in the gift shop during that time. Once that internship was completed, I took on two part-time roles at the Corcoran, one in the traveling exhibitions department and the other as membership director for Washington Project for the Arts which at that time was still part of the Corcoran (they are now an independent arts non-profit organization). Eventually, I took my final role at the Corcoran as Exhibitions Officer working with the Exhibitions Director on every exhibition from Old Masters to Contemporary Art. After doing that for a couple of years, I decided to join my husband in Columbus. I took a job in the Exhibitions department at the Wexner Center for the Arts and remained in curatorial most of my time there. My last few years at the Wex, I moved over to the Development Office working as Senior Development Officer in Individual Giving. Before I knew it, we had two children and I took a few years off to be with them before founding Reis Leahy Art Advisors with my partner Lauren Yen Leahy.

DL: How much did your studies and general experience at Wake inform or drive your career path?

KR: As much as I may have disregarded its importance as an incoming freshman, the core curriculum requirements unsurprisingly served their purpose. The subjects I postponed taking until I was a senior are now my favorite reading and research topics. Early in my college career, I enjoyed science, math and foreign languages. After realizing that I didn’t want to go to medical school, I chose to major in Spanish partially because the deadline was upon me and partially because I knew I wanted to go abroad and would complete most of the courses for the major while I was there. I enjoyed classes with my Spanish professors, but it wasn’t my passion. While I was studying abroad, I found myself perpetually in art museums and loving every minute of it. I had always taken studio art classes for my own personal enjoyment, but never thought I could make a career of them. It (finally!) occurred to me to take an art history class upon returning to Wake the following semester. That was the pivotal moment. I realized I loved studying art. I loved studio art critiques because I found myself thoughtfully analyzing the art of my peers and seeing the visual vocabulary from art history that informed their work. I was hooked. I didn’t know enough about the field to know what my next step would be, but I knew I wanted to do something related to art history.

DL: How did you find and apply to the various positions you’ve held -online, inside reference, networking in person, WFU resources, other avenues? Do you have tips or suggestions for the student audience on networking, interviewing and applying for jobs?

KR: Dr. Barnes and David Faber were both instrumental in guiding me towards career opportunities that might be a good fit for me.

Ultimately, I took the internship with the Corcoran Gallery of Art and just kept jumping at every opportunity that came my way. I was fortunate enough to always work under supportive leadership who let me move into new roles as my interests grew and changed. It helped give me the experience I needed to do what I am doing today. Once you have your foot in the door, if you work hard, practice patience and work well with others, there are always colleagues who will help you get to where you want to go.

DL: What could Wake have done better to prepare students for life after graduation?

KR: Truthfully, after reading DeacLink, I wish that resource had been around when I was a student. Though I know career services did a phenomenal job for many of my classmates, I always left my meetings there feeling like the opportunities were all geared towards the business school and communications majors, working with recruiters from major companies and corporations.

Though they probably had options for students looking for careers in the arts, it was challenging to sift through everything else to find that. Deaclink seems like a great way for students to make their own future and network in a way that is necessary for a job in the arts. It gives information that someone like me was eager to find as a student. I didn’t know what art history majors did beyond being a professor. I knew museum curators and auction specialists existed, but I had no idea what a regular day was like for them. Having that information at your fingertips and then also having the opportunity to contact that person directly would have been enormously helpful in finding my current role in a little more efficient way.

DL: What is your favorite part of living and working in Columbus?

KR: It’s such an open and supportive city.

DL: What is the most interesting thing going on in the art scene there at the moment, in your opinion?

KR: I may be biased as a former employee, but I continue to be amazed by the quality of arts programming at the Wexner Center. And, they are in good company, the Columbus Museum of Art, Columbus College of Art and Design and Franklin Park Conservatory all have phenomenal programs too. They all bring in world-class artists who otherwise would not have reason to come here. I am fortunate to have quality art programming and still enjoy all the benefits of living in a smaller city.

DL: What is your favorite part about working for yourself?

KR: Flexibility and working with clients. No two collection objectives are the same which keeps research interesting and fun.

DL: What and where is next for you?

KR: At this point, this is it. I get to do what I love and work with wonderful people. I can’t imagine myself doing anything else.

DL: Do you have a kernel of advice you’d like to impart to the readers?

KR: Be open to anything. You’ll surprise yourself. Be patient. I never thought I could or would start my own business when it first occurred to me 10 years ago to do so. But, when the time is right, you will know.

Spotlight Interview: Leigh Anne White

Leigh Ann White: Inclusive Design + Cultural Projects Manager, Institute for Human Centered Design

Boston, Massachusetts

WFU Class of 2011

Major: Studio Art

Minor: Art History

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Leigh Anne White graduated from Wake with a Studio Art major and Art History minor. Her career path since has been guided by a strong desire to help others whilst keeping in the art & museums realm. Read on to learn about her story and wisdom acquired along the way.

DeacLink: Since you’ve graduated from Wake, you’ve gone to grad school and had quite the interesting career. How has your career unfolded? Can you walk me through your path from graduation day to your current job?

Leigh Anne White: There are several stops along the path so sit tight. What actually led me to grad school is another Wake alum came to speak during my senior year about her job as an exhibit designer. I had been trying to figure out what I wanted to do. I knew that I needed to do something visual and hands-on but when I went to career services, they told me I needed to apply to every art gallery in New York and that was the only way I was going to find a job in the arts. After that I started looking more into architecture or interior design tracks because I assumed those were my options for design. While at Wake, I had also done an art therapy internship, so I was looking into that as well. Then Jame Anderson came to Wake; at the time she was an exhibit designer for the National Gallery of Art in DC. She was describing her job and I decided that was the exact job I had been searching for because it combined my passion for art history, education, and design.

After the talk, Leigh Ann Hallberg set me up with Jame, and I met with her a couple of times when she was visiting Winston-Salem. She told me about the Corcoran College of Art + Design Masters program that her boss at the National Gallery had started with a few other exhibit designers in DC specifically to train students in not just exhibit design but curatorial studies, conservation practices, graphic design, and lighting design - all subjects a professional exhibit designer uses in their job. I applied to that, got accepted, and started grad school the fall after graduating from Wake. I thought I would end up in New York, and I instead found my way to DC. In the program, I was one of the only people coming straight from undergrad which was intimidating. The program was amazing and confirmed that this was the path for me. I loved every minute of it.

While in grad school, I had a few different internships; one was an internship at the National Museum of American History, which gave me a chance to be apart of an in-house museum design team. After that experience I decided I wanted to work in museums more than anything else. For those who are unfamiliar with exhibit design it is essentially visually interpreting a curator or organization’s message in an accessible and entertaining format for the general public. I loved being able to interpret someone’s written words or idea and turn it into a visual 3D environment but I felt like I wasn’t able to help others in the way I had hoped my career would allow.

As a result of me explaining this over lunch to my boss at the Smithsonian, she told me about their accessibility department and how I might be interested in the work they were doing. They were beginning to come up with new design guidelines for neurodiverse audiences, and wanted to understand how design influences visitors with brain-based conditions. At the time, anything relating to accessibility was shoved to the programming and education departments. Basically they were putting on a bandaid by tweaking the programming or services available because the environment didn’t work for someone rather than changing the design to be accessible. Museums should still have those specialized programs, but that shouldn’t be someone’s only option for visiting. In my last year of grad school, I moved over to that department as a fellow and helped research and write design guidelines for neurodiverse audiences. I watched visitors in the exhibits to see what worked, what didn't work, and figured out how we could change the environment to make it better for visitors with brain-based conditions. I was really hooked after that job and decided I wanted to focus on designing for accessibility.

I had assumed I would stay in DC after graduating from the Corcoran or move to another large city but instead I got an opportunity back in North Carolina that I couldn’t turn down. My friend from grad school had gone to Duke for undergrad and had interned at a local children's museum in college. After grad school she moved back to Durham to design their new museum. She called me a few months before I graduated and asked if I would be interested in moving to Durham to help her design the museum from the ground up. She said I could work on the accessibility of the exhibits which won me over. So on a whim I moved to Durham. It was supposed to be a six month project, but construction never works that way, so six months easily turned into over a full year. Molly and I were the two designers; we worked closely with the construction team, and the entire museum staff throughout the design and build. I also helped teach art classes two times a week at the temporary pop-up space and was able to use my art history knowledge to create programming for the kids. The program I developed was taking a famous artist and explaining his or her work to the kids, and then we would create our own project based on the artist’s work.

Once the museum opened, there wasn’t much else for us to do. I wasn’t ready to leave North Carolina, so I found the one exhibit design firm in the area (Design Dimension), and they luckily had an opening. I applied and got a job as the one structural exhibit designer at the firm. It wasn’t what I was expecting. Their focus was more on smaller exhibits and the industrial design side of things; it wasn’t as much about the educational aspects of the exhibits like I expected. I left there after a year, very confused about what to do next. I thought I wanted to be in a firm and that was the right path for me, but that experience proved otherwise. I liked being in the museum world, but it can be unstable long-term. You go from museum to museum based on projects, and as soon as one is done, there’s no certainly you can stay. So I spent eight months in North Carolina figuring out what I wanted to do. While I looked around, I was able to do freelance graphic design work which allowed me the time I needed to figure out my next step. I realized I missed the accessibility side of things and the ability to analyze environments and wanted to find a job where I could focus on those things. I narrowed my search down to jobs in San Francisco or Boston because those two felt like they were doing the most with accessibility and design. While I was looking, I met with my old boss (Beth Ziebarth) at the Smithsonian, and she gave me a list of people to connect with, most of whom were in Boston. As a result, I moved to Boston without a job determined to find one.

Everyone thought I was crazy and was telling me to just take a job and that what I wanted to do didn’t exist. The place I am working at now (Institute for Human Centered Design), was one of the places Beth had told me to reach out to. I had actually used IHCD a lot in my research in grad school, but it's not a place with regular job postings so I had assumed nothing would be available. I thought they would be able to help me find similar places to apply, so I went to meet with the Executive Director (Valerie Fletcher) last June for an informational interview. I was there for almost three hours and at the end Valerie said “I have heard everything about you, Beth filled me in and told me to not let you leave.”

I have been at IHCD since that meeting where I work mainly on cultural projects. We are a small nonprofit “dedicated to enhancing the experiences of people of all ages, abilities, and cultures through excellence in design”. When we aren’t as busy with our cultural projects, I am doing field research surveying for improved accessibility for parks and other public spaces. I never thought I would be assessing parks or police stations, but I am able to use my designer brain to figure out how to make those environments accessible, too.

DL: Do you have any networking tips for students?

LAW: I think I am terrible at networking. I don't like reaching out to people I don't know, but I do stay close to those that have made a difference in my education and career which I would advise everyone do. It isn't the awkward situation of going back to them after five years of not speaking and asking for something. These people do care about you and more often than not are happy to help. They are a friend and mentor and are invested in you as well. That is very much the case with Leigh Ann Hallberg and Paul Bright at Wake. I still try to stay in touch with Leigh Ann, Paul, and Peggy Smith (who retired the year I graduated). Jame Anderson was that person throughout grad school. Beth at the Smithsonian was very much that, too. It made it a far less awkward experience to go and say, this is what I am looking for and interested in, how can you help me? There are other people I could have reached out to but I would have felt like I was only using them for their connections. I have chosen to only lean on the people I have stayed in touch with.

DL: The design route is an interesting option for art alums considering Wake doesn’t have a formal design program. What advice do you have for readers interested in breaking into the field?

LAW: I think just keep doing your own design work on the side, which seems impossible when you are at Wake and working on other stuff. See how you can incorporate design projects into your studio projects. My collage and drawing classes gave me knowledge and skills I am constantly using in design. I feel like my time at Wake prepared me for design thinking too, especially with the Art History classes. Learning how to think creatively, problem solve, how to look at things aesthetically as well as technically - all of that helped me when I went to grad school for design. It continues to allow me to see things differently. I spent four years analyzing things I looked at in Art History, and today I spend my time looking at how things are designed and figuring out how different visitors experience a space or an artifact. Part of Art History is a subjective understanding of how to interpret a work of art. What I do is also very subjective - there are a million types of people with a million different tastes, thus not just one solution, so how do you come up with something that best suits everyone.

Interning also helps you figure out what you truly want to do. My art therapy internship made me realize I like to use art and creativity to help people. Each new opportunity I had helped me figure out exactly what I wanted, or didn’t want, to do.

DL: What could Wake have done better to prepare students for life after graduation?

LAW: I think they could have done a better job of introducing us to more people that have graduated and gone out there in different fields (in the arts) and made something of themselves. They are doing a better job of that now. If Jame hadn’t come to speak, I would have never known this was a career path. It would be great to have more resources that show art and art history doesn't just mean becoming a curator, professional artist, or professor and that there is so much more out there.

DL: What is your favorite part of living and working in Boston? What’s the art scene like there?

LAW: I feel like it is a very innovative city. When people think of Boston and innovation, they think tech and medical, but there is also a huge undercurrent of art innovation. A lot of that is combined with the tech, and as a nonprofit, what we do integrates tech, accessibility, and design. People are excited for new ideas and you can feel that. There’s a buzz going around where everyone wants to think of the latest and greatest idea, and they don't want ownership or fame, but are excited by the possibility of something useful being created. That is a huge contrast to DC where things are a little more linear and things are often influenced by politics.

DL: What is your favorite part about working for IHCD?

LAW: I feel like I am in an office of people who think like me and feel like me, and we always joke we’ve found our tribe. It is an office full of designers and architects that are passionate about accessibility. It’s not the norm.

I also love being able to work with such varied clients. In the last year I worked with large museums in New York, Chicago, and DC. I’ve worked with aquariums, museums, theaters, and libraries. I love being able to be at the beginning of new museum projects that are trying to be inclusive from day one. I also love being able to go to a historic building that recognizes that their environment is not accessible to all visitors and want to change that. I really enjoy helping our clients design solutions that are both aesthetically pleasing and accessible.

DL: What's the best kernel of advice you can think to pass on to current students and recent alums?

LAW: Don't listen to people that say “you can't do it” or that “being an art or art history major won't get you anywhere.” Plenty of people have come before you and made incredible careers out of art degrees. We are an underappreciated group at Wake where everything is more business oriented. It can be hard at times to feel like you are being taken seriously but don't give up on it, you choose your majors and minors for a reason, and there will be something out there that requires the knowledge and skills you developed in the basement of Scales.

Spotlight Interview: Tayllor Battle

Tayllor Battle: Designer, Mighty 8th Media

Atlanta

WFU Class of 2010

Major: Studio Art

Double Minor: Art History & Communications

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Tayllor Battle arrived at Wake Forest hoping to work in museums one day. Now based in Atlanta, Tayllor discusses her career in graphic design and what’s led her to this point since leaving Winston.

DeacLink: What did you study while you were at Wake?

Tayllor Battle: I majored in Studio Art with a concentration in oil painting. I also minored in Art History and Communications because I thought I might want to work in a museum some day.

DL: Since you’ve graduated, how has your career unfolded? Can you walk me through your path from graduation day to your current job?

TB: After graduation I got an account management internship at an Zimmerman Advertising agency in south Florida. Out of the program I was offered a job, but decided to move to Atlanta because that’s where I really wanted to live. I took another internship at BBDO Atlanta, which lead me to my first real job in media planning and buying at Ames Scullin O’Haire Advertising. I worked there for two and a half years and loved it most of the time, but eventually needed a change. So I took a job at Zenith Media to work on the Sonic fast food account. After about 6 months or so, I realized the job change wasn’t what I was looking for. What I really needed was a career change. I missed my creative roots. I got swept up in some fun jobs, but my heart wasn’t in it. I knew if I was going to work for 40 more years, it needed to be doing something fulfilling. So I quit my job and joined the circus. Okay not the literal circus, but a little portfolio school called the Creative Circus. I had never heard of portfolio school before, but I just so happened to live in the city on one of the top programs in the country. I like to think of it as a Masters in Design without the thesis-writing and test-taking. I spent two years there working harder than I’d ever worked in my life, to put together a portfolio that helped me land a design job. Which is where I am now. Working as a Brand and Marketing Designer at a small agency called Mighty 8th Media.

DL: How much did your studies and general experience at Wake inform or drive your career path?

TB: They helped me realize I definitely wanted to stay in the arts. Also, the Wake Forest name carries a lot of weight. I definitely think it helped me get interviews and be seen as a serious candidate.

DL: How did you find and apply to the various positions you’ve held (online, inside reference/rec, networking in person, WFU resources, other)? Do you have any tips or suggestions for the student audience on networking, interviewing and applying for jobs.

TB: Some online, some by inside references, some by networking. When you’re looking for a job, I think it’s really important to just put yourself out there in every way you can. When I was looking for the role I’m currently in, I really inserted myself into the Atlanta design community. I went to straight networking events, but I also went to designer talks, museum exhibitions, Creative Mornings, and anything else that might put me in a situation to meet the right people. I also worked my network. I reached out to alumni from both of my schools to gain perspective on the industry and what employers were looking for. It can be really difficult to put yourself in uncomfortable situations, but it will help you find the right job in the end.

DL: The design route seems to be a popular career option for art alums despite the fact we don’t have a formal design program. What advice do you have for readers interested in breaking into the field?

TB: Definitely take advantage of the resources and classes that Wake has. When I was there, I focused way more on the Fine Arts than Design. Unfortunately there just isn’t much of a market for a full time artist. I wish I would have taken more of the Graphic Design classes at Wake and engaged with that community more. But I am endlessly grateful that I got an authentic art experience at Wake and it informed my Graphic Design eye moving forward. Coming from the Wake art program though, I definitely recommend a Portfolio school or other Graduate program if you want to be a Designer. It will help you take what you learned in the Wake Arts and really focus it on the practical aspects of Design.

DL: What could Wake have done better to prepare students for life after graduation?

TB: In the arts specifically, I think there could have been more of an effort to push fine artists into the Graphic Design field since it’s a more practical skill in today’s job market. More practical projects to work on would have helped too. Designing for yourself and designing for a client are so very different and it’s important to learn that skill.

DL: What is your favorite part of living and working in Atlanta? What is the most interesting thing going on in the art scene there at the moment, in your opinion?

TB: Atlanta has so much to offer. It’s a big city with a small town feel. It’s got skyscrapers and trees. It has culture, community and great music. It has great design that comes from some big name brands, local brands, big agencies and small agencies. For me, the best part of the art scene are the programs being organized by the local AIGA (American Institute of the Graphic Arts) and Creative Mornings chapters. They’re really working to bring a global and local perspective to the art community here with speakers, workshops, networking and more.

DL: What is your favorite part about working for Mighty 8th Media? (Can include perks, specific experiences or anecdotes from the job)

TB: I love the wide variety of projects I get to work on at Mighty 8th. I love that every day is different. I love helping real businesses solve real business problems. I’ve worked at a couple of massive agencies and brands over the years and I really love that Mighty 8th is the opposite of that. I have autonomy, but also a great team to collaborate with. I have creative freedom and clients that value our creative expertise.

DL: What's the best kernel of advice you can think to pass on to current students and recent alums?

TB: Be engaged. If there’s one thing I regret from my time at Wake Forest is that I wasn’t as engaged in the educational process as I should’ve been. Being truly engaged goes a long way with your peers, teachers, coworkers, and employers. You really can’t fake genuine engagement and people know it when they see it.

Spotlight Interview: Claire Altizer

Claire Altizer: Registrar & Exhibitions Manager, Dedalus Foundation

New York City

WFU Class of 2009

Major: Studio Art

Minor: Art History

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Claire Altizer is a North Carolina native currently based in NYC at the Dedalus Foundation. Claire shares her journey with us, from a Scales studio major to helping lead Motherwell's legacy institution.
 

DeacLink: What did you study at Wake? How has your career unfolded since?

Claire Altizer: I was originally a Studio Art major but after taking the required Art History course I realized I was more interested in talking and thinking about art rather than creating it. So, after Wake, I moved to New York to get my Masters in Museum Studies at NYU. The summer after I finished grad school I landed a job as the Office Manager / Assistant Registrar at the Dedalus Foundation, and I’ve been lucky that the Foundation has allowed me to grow and expand my position over the past 6 years, and I’m now the Registrar and Exhibitions Manager there. I also do freelance registration for artists on the side.

 

DL: Tell me a bit more about Grad school at NYU. What’s the Museum Studies concentration like? How does school overall compare to Wake?

CA: I’ve always thought the Museum Studies degree was more hands-on than say, an Art History degree. I really debated whether or not it made sense to pursue art history, but I saw myself more on the admin side of things rather than going down the curatorial route. What I really like about the NYU program is that it allows you to focus in what you’re interested in and it’s really interdisciplinary. I was interested in collections management and art institutions, so I took art history classes at the IFA and hands-on courses like exhibition management and conservation.

That said, I graduated from Wake right at the beginning of the recession and was having a hard time finding any job opportunities and decided that grad school made the most sense. Although I don’t regret it, it was VERY expensive, and I always remind people to weigh their options before getting a Museum Studies degree since you’re presumably going into the non-profit world which doesn’t always pay well.

Wake has such a vigorous academic focus, that it really made grad school a breeze! To complete the Museum Studies degree in the suggested 2-year time frame, I only had to take 2 or 3 classes a semester so the work load seemed way less intense than a full course load in undergrad. Also with Wake’s liberal arts degree under my belt, I felt fully prepared for writing my Masters thesis.


 

DL: The Dedalus Foundation is a fascinating entity. Would you explain its purpose and origins to the readers? What is your role there?

CA: The Dedalus Foundation was founded in 1981 by the Abstract Expressionist painter Robert Motherwell with the mission to further the public understanding of Modernism in the arts, while also supporting Motherwell’s artistic legacy. We fulfill these objectives through grants, public programming, research initiatives, and the publication of catalogues raisonné of Motherwell’s works. As Registrar and Exhibitions Manager, I care for the Foundation’s substantial collection of Motherwell artworks and also curate and execute exhibitions drawing from our inventory. Working at a small Foundation has been a great opportunity to work on different projects and not get pigeonholed into one role.


 

DL: How much did your time at Wake inform your career path vs graduate school at NYU?

CA: I was lucky enough to participate in the Art Buying trip which was my first real entry into the art world. The trip was an amazing experience and kind of a crash course in the inner workings of the art market. During and after that trip I realized I wouldn’t want to work on the gallery side, but I loved doing the studio visits and meeting artists. Overall the whole experience made me consider the behind-the-scenes jobs that keep the art world running. It also pushed my interest in going the non-profit route, whereas before I really saw myself working in a commercial gallery.

I also feel grateful that my work-study was at the Hanes Art Gallery under Paul Bright who showed me that curating an exhibition is only a part of running a gallery and that there are a lot of other important skills that are needed to execute a successful exhibition.

 

DL:  How have you found the different jobs and internships you've had? Applications? Networking? A combination of both?

CA: NYU has a great network in New York, so it definitely doesn’t hurt being on their job mailing list. I’ve mostly found my internships and jobs on the New York Foundation for the Arts website. It’s a really great resource since most art-related jobs in New York will post there. The downside is that the jobs end up being very competitive since so many people are using the site. I’ve never been great at networking, but Dedalus has introduced me to so many people, and it was those connections that got me my freelance jobs with artists.

 

DL: Often times as undergraduates, students are pushed into academia or into the curatorial track at a museum. What advice do you have for readers interested in taking a different route?

CA: I think it’s so unfortunate that people don’t talk about the admin side of the art world because there are so many jobs out there that people don’t hear about and don’t know what steps to take to get there. The jobs are also less competitive than say a curatorial position at a museum, because there are more admin roles that need to be filled. The nice thing about having a Museum Studies degree is that you can come out of it and be qualified for a variety of different jobs: collections management, registration, development, research, event planning, etc. I also would suggest to people thinking about academia or curation to consider an MS in Library Science. In the art foundation world Archivists are really important for research and their roles have a lot of overlap with curators. Mainly I think you end up with more marketable skills not doing an art history-focused career path. It’s been great doing registration and exhibitions management because I still have opportunities to curate and do research, but I’ve also never had a problem finding a job since I’m not singularly focused in one area.

 

DL: How do you like living in New York? What advice do you have for students considering pursuing a career in the city?

CA: I’m from Davidson, North Carolina, a really small southern town and I was terrified to move to New York, and even asked my grad advisor if there was a way I could finish early so I didn’t have to stay here for 2 years. Now, 8 years later, it’s hard to imagine living anywhere else. I didn’t realize that New Yorkers never go to Times Square or regularly walk down Canal street just for fun. I’m living and working in Brooklyn and it’s got such a great laid-back vibe, but I still always feel like I’m in a cultural center.

I always feel like I had an easy start since I moved here for grad school so I had an automatic friend group and life schedule in place. If you’re not coming for grad school and you don’t know anyone, I’m not going to lie, it can be pretty tough making it here. I think it’s way easier finding jobs if you live in the city, so it might be worthwhile to move here first. New York can definitely be intimidating, but one of the many reasons I love it is that it’s so easy to make random connections with people and no matter how weird your interests are, there’s already some group of people who share that same weird interest too.

 

DL: What do you think Wake arts could do to better prepare students for life after graduation?

CA: I think you’re right that art history undergraduates tend to feel pushed into academia or curation. I think it’d be great to be better informed about all the other jobs that are out there in the arts like administrative positions in museums, the arts foundation world that I fell into, archives, conservation, and I could name so many more that I didn’t really know about before leaving Wake. If you’re not doing any of the arts administration classes, it can be easy to get swamped in art history and feel like your only career prospects are being a professor or a curator.

 

DL: What's the best kernel of advice you can think to pass on to current students and recent alums?

CA: I think there’s a strong feeling for art history students that the next step is grad school, but I would suggest taking some time and working in the art world a bit before deciding what kind of grad program you might want to go into so you don’t have any regrets.