Artopod is a single-page, progressive web application built using React, Redux, Express, Sequelize, AWS Lambda, AWS RDS, Heroku, and Github Projects.
Perfect for the busy lifestyles of New Yorkers, and inspired by location-based apps like Tinder and Yelp, Artopod helps users find art exhibitions close by without the overwhelming choice and cumbersome nature of traditional listings.
Octopus's Garden is an ecommerce platform providing aquatic plants built using React, Redux, CSS flexbox/grids, Google OAuth; RESTful API built using Express, Sequelize, and PostgreSQL, and the result of my collaboration with 3 engineers at Grace Hopper.
We implemented Agile principles and test-driven development using Mocha, Chai, and Enzyme.
What Should I See This Week
What Should I See This Week is a React app that picks a random show for you to see this week from an external API.
The Grace Hopper Program, Fullstack Academy | 2019 | 17-week Software Engineering Immersive | link
PhD Candidate in Art History, Level III (ABD) | The City University of New York–Graduate Center
MPhil, Art History | 2018 | The City University of New York–Graduate Center
MA, Art History | 2015 | University of British Columbia, Vancouver BC | Thesis: "Work and the Work of Art: Agnes Martin 1959–1964" | link
BA, Art History | 2013 | University of British Columbia, Vancouver BC
Early Research Initiative Knickerbocker Award for Archival Research in American Studies | Summer 2019
Early Research Initiative Knickerbocker Award for Archival Research in American Studies | Summer 2018
Doctoral Fellowship | Social Sciences and Humanities Research Council of Canada | 2015-2020
Summer Archival Research Grant | Lost and Found, Center for the Humanities, 2016
Ian Wallace Award in Art History | University of British Columbia | 2015
Hugo E. Meilikie Memorial Fellowship | University of British Columbia | 2015
Joseph-Armand Bombadier Scholarship—Master’s | Social Sciences and Humanities Research Council of Canada | 2013-2014
Helen Belkin Memorial Scholarship in Fine Arts | University of British Columbia | 2013
Dean of Art’s Prize in Visual Literacy | University of British Columbia | 2013
Canadian Society for Asian Arts Prize | University of British Columbia | 2012
"Cleverbot Conversation RSQ00962246." For Machine Use Only: Contemplations on algorithmic epistemology. Edited by Mohammed Salemy. &&& and Gwangju Biennale: New York and Gwangju, 2016. Print.
“Superconversations Day 28: Siwin Lo responds to Hu Fang, ‘Why We Look at Plants, In a Corrupted World’,” e-flux conversations (June 2015). http://conversations.e-flux.com/t/superconversations-day-28-siwin-lo-responds-to-hu-fang-why-we-look-at-plants-in-a-corrupted-world/1884. link.
Vikky Alexander: The Temptation of St. Anthony. Catalogue essay. The Apartment Gallery: Vancouver, 2015. Print.
Rodney Graham at 303 Gallery, Canadian Art [online], March 2019. link.
Indicators: Artists on Climate Change at Storm King Art Center, Canadian Art [print], Fall 2018.
Leandro Erlich: Seeing and Believing, The Brooklyn Rail [online], March 2018. link.
Alice Aycock: The Turbulence Series." The Brooklyn Rail [online], November 2017. link.
Editorial committee. "Issue 11: BLOOD AND EARTH AND SOIL," Shift: Graduate Journal of Visual and Material Culture, 2018. Online. link.
Assistant editor. Silvia Federici and Arlen Austin, Wages for Housework: The New York Committee, 1972–1977: History, Theory, Documents. New York: Autonomedia, 2017. Print. link.
Participant, Museum Research Consortium Study Sessions, The Museum of Modern Art, 2019.
“Becoming Digital, Becoming Textile: Medium and Mediation in the Lives of The Tree” A Symposium on the History of Art. Presented by the Frick Collection and the Institute of Fine Arts of New York University, April 27–28, 2018. link.
Invited panelist. Here/Say: Framing, Part III [Criticisms]. Barnard College, New York. November 27, 2017. link.
“Spaces of Possibility: The Location and Production of Knowledge and Narrative in Painting." 33rd Annual Society for Interdisciplinary French 17th Century Conference, London, Canada/Société d’Études Pluridisciplinaires du XVIIe Siècle Français, London, Canada, October 2014. link.
“Re-take of Amrita: A Genealogical Look At Vivan Sundaram’s Photographic Intervention.” 70th Annual South Eastern College Art Conference, Sarasota, Florida, October 9, 2014. link.
“The Canned and the Wooden: Irony, the Readymade, and Native-Art-as-Usual.” Assimilation, Appropriation, and Autonomy: Cultural Influence, Borrowing, and Resistance in the Arts, University of California Riverside’s Third Annual Graduate Student Conference, Riverside, CA, May 2014. link.
“Botschaft e.V.: The Corporation as Medium and Message." Visual Impetus VII: Conceived, Created, and Consumed, University of Victoria Art History Graduate Student Conference, Victoria, Canada, January 2014. link.
“Laughter in an Unspeakable Silence: Irony, Vernacular Wood, and Native-Art-as-Usual.” 9th Annual University of British Columbia Undergraduate Art History Symposium, Vancouver, Canada, March 2013.