Philip D. Zimmerman is a museum and decorative arts consultant, author, and American antique furniture broker based in Lancaster, PA. He holds a doctorate in American and New England Studies from Boston University and a master’s degree from the Winterthur Program in Early American Culture at the University of Delaware, and is a nationally recognized authority on early American furniture. Recent publications include Harmony in Wood: Furniture of the Harmony Society (2010), Delaware Clocks (2006), American Furniture and Decorative Arts from the Watson Collection (2004), and numerous articles in the Chipstone Journal American Furniture, Winterthur Portfolio, Antiques Magazine, and others. In addition to his various research projects, he teaches about American furniture in the Appraisal Studies Program at NYU (since 1997) and was a visiting professor at the Bard Graduate Center for Study of the Decorative Arts (1996 to 2004). In the mid 1990's he negotiated and directed the $25 million deaccessioning project to fund the care of New-York Historical Society collections and developed the design concept for their study/storage facility and on-line database. Earlier in his career, he was director of the museum collections division at Winterthur (1986-1992), where he chaired the staff research committee and the exhibition committee for the museum’s new exhibition building. He also was executive director of the Historical Society of York County (1983-86), and curator of the Currier Gallery of Art, Manchester, NH (1978-83).
As the current Mellon Fellow in residence at the Phillips Museum through the end of 2012, Philip’s focus is on evaluating and documenting the decorative arts collections as well as working with students to develop strategies for interpreting these collections from a variety of perspectives.
James Coupe is prolific digital artist whose work focuses on emergent systems, aesthetic machines, autonomy, and networks. Educated in Fine Art at the University of Edinburgh (Scotland) and Creative Technology at the University of Salford (England), his recent projects have included appropriative powerline networks, parasitical cellular phone agents, autonomous robot systems, self-organizing telephone call centres, and installations in which computers use spam to search for the meaning of the Internet. His controversial recent work with ‘surveillance cinema’, in projects such as (re)collector and Surveillance Suite, uses computer vision software to extract demographic and behavioral information from video footage. The footage is then automatically reorganized and recontextualized into narratives, often based upon classic film scripts.
His work has been exhibited throughout the world, including IDEA (Manchester), Camden Arts Centre (London), The Northern Gallery of Contemporary Art (Sunderland), Artsadmin (London), Custard Factory (Birmingham), Aspex (Portsmouth), Artsway (Sway), Lighthouse (Poole), Folly Gallery (Lancaster), Stills Gallery (Edinburgh), Lee Center for the Arts (Seattle) and The Junction (Cambridge).
James, who is Assistant Professor in the Department of Experimental Art and Digital Media at the University of Washington, was in residence at the Phillips Museum during Fall of 2011. He worked with students in a seminar to create a new installation artwork scheduled to be installed at F&M in Spring '13.
Anne Monahan is an art historian and curator with parallel interests in modern, contemporary, and African-American art. As Mellon Fellow in 2011, she taught the course “Race and Representation in Art since 1960” and consulted on ways to expand the use of Bill Hutson’s recent gift of art and archival materials in the curriculum and museum program. Since then, she has taught at Mount Holyoke and Smith Colleges, and she will be Visiting Assistant Professor of Modern and Contemporary Art at the University of Massachusetts, Amherst, for 2012-13. She is currently working on a book manuscript derived from her dissertation, “’The Discontents of Modernity’: Race, Politics, and Figuration in the 1960's” (University of Delaware, 2010), which uses key projects by Romare Bearden and Philip Guston to consider the construction and expression of racial subjectivity in that decade.