Richard L. Menschel Curator of Photography
firstname.lastname@example.org / 617-495-5393
Ph.D., Harvard University
M.A., Harvard University
M.F.A., California Institute of the Arts
B.F.A., California Institute of the Arts
B.A., Barnard College
Makeda Best oversees the museums’ photography collections. Her scholarly interests focus on 19th- and 20th-century American photography, with a special interest in photojournalism, documentary, war photography, and text and image works.
Arouse the Conscience: Alexander Gardner, Photography and Democracy in Nineteenth-Century America. University Park: Penn State University Press. Forthcoming.
“Cut Aesthetics: William H. Johnson’s Scrapbook History Paintings.” Archives of American Art Journal. Forthcoming.
“Memory and Survival in Everyday Textures—Ishiuchi Miyako’s Hiroshima.” In Reimagining Hiroshima and Nagasaki: Nuclear Humanities in the Post-Cold War, ed. N.A.J. Taylor and Robert Jacobs, 30–35. New York: Routledge, 2017.
“A Special Kind of Authenticity—The Portrayal of Civilian Deaths and Injuries in Vernacular Soldier Photography.” In Truth in the Public Sphere, ed. Jason Hannan, 149–165. Lanham, Md.: Rowman & Littlefield, 2016.
“A Closer Look.” In Essential Lens—Analyzing Photographs across the Curriculum. Video, 21:13. Los Angeles and Portland: Annenberg Learner and Oregon Public Broadcasting, 2015.
De Baća, Miguel, and Makeda Best, eds. Conflict Identity and Protest in American Art. Cambridge: Cambridge Scholars Publishing, 2015.
“Memory and Survival in Everyday Textures—Ishiuchi Miyako’s Here and Now: Atomic Bomb Artifacts, ひろしま/ Hiroshima 1945/2007.” Critical Military Studies 1 (2) (2015): 176–80.
“Sensing Memories: The Haptic and Kinesthetic in George Eastman’s Camera.” Journal of Decorative and Propaganda Arts 27 (2015): 56–73.
“Artists against Racism and the War.” Art in Print 3 (6) (March–April 2014): 15–19.