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It really began in grad school. I studied art history at NYU, and the program was structured so that we only had six hours of class per week. Rather than studying in the library nonstop, I decided to use that time for internships. My first day of class, I made a friend who was working part-time in the digital media department at The Met and she got me an interview. I ended up interning there for 10 months (this was back when The Met was closed on Mondays—I’ll never forget wandering around the museum when it was completely empty!). From there, I went on to the Guggenheim, MoMA, and Art in America magazine—experiences that helped me consider what my career could look like in art. But those internships weren’t in curatorial departments; I was working on digital, publications, and editorial teams.
At a point when I was finishing up school and trying to find a job, I asked a curator for advice about pivoting into a more traditional curatorial path and was told, pretty bluntly, that I’d have to start over. I was not about to do that. Shortly after, I got my first role at Artsy and I’ve been there ever since, for 12 years!
While the bulk of my work has been editorial—writing and editing stories and features about contemporary artists—I’ve come to realize that curating can take many forms. Through all of that writing and editing, and seeing and learning about a vast amount of art and artists, I’ve developed my own curatorial voice.
Over time, I’ve curated in all kinds of ways—whether it’s selecting artists for The Artsy Vanguard, our annual feature on the most promising artists working today; or choosing artworks for our weekly Curators’ Picks collection; or helping the team choose the art and artists we’re promoting across curated collections, editorial, social, and other marketing channels. To me, curating is about choosing inspiring artists to elevate through Artsy’s reach, and finding resonant themes and stories—entryways—through which people can connect with art more meaningfully.
Having been at Artsy for more than a decade (the company launched in October 2012, just about a year before I joined), I’ve been really lucky to evolve my role as the company has grown. I lead our content team—spanning editorial, curatorial, and social media—and we sit within a tight-knit marketing team focused on helping collectors and new art buyers discover and buy art.
A big part of my job is supporting my team as they develop stories and features that help people fall in love with art and artists. A great example is Queer Art Now, our new Pride month campaign that features 30 artists, one per day throughout the month. We also curate monthly campaigns in New York City subway stations that New Yorkers have likely seen; it’s a really fun collaboration we do with the media company Outfront. I also lead several projects of my own, including our weekly newsletter The Artsy Edit (more on that below) and major annual features like The Artsy Vanguard.
The Artsy Vanguard is one of our biggest moments each year. It’s a global list of 10 emerging artists who we believe are shaping the future of art. The project is part editorial, part curatorial, and part data-driven—we start with nominations from our gallery partners, then I supplement those with picks based on what I’m seeing on the platform and in the wider art world. We also use Artsy data to identify artists who are gaining traction with collectors or showing clear signals of momentum.
This year, I started with a pool of over 700 artists. From there, it’s a deep dive: I look at the work itself, but also at CVs, Instagram accounts, press coverage, and online presence to get a sense of what kind of attention and staying power an artist is building. I’m always looking for artists making work that’s visually striking, emotionally resonant, and conceptually rich—but also for artists who seem poised to break through and connect with audiences in a lasting way.
Outside of content creation, I travel often to stay on the pulse of contemporary art—visiting galleries, going to art fairs, and connecting with artists and gallerists. I’m about to head to Switzerland for Art Basel, which is one of the best places to see what’s happening across the global art market.
What I love about this role is how it lets me jump between zooming in—spotlighting individual artists—and zooming out to consider how art intersects with broader cultural conversations. It’s also a very social and collaborative job: I get to work with an amazing team, but also often engage with artists, galleries, collectors, publicists, and others.
I love how committed the New York art community is. You’ll see the same faces at shows, talks, and openings—it creates a real sense of community, even in a city as massive as New York. I’m often in the office all day before racing out to see a new show, attend a talk, catch a performance—or sometimes all three in one evening. And it’s comforting to know so many others are doing the same. There’s this shared obsession with art and artists that makes us do silly things, like meticulously planning out every minute of the 6 to 8 p.m. gallery opening window on a Thursday to hit a dozen shows across Chelsea and the Upper East Side—or pop into 20 openings in Tribeca in under an hour. It’s fun!
I feel incredibly lucky to live in a place where you can spend an entire afternoon gallery-hopping and still you’re not even close to seeing it all. I’m especially obsessed with galleries. They’re free, low-pressure, and filled with art that often ends up in museums. Even though they’re open to the public, they still feel like hidden gems—you can walk into a gallery and have a quiet, personal encounter with an amazing work of art.
I’m particularly fond of Tribeca galleries. Many of the spaces are just steps from Artsy’s office. When I first started at the company, there were only a handful of galleries in the neighborhood. Now there are over 60 within a few blocks. The spaces themselves have so much character—creaky wood floors, lofted ceilings, old columns, big windows that look out onto the street. They feel like New York in a way that the pristine white cubes elsewhere often don’t.
Yes! The Artsy Edit is our weekly newsletter where I highlight what’s happening in the art world—openings, fairs, trends, artists to watch. I think of it as the list I’d send a friend who asks, “What’s going on in art this week?” or “Who’s a cool new artist I should know about?” It’s meant to be sharp, fun, and not too insider-y. In the weeks ahead, I’ll be spotlighting Art Basel, our Pride feature, and Foundations, our summer showcase of emerging art.
In late March, we brought back The Artsy Podcast, which had been dormant since 2018. I felt like the timing was right to revive it—but in a way that feels fresh and current. Even though art is a visual medium, it’s also deeply conversational. We’re using the audio format to have conversations about art that expand beyond the art world and dig into overarching conversations and themes that feel relevant to culture more broadly today.
Our most recent episode featured writer Kyle Chayka, in a conversation about how AI and algorithms are shaping the art world. Next up is the amazing artist Michaela Yearwood-Dan, whose rise over the past decade has been very impressive. In addition to being a brilliant painter, she’s been creating exhibitions that feel like sanctuaries—intentionally warm, welcoming spaces that push back against the intimidation that the art world can sometimes convey.
And this fall, we’re lining up a conversation with an exciting fashion designer, diving into the exciting collaborations we’re seeing between art and fashion.
Right now, I’m seeing a lot of work that’s tactile and making us slow down. This includes sculpture—lots of wood carving, ceramics, fiber art, even mobiles—as well as performance and lush, cinematic painting. It’s definitely a response to this thirst for art that offers a counter to digital screens—work that really shows skill that can only be accomplished carefully by hand.
One artist I’ve been especially excited about is Melissa Joseph, who was featured in The Artsy Vanguard 2025. Her work explores memory, family, and care—often through needle felting—and she just debuted a moving new installation that’s taken over the outside of the Brooklyn Museum. She also shows with Charles Moffett gallery in Tribeca, which consistently supports emerging and undersung artists working in thoughtful and conceptually rich ways.
There’s also a whole wave of painting that leans into escapism and narrative—work that feels cinematic, transportive, and quietly luxurious. Alexis Ralaivao’s current show at Kasmin is a great example: he painted these stunning, film noir–inspired scenes that are tightly cropped, evoking fleeting moments of intimacy and opulence. It’s like looking at stills from a film you wish existed. There’s a whole generation of painters offering these lush glimpses into imagined lives—works that pull you into a very attractive, suspended reality.
What really excites me about the future of art, though, is how interdisciplinary things are becoming. You see that clearly at the East Williamsburg gallery Carvalho. They recently launched a new performance series this summer, where a dance piece called Echoes on the Wall, choreographed by Ingrid Silva, will take place at the gallery, set within a shimmering, ethereal installation by artist Rosalind Tallmadge. It’s going to be a fantastic convergence of visual art and performance.
You also see this spirit of collaboration at places like The Future Perfect, which has a beautiful townhouse in the West Village where they blur the line between art and design. They show incredible work by artists and designers like Lindsey Adelman, Jane Yang-D’Haene, and Faye Toogood. Their shows blur the lines between art, design, and interiors in a way that feels thoughtful and aspirational. Walking through the space feels like stepping into a dream home.