Yaëlle Biro, Associate Curator for the Arts of Africa, has been working at the Museum since 2007. She earned her PhD at the Sorbonne, focusing on the reception of African art in the West during the first decades of the 20th century. She has collaborated with Alisa LaGamma on numerous African art exhibitions, most recently The Nelson A. Rockefeller Vision: In Pursuit of the Best in the Arts of Africa, Oceania, and the Americas (2013) and Warriors and Mothers: Epic Mbembe Art (2014). Her exhibition African Art, New York, and the Avant-Garde (2012) received the 2012 Small Exhibition Award of Excellence from the Association of American Museum Curators. Follow her on Twitter.
James Doyle, Assistant Curator for the Art of the Americas, oversees The Met's collections from Mesoamerica and Central America. His specialty is the ancient Maya, and he conducted archaeological fieldwork on the preclassic period (1000 B.C.–A.D. 150) in northern Guatemala. Before joining the Museum, he held a postdoctoral appointment in Precolumbian Studies at Dumbarton Oaks Research Library and Collection and taught art-historical and archaeological seminars at Georgetown University in Washington, D.C. He received his BA from Vanderbilt University and his MA and PhD from Brown University. See his personal website, and follow him on Twitter.
Christine Giuntini, Conservator, is responsible for textile and organic artifact conservation in the department. She has created or refined the mounting and exhibition techniques for flat and complex artifacts in over 30 Museum exhibitions. Her research focuses on the study of materials and methods of manufacture of African and Indonesian ethnographic textiles; archaeological feather works and fabrics from South America; and composite works from Africa, Oceania, and the New World. She has contributed to the Museum's publications, including technical essays for The Essential Art of African Textiles: Design without End (2008) and Peruvian Featherworks: Art of the Precolumbian Era (2012).
James Green, Research Associate, joined the department for the exhibition Kongo: Power and Majesty (2015–16). Born in Johannesburg, South Africa, he graduated with a BA from the Keble College (Oxford) in 2008 and an MA from SOAS (London) in 2010. He is currently a PhD candidate in the Sainsbury Research Unit at the University of East Anglia, where he is writing his dissertation, "The Masculine Ideal in Chokwe Art and European Travel Narratives c. 1840–1900." A specialist in contemporary South African beadwork, he was the co-curator of the exhibition Ubuhle Women: Beadwork and the Art of Independence (2013–14) at the Anacostia Community Museum, Smithsonian Institution, in Washington, D.C.
Alisa LaGamma, Ceil and Michael E. Pulitzer Curator in Charge of the Department of the Arts of Africa, Oceania, and the Americas, has been a curator at the Museum since 1996. In 2012, the Bard Graduate Center recognized her contribution to rethinking the history of sub-Saharan African art and culture with its Iris Award for Outstanding Scholarship. Her 1995 Columbia University dissertation, "The Art of the Punu Mukudj Masquerade: Portrait of an Equatorial Society," was based on a year of fieldwork in southern Gabon. Her exhibitions over the last two decades have addressed individual authorship, divination, genesis, duality, reliquaries, textile design, contemporary art, and portraiture.
Jennifer Larson, Assistant Visual Resource Manager, has been responsible for the department's Visual Resource Archive since 2012. She manages the long-term preservation, arrangement, and accessibility of a comprehensive photograph collection (1870s–present), digital photography, postcards, film and sound recordings, and paper-based archival collections. She also supports curatorial staff with ongoing research, including queries relating to the history of the department and its collection. She holds a BA from Cooper Union, an MA from the Bard Graduate Center, and an MSILS from Pratt Institute. She may be contacted at email@example.com.
Matthew Noiseux, Administrator, began his career at the Museum working as part of the staff of the Department of Greek and Roman Art on the reinstallation of the Greek and Roman galleries, which opened in April 2007. He joined the staff of the Department of the Arts of Africa, Oceania, and the Americas in 2013. He holds a BFA from the Rhode Island School of Design and an MS from Columbia University.
Maia Nuku, Evelyn A. J. Hall and John A. Friede Associate Curator for Oceanic Art, was born in London and is of English and Maori (Ngai Tai) descent. Her doctoral research focused on early missionary collections of Polynesian gods and their extraordinary materiality, which sparked an interest in drawing out the often eclipsed cosmological aspects of Oceanic art. She followed up her involvement on the major exhibition Pacific Encounters: Art and Divinity in Polynesia 1760–1860 (2006) at the Sainsbury Centre for Visual Arts, with postdoctoral research at Cambridge University's Museum of Archaeology and Anthropology as part of a research team exploring Oceanic collections in major European institutions—Artefacts of Encounter: 1765–1840 and Pacific Presences: Oceanic Art in European Museums.
Joanne Pillsbury, Andrall E. Pearson Curator of Ancient American Art, is a specialist in the art and archaeology of the Precolumbian Americas. Pillsbury earned her PhD from Columbia University. She was previously associate director of the Getty Research Institute and director of Precolumbian Studies at Dumbarton Oaks. She is the author, editor, or co-editor of numerous publications, including the three-volume Guide to Documentary Sources for Andean Studies, 1530–1900 (2008), the Alfred H. Barr, Jr., Award recipient Ancient Maya Art at Dumbarton Oaks (2012), and Past Presented: Archaeological Illustration and the Ancient Americas (2012), which was awarded the Association for Latin American Art Book Award.
Arthur Polendo, Departmental Technician, joined the staff of The Met in 2011 and the Department of the Arts of Africa, Oceania, and the Americas in 2014. He earned his BFA with dual majors in printmaking and painting from the California College of the Arts, where he received the initial Student/Scholar Award meriting study at École Nationale Supérieure des Beaux-Arts in Paris, France. He later received his MFA from the School of the Art Institute of Chicago in drawing and painting, and a PhD in fine arts and critical studies from Texas Tech University.
David Rhoads, Collections Specialist, is responsible for the proper care and display of the department's collection. He joined the Museum in 2015, after having previously held the position of associate preparator at The Nelson-Atkins Museum of Art. He received his BFA in painting from the Kansas City Art Institute in 2010.