If you are a current Radical Art Caucus (RAC) member, and you would like to update your directory information, please email our webmaster, Travis Nygard, at email@example.com.
Mary Jo Aagerstoun: Mary Jo Aagerstoun is an independent scholar interested in the work of selected US artists of the 1980s and 1990s who sought to address controversial political issues, and the reactions to that work from inside and outside the art world. During the height of the recent Peace Movement, Dr. Aagerstoun was part of a collective that created the “Women in Black Art Project” involving elaborate costuming and stark performances in 7 locations in the US and around the world. That project’s artifacts and archives are in the Smithsonian Institution’s Museum of American History. She is currently developing a project involving an exhibition, symposium and book which would consider the complexities of an activist art practice addressing the interrelationship of Ocean/Wetland/Farming in Florida and other coastal areas in the US and in similar geographic regions on each continent. Dr. Aagerstoun is co-editor with Dr. Elissa Auther of a special issue of the National Women’s Studies Association Journal on feminist activist art, to appear in 2007. She lives with her partner in West Palm Beach, FL.
Alex Alberro: University of Florida. Recent or upcoming works: Conceptual Art and the Politics of Publicity (MIT Press, 2003). Research interests: modern and contemporary art, history of art history. Contact information: phone: 352-392-0201 x220; email:firstname.lastname@example.org.
Mike Alewitz: Agitprop muralist/ socialist activist/ educator.
Current Status: Associate Professor, Central Connecticut State University/ Directs CCSU community-based mural painting program/ Artistic Director, Labor Art & Mural Project/ Organizer, 1st New Britain International Mural Slam/ Organizer, Global Agitprop
Murals: Extensive work throughout US and internationally, including Baghdad, Chernobyl, Mexico City, Nicaragua, Belfast, the Occupied Territories, etc.
Projects Organized: Cultural initiatives with numerous unions and progressive organizations including the United Mine Workers, Jobs with Justice, Teamsters, Oil, Chemical and Atomic Workers Union, United Farm Workers, etc.
Union Membership: United Scenic Artists, IATSE Local 829 / CCSU AAUP
Misc: Co-author with Paul Buhle, Insurgent Images: The Agitprop Murals of Mike Alewitz/subject of several documentary films/ One of the most censored artists in the world.
More Info: email@example.com
His most recent publications are Ben Shahn and The Passion of Sacco and Vanzetti (Jersey City Museum and Rutgers University Press, 2001), Orozco in Gringoland: The Years in New York (University of New Mexico Press, 2001), and The Social and The Real; Political Art of the 1930s in the Western Hemisphere (Penn State Press, 2006), which he co-edited with Diana L. Linden and Jonathan Weinberg. His articles have appeared in Art Journal, Third Text, Art Nexus and Encuentro de la Cultura Cubana.
Prof. Anreus is currently doing research on two projects; one on exile imagery in the work of Cuban American artists, the other a multi-author critical history of Mexican Mural painting that he is co-editing with Robin Adèle Greeley (University of Connecticut) and Leonard Folgarait (Vanderbilt University).
Todd Ayoung: Pratt Institute. Recent or upcoming works: Technical Breakdown, organized by AUX at Panic Room, Copenhagen, 2005-06; A Knock at the Door, Cooper Union, New York City, 2005; Beheaded/Between, Experimental Intermedia, Ghent, Belgium. Research interests: Art history/education, philosophy, and psychoanalysis.
Hollis Clayson: Northwestern University. Current research: Franco-American cultural exchange in the shadow of transatlantic technological competition, 1870-1914. Recent work: 2005 paperback edition of Paris in Despair: Art and Everyday Life under Siege, 1870-71 (Univ. of Chicago Press, 2002).
Leo Costello: Rice University. Areas of research, activist interest : J.M.W. Turner, Reform-era British Politics, Marxist theory. Recent activities: “Turner’s Slave-Ship: Towards a Dialectical History Painting,” in Discourses of Slavery and Abolition (2004), “Confronting the Sublime” inJMW Turner, (2007) Tate. Book project: J.M.W. Turner and the Subject of History. Contactinformation–firstname.lastname@example.org, (713) 348-3472.
Lincoln Cushing: independent/UC Berkeley. Areas of interest: political graphic arts and public art, labor culture, and the role of underground media during the “long 60s.” Recent works: editor, Visions of Peace & Justice: 30 years of political posters from the archives of Inkworks Press, 2007; co-author, Chinese Posters: Art from the Great Proletarian Cultural Revolution (Chronicle Books, 2007); co-author, Art/Works—American Labor Graphics (Cornell University Press, expected 2009). Contact info: Docs Populi (Documents for the Public)http://www.docspopuli.org, email@example.com
Richard Lee Deaton: Independent researcher and semi-retired lawyer, former Assistant Director of Research, Canadian Union of Public Employees (CUPE). Recent or upcoming works: “Protest and Palette: Social and Political Art in Canada, 1914-1968,” (in progress). Research interests: politics, society, and art; Marxist theory; Cuban art history; cultural studies; and North American labor history. Contact information: phone: 613-728-6099; email:firstname.lastname@example.org
Carol Duncan: Ramapo College of New Jersey [retired]. Publications include: Civilizing Rituals: Inside Public Art Museums (Routledge Press, 1995); The Aesthetics of Power : Essays in the Critical History of Art Cambridge University Press, 1993); John Cotton Dana and the Making of a Democratic Culture for America (Periscope Publishing,forthcoming, 2008).
James van Dyke: Reed College. Recent or upcoming works: “Über Kunst, Propaganda und Kitsch in Deutschland, 1933-1945” for the exhibition Kunst und Propaganda, German Historical Museum, Berlin, 2006 (in progress); “Max Beckmann, Sport, and the Neoconservative Critique of Civilization” in: Of Truths Impossible to Put in Words: Max Beckmann Contextualized, Rose-Carol Washton Long and Maria Makela, eds. (Frankfurt, New York: Peter Lang, 2006; in progress); “Franz Radziwill’s Vision of Joyful German Work: Painting, Social Identity, and Politics in the Weimar Republic,” Oxford Art Journal (forthcoming 2005); “Paul Klee und das Künstlerproletariat” in Paul Klee im Rheinland, exh. cat. Rheinisches Landesmuseum, Bonn (Köln: Dumont, 2003), 180-187. Research interests: 20th century German painting; art and politics in Weimar and the Third Reich.
Travis English: Doctoral candidate, Art History and Criticism, Stony Brook University. Areas of Interest: Early 20th Century German art and visual culture; Marxist aesthetics. Recent Publications: “Otto Dix’s Lasurtechnik and the Dialectics of Tradition” (forthcoming in vol. 22 #2 of Art Criticism), and “Hans Haacke, or the Museum as Degenerate Utopia” in Kritikos (vol. 4 #3). email@example.com
Kathryn M. Floyd: Visiting Assistant Professor, Skidmore College, Saratoga Springs, New York. Recent works: Between Change and Continuity: Documenta 1955-2005 (PhD diss.: University of Iowa, 2006; awarded the Deans’ Distinguished Dissertation Award); Assistant Editor for Dada (Themes and Movements Series), edited by Rudolf E. Kuenzli (Phaidon Press, 2006); currently working on a book on the history of the Documenta exhibition (Kassel, Germany), an article on historical photographs of art exhibitions, and a paper on the 1968 protests at Documenta, the Venice Biennial, and the Milan Triennial. Research interests: Twentieth-century German art and art institutions; History of Exhibitions (esp. biennials and periodic exhibitions); German Dada and Constructivism; Historiography of Art History. Contact info: firstname.lastname@example.org
Kirsten Forkert: artist, independent critic, activist and PhD student in Media and Communications at Goldsmiths College, University of London. She is currently teaching media studies at Goldsmiths and a course on alternative media at Anglia Ruskin University in Cambridge. She also works for University College Union, the national union for academic staff in the UK. She is also involved with Rampart Social Centre, Micropolitics Research Group, and the London Housing Action Now coalition. She has written on conceptual art, tactical media, cultural policy and other related issues. email: email@example.com
Joanna Gardner-Huggett: DePaul University, Chicago. Recent or upcoming works: “Margaret Gardiner: Activist Collector,” British Art Journal (forthcoming); “The Women Artists’ Cooperative Space as a Site for Social Change: Artemisia Gallery, Chicago (1973-1979),” Social Justice (forthcoming). Research interests: intersection between feminism and arts activism. Contact information: phone: 773-325-4890; email: firstname.lastname@example.org; fax: 773-325-1950
Benj Gerdes is a NY-based artist and activist working in film, video, photography, and a number of collaborative and/or public frameworks. Most prominent among his collaborative practices is work as a co-organizer of 16Beaver Group. His recent work focuses on the affective and social consequences of contemporary economic and state regimes. His video essay in collaboration with Jennifer Hayashida, Room of the Sun, examining the prehistory of neoliberal economics through the figure of Swedish monopoly capitalist & “Match King” Ivar Kreuger (1880-1932), will be completed in early 2009. He currently teaches in the Department of Cinema, Binghamton University. www.clnswp.orgwww.16beavergroup.org
Janet Goldner: My work fuses the tactile, spatial forms of sculpture with elegant, succinct comments on contemporary social issues. I create my often-poetic steel sculptures using a welding torch as a drawing instrument, cutting images and sometimes text into them. I first traveled to West Africa in 1973. Since spending eight months in Mali on a Fulbright in 1995, I have been engaged in a dialogue with Malian artists concerning our lives, work, and creative process. The combining of Western and non-Western images and ideas are a result of many trips to Africa, as well as a response to my own layered American cultural identity. Over thirty years as an active artist, I have shown my work in over twenty solo exhibitions, and nearly one hundred group exhibitions throughout the United States, as well as in Lithuania, Germany, Italy, Bosnia, Australia, New Zealand, and Mali. I am the recipient of numerous awards, grants, and artist residencies, including a Fulbright Fellowship to Mali and a grant from the UN Special Committee Against Apartheid and the Ford Foundation. An artist-scholar, I have curated exhibitions, published articles and catalogs, and lectured at conferences, universities, and community venues. The evolution of my sculpture traces my enduring exploration of sculptural form, my ongoing relationship with African culture, and my lifelong involvement in political activism.
Johanna Gosse is a PhD candidate in History of Art at Bryn Mawr College. Her research interests include 1960s underground film, new media, sound, popular culture, and Cold War cultural politics. Recent publications include a review on the role of politics in contemporary art, published in the Radical History Review, Issue 106 (Winter 2010), and an essay “From Art to Experience: The Porous Philosophy of Ray Johnson,” published in the fall 2011 issue of the Journal of Black Mountain College Studies. Contact: email@example.com.
Elizabeth Grady: Elizabeth Grady is curating Structuring Perception at NurtureART, Brooklyn, opening November 4, 2005; and Parts to the Whole at Vox Populi, Philadelphia, opening January 6, 2006. She has an essay on Gary Simmons appearing this fall on the website of the Whitney Museum and has just published essays on Franz Ackermann, Matthew Ritchie, Alexander Ross, and Terry Winters in Elisabeth Sussman, Remote Viewing: Invented Worlds in Recent Painting and Sculpture (New York: Whitney Museum of American Art, 2005). In addition, she is working as Adjunct Professor of Art History at F.I.T.-SUNY in New York, Curatorial Assistant at the Whitney Museum, and Special Assistant to the Estate of Diane Arbus. Email: ELIZABETH_GRADY@fitnyc.edu
Beth Hinderliter, SUNY College at Buffalo. Recent and upcoming works: Hinderliter, Kaizen, Maimon, and McCormick, eds., Communities of Sense: Rethinking Aesthetics and Politics (Durham, NC: Duke University Press, forthcoming 2009). Research interests: modern and contemporary art history and feminism. Contact information: 716-878-3675 (phone);firstname.lastname@example.org.
Brett M. Van Hoesen: Assistant Professor, Modern and Contemporary Art History, University of Nevada, Reno. Areas of research: Weimar Visual Culture, German Colonial History and its Legacy, Dada (Berlin and Zurich), Photomontage, Hannah Höch, László Moholy-Nagy, Museum Studies, and aspects of contemporary Digital Culture Studies. Recent activities: Conference papers 2007/2008: “Weimar Re-Visions of Germany’s Colonial Past: The Photomontages of Hannah Höch and László Moholy-Nagy”presented at: Germany’s Colonialism in International Perspective: An International Interdisciplinary Conference on German Colonialism and Post-Colonialism hosted by San Francisco State University, September 6-9, 2007; “Weimar Photomontage and the Visual Legacy of German Colonialism” to be presented on the panel, “Visuality and Colonial Empire: From Wilhelmine to Weimar Germany,” at the German Studies Association (GSA), San Diego, CA, October 4-7, 2007; “Montage is the Message: Weimar Photomontage and the Legacy of German Colonialism” to be presented on the panel, “Emerging Scholars,” Historians of German and Central European Art (HGCEA), College Art Association (CAA), Dallas, TX, February 20-23, 2008. Contact information: Email: email@example.com
Keith Holz: researches the art of 20th century Germany (ca. 1900-1950). The public activities of German exile artists and their artists’ groups in Prague, Paris, and London during the 1930s are the focus of his books Im Auge des Exils: Josef Breitenbach und die Freie Deutsche Kultur in Paris 1933-1941 (with Wolfgang Schopf,) Berlin: Aufbau Verlag (German/English), 2001 & Paris: Autrement (French/German), 2003; and Modern German Art for Thirties Paris, Prague and London: Resistance and Acquiescence in a Democratic Public Sphere, Social History, Popular Culture, and Politics in Germany, Ann Arbor: University of Michigan Press, 2004. Stemming from his research on the small, alternative German artists groups formed in European exile centers and their relationships to local cultural institutions and those of the Third Reich, he is interested in the implications of an institutional history of art for ongoing art historical and art practices. He currently is researching the role of modern art within German foreign relations from 1914-1945, and is completing a study of three private Jewish collections of modern art in Breslau, Germany (Wroclaw, Poland)–collections dispersed at the time the Nazis took control of Breslau in the mid-1930s. He is also interested in the art and careers of Oskar Kokoschka and Otto Freundlich. At Western Illinois University he regularly offers the following courses: Introduction to Visual Art, Twentieth Century Art, and Contemporary Art. In 2008, he is offering two courses on the Visual Arts and Nazi Germany. Contact Info: 32 Garwood Hall, Art Department, Western Illinois University, Macomb, IL 61455; 309.298.2563 (office phone); firstname.lastname@example.org.
Paul B. Jaskot: DePaul University, Department of Art & Art History; Former RAC Secretary, CAA Board Member, President of CAA (2008-2010). Research, activist interests: Modern German Art and Architecture, Marxist Art History, and the Political Economy of Art. Recent Activities: [co-edited with Gavriel Rosenfeld] Beyond Berlin: 12 Postwar German Cities Confront the Nazi Past (Ann Arbor: University of Michigan Press, 2008); “Marxism and the Built Environment in the 21st Century: Millennium Park in Chicago and the Question of Private and Public Space,” in “As radical as reality itself”: Essays on Marxism and Art for the 21st Century, eds. Matthew Beaumont, Andrew Hemingway, Esther Leslie and John Roberts (Oxford: Peter Lang, 2007): 105-32; Director, Holocaust Education Foundation Summer Institute on the Holocaust and Jewish Civilization (June 2008). Contact info: Department of Art and Art History, 1150 W. Fullerton, DePaul University, Chicago, IL 60614; 773-325-2567.
William Kaizen: Asst. Prof. of Aesthetics and Critical Studies, University of Massachusetts, Lowell. Editor, Communities of Sense: Rethinking Aesthetics in Practice, Duke University Press; The Immediate: Video and the Irrational, Duke University. Research interests: moving images, radical democracy, public sphere debates, media and ecology. email@example.com
Sarah Kanouse: is an interdisciplinary artist examining citizenship, public space, landscape, and historical memory through arts practice, writing, and occasional curatorial work. In the last few years, her work has appeared in exhibitions mounted by Artlink (Belgrade, Serbia); Institute for Quotidian Arts and Letters (Milwaukee); Columbia College (Chicago); Women’s Caucus for Art (Barnard College, New York); SOFA Gallery (Indiana University), Kupfer Center (University of Wisconsin Madison), Centro Cultural Rosa Luxemburg (Buenos Aires, Argentina), among others. Sarah’s writings have been published in the Journal of Aesthetics and Protest, Acme, The Democratic Comunique, Critical Planning and Art Journal. She is an occasional contributor to the online forums iDC and Critical Spatial Practice and is a frequent coordinator of guest artist presentations, end-of-semester shows, and miscellaneous events in Carbondale. She teaches digital media and contemporary arts practices at Southern Illinois University Carbondale.
Janet Koenig is a New York based artist and graphic designer whose work has appeared in MoMA, Exit Art, P.P.O.W. gallery, the Studio Museum of Harlem, Alternative Museum, and Dia Art Foundation, NYC. Her work has been reproduced and/or reviewed in the New York Times,Village Voice, AfterImage, Artforum, Oxford Art Journal and Print Review among other venues. She has been a member of these art collectives: the Catalog Committee of Artists Meeting for Cultural Change, which produced the anti-catalog, Political Art Documentation and Distribution (PADD), and REPOhistory. In 2007, she published “Lost and Found Again, or Pierre Cholet,”her annotated translation of the French Canadian classic, “L’Enfant Perdu et retrouvé, ou Pierre Cholet.”
Annie Krieg: Annie Krieg is a PhD student at the University of Pittsburgh. Her research interests are medievalism in modern Germany and the political instrumentalization of medieval architecture during the Third Reich. She has also worked on the cultural production of the Sorbs and the reconstruction of cathedrals in the newly gained western territories in Poland after World War II. Address: 104 Frick Fine Arts, Pittsburgh, PA 15260.
Karen Kurczynski: currently teaches modern and contemporary art history at Massachusetts College of Art. She is also a RAC co-president. She is working on a book on Situationist and artist Asger Jorn. Her research interests include postwar European art and politics, feminism, and contemporary activist art, especially around issues of migration. She has recently published an Eva Hesse review for Woman’s Art Journal (Fall 2007), and has articles forthcoming on Asger Jorn in RES (Summer 2008) and a review on “Leveraging Situationism?” in the special issue of Third Text on tactical media (Summer 2008), ed. Greg Sholette and Gene Ray.” She can be reached at firstname.lastname@example.org.
Henrik Lebuhn is a co-editor for the journal PROKLA (www.prokla.de) and currently teaches Urban Studies at the San Francisco Art Institute (SFAI). His main research areas include labor, migration and socio-spatial conflicts in global cities, entrepreneurial urban politics, and new urban social movements. His monograph “Stadt in Bewegung. Mikrokonflikte um den öffentlichen Raum in Berlin und Los Angeles” (City on the Move. Microconflicts over Public Space in Berlin and Los Angeles) — a comparative case study on the privatization of public space in Berlin and L.A. — was published in Spring 2008.
Carolyn Loeb: Central Michigan University. Author of Entrepreneurial Vernacular: Developers’ Subdivisions in the 1920s (Baltimore: Johns Hopkins University Press, 2001). Current research interests: redevelopment in Berlin; public sculpture; social housing; civic space. Contact information: phone: 989-774-3427; email: Carolyn.Loeb@cmich.edu
Fred Lonidier: U.C. San Diego. Areas of research, activist interest: Photo/text installation documentary artworks for, by and about class struggle. Recent activities: RE:UNION C/S, Centro Cultural de la Raza, San Diego & Tea Party, Oakland 2007. (forthcoming). Recent or upcoming works: *”N.A.F.T.A. Returns to Tijuana/Regresa a Tijuana,” truck-trailer traveling exhibit to the maquiladora zones, 2003: two long panels. As my part in the Insite_05 Transborder Archive, I have produced an archive box with my photography of labor struggles on both sides of the border. And some early photography of mine: http://depts.washington.edu/civilr/BPP_photos.htm. Critical attention: Mary Warner Marien, “The New Social Documentary,” Photography: a cultural history, Abrams, NYC 2002. Grant Kester, Conversation Pieces: Dialogical Encounters in Modern Art, “Chapter Five: Community and Communicability,” UC Press 2003. Contact information: (858) 534-2524 wk; email@example.com; UCSD Visual Arts, 9500 Gilman Dr., La Jolla CA 92093-0084.
Grant W. Mandarino: PhD Student, University of Michigan History of Art. Recent/Upcoming Works: Magazine Rack, Artnet Magazine (monthly column). Research Interests: Interbellum Central European Painting; Avant-garde movements; Weimar Germany; Cold War cultural politics; Marxist
Barbara McCloskey: University of Pittsburgh. Recent works: “Dialectic at a Standstill: East German Socialist Realism of the Stalin Era,” in Art of the Two Germanys during the Cold War(forthcoming: Los Angeles: Los Angeles County Museum of Art, 2008); ”The Face of Socialism: George Grosz and José Carlos Mariátegui’s Amauta,” Third Text (forthcoming 2008); with co-author Fred Evans, “Sixties Redux?: Kutlug Ataman’s Provocation at the 2004/05 Carnegie International” in Kunst und Politik (forthcoming 2008). Contact information: 104 Frick Fine Arts, University of Pittsburgh, Pittsburgh, PA 15260; 412-648-2417.
Angela Miller: Washington University. Recent or upcoming works: “Eyes Wide Open,” in Sabine Eckmann and Lutz Koepnick, eds., Caught by Politics: German Exiles and American Visual Culture in the 1930s and 1940s, forthcoming 2006; with co-authors, American Encounters: The Arts and Cultural Identity, Prentice Hall, forthcoming 2006; “Death and Resurrection in an Artist’s Studio,” American Art, forthcoming March 2006. Research interests: 20th century American art, Art between the Wars in Europe and the U.S.
Owen Mundy’s artwork considers places where money and culture collide. He deliberately blurs the lines between vernacular forms of representation, contemporary art, and public space in order to construct new ways to interpret the world around us. He completed the U.S. Navy’s Defense Photography program (1994), a BFA in Photography at Indiana University (2002), and an MFA in Visual Arts from the University of California, San Diego (2008). He is currently based in Tallahassee, FL and is an Assistant Professor in the Department of Art at Florida State University. Website: http://owenmundy.com
Kevin Murphy: is John Rewald Professor of Art History and Executive Officer of the Ph.D. Program in Art History at the CUNY Graduate Center. He is the author of a forthcoming book from Abrams, “The Houses of Greenwich Village.”
Elizabeth Otto is Associate Professor in the Department of Visual Studies, State University of New York at Buffalo. She works on gender and media cultures in relation to modern and contemporary art. Her current book project, Haunted Bauhaus: Sprit and Body in the Home of Rationalized Culture, challenges conventional understandings of interwar Europe's most influential art institution. By looking at how issues of gender, sexuality, and alternative spirituality were central elements of the Bauhaus, Otto shows how the irrational lurks beneath the sleek surfaces and cold structures most commonly associated with the school.
s: lives in Richmond, Virginia, and works as Assistant Professor in Kinetic Imaging at Virginia Commonwealth University’s School of the Arts. In 2006, he first exhibited Disturbance, a sprawling series of video installations that excavate the ghostly remains of the 1992 Los Angeles riots to consider spectacle, social disaster and historical erasure. His current project is The War Show, an experimental documentary that explores the manipulation and distancing of American TV war propaganda. Some of his perspectives and preoccupations can be found in his pictorial essays on surfingthespectacle.com, a political/ art/ culture/ history site created to draw his students into greater engagement with their mediated world.
Frances Pohl, Pomona College. Recent and upcoming works: Framing America: A Social History of American Art, 2nd ed., revised (Thames and Hudson, 2008). Research interests: American art, workers’ education and museums. Contact information: 909-607-2253 (phone); firstname.lastname@example.org.
Therese Quinn: is an Assistant Professor of Art Education at the School of the Art Institute of Chicago, where she teaches and directs the BFA with Emphasis in Art Education Program, which prepares undergraduates for certification. Her most recent publications are “Out of Cite, Out of Mind: Social Justice and Art Education,” in the Journal for Social Theory in Art Education, and “Exhibits Through the ‘Other Eye’: How Popular Education Can Help Us Make Museums that Push,” in the Journal of Museum Education. With William Ayers, she co-edits the Teachers College Press series, Teaching for Social Justice. Her blog, The Other Eyes, addresses issues of access and equality in public cultural spaces, including schools and museums. http://therese-othereye.blogspot.com; email@example.com
Gene Ray: is a critic and theorist living in Berlin. He writes about radical culture and politics beyond the affirmative horizons of the capitalist art system and its still-hegemonic forms of modernism. Recent essays have appeared in Third Text, Left Curve, Analyse & Kritik, andAfterimage. His most recent book is Terror and the Sublime in Art and Critical Theory(Palgrave Macmillan, 2005). Archives of some recent texts are online athttp://www.linksnet.de/autor.php?id=1321 andhttp://transform.eipcp.net/bio/ray.
Jillian Soto, MFA candidate, Performance, School of the Art Institute of Chicago. Areas of interest: human migration, food systems, the future and purpose(s) of public art. Recent works include: Color Watch (2009, 8 min) a film showing the increased use of surveillance technology to monitor people by local and national governments, Calling Home (2009, installation). Contact information: firstname.lastname@example.org
Jelena Stojanovic: Cornell University. Recent or upcoming works: “’Potlatch’: Détournement between the Gift Economy and Deskilling,” Diacritics, forthcoming. Research interests: quotidianism and the Cold War, Europe in the fifties.
Martha Rosler: Rutgers University. Recent or upcoming works: Passionate Signals (Hatje/Cantz, 2005), in conjunction with the Spectrum Prize in Photography; Decoys and Disruptions: Selected Writings, 1975-2001 (MIT, 2004); Oleanna Space/Ship/Station at Utopia Station, (50th Venice Biennale, 2003); solo exhibitions: If Not Now, When? (Sprengel Museum, Hanover, 2005); London Garage Sale (ICA, 2005). Research interests: communication and transportation systems and the public sphere; the politics of everyday life, especially from the point of view of women. website: www.martharosler.net
Maureen G. Shanahan: is associate professor of art history and associate director of the honors program at James Madison University. She completed her M.A. and Ph.D. at University of Michigan and teaches modern art and honors topics courses. She has published essays on the representation of sexuality and masculinity, race and colonialism, and trauma in early twentieth century visual culture, particularly Fernand Léger’s painting and set designs. Her writing appears in Cinema Journal, the Journal of Colonialism and Colonial History,Konsthistorisk Tidskrift, and Michigan Feminist Studies, as well as various anthologies,Patronage, Spectacle and the Stage (Irene Eynat-Confino and Eva Sormova, eds.), Democracy and Culture in the Transatlantic World (Daniel Silander, ed.), Den Maskulina mystiken (The Masculine Mystery) (Anna Lena Lindberg, ed.), and France and the Americas: Culture, Politics, and History: A Multidisciplinary Encyclopedia (Bill Marshall et al, eds.) She is currently completing a book on the impact of the Great War and subsequent traumas on Fernand Léger’s art and ideas about the nation, race, and collective identity.
Gregory Sholette: is a NYC based artist, writer and a co-founder of the artist collectives REPOhistory and PAD/D. Recent exhibitions include: A Knock At The Door, The Cooper Union NYC and film screening Anthology Film Archives. Sholette is co-editor with Nato Thompson of The Interventionists: A Users Manual for the Creative Disruption of Everyday Life (MIT: 2004 & 2005); and Collectivism After Modernism, co-edited with Blake Stimson (University of Minnesota Press, 2007). He is an assistant professor at Queen’s College, CUNY. website:gregorysholette.com
Terry Smith: FAHA, CIHA, is Andrew W. Mellon Professor of Contemporary Art History and Theory in the Department of the History of Art and Architecture at the University of Pittsburgh. He is also a Visiting Professor in the Faculty of Architecture, University of Sydney. During 2001-2002 he was a Getty Scholar at the Getty Research Institute, Los Angeles, and in 2007-8 will be a Fellow of the National Humanities Research Centre, Raleigh-Durham. From 1994-2001 he was Power Professor of Contemporary Art and Director of the Power Institute, Foundation for Art and Visual Culture, University of Sydney. He was a member of the Art & Language group (New York) and a founder of Union Media Services (Sydney). He is the author of a number of books, notably Making the Modern: Industry, Art and Design in America(University of Chicago Press, 1993); Transformations in Australian Art, volume 1, The Nineteenth Century: Landscape, Colony and Nation, volume 2, The Twentieth Century: Modernism and Aboriginality (Craftsman House, Sydney, 2002); and The Architecture of Aftermath (University of Chicago Press, 2006). See www.terryesmith.net
Margo Thompson: University of Vermont. Recent or upcoming works: “Clones for a Queer Nation: George Segal’s Gay Liberation on Christopher Street,” presentation at CAA, Boston, February 2006; “’From Us’: Lesbian Identity and Sensibility,” Amazon Quarterly and So’s Your Old Lady, forthcoming Spring 2006; “Agreeable Objects and Angry Paintings: ‘Female Imagery’ in Art by Hannah Wilkie and Louise Fishman,” Genders, forthcoming Spring 2006. Research interests: gender, sexuality, public art.
Brett M. Van Hoesen: University of Iowa. Recent or upcoming works: Visualizing the Legacy of German Colonialism: The Intersection of Cultural Policies and Human Rights during the Weimar Republic, dissertation in progress; “ Corporeal Rule(s): Regulating a Colonial Imagination in Weimar Photojournalism,” presentation at Modernist Studies Association conference, Chicago, November 2005; “The Digital Muse: Authoring the Museum in the Age of Digital Reproduction,” presentation at CAA, Boston, February 2006. Research interests: the politics of policy making, human rights and the arts, history of photography and photomontage, museum and material culture studies.
Alan Wallach: The College of William and Mary. Areas or research, activist interest: American art, American art institutions. Recent works: “The Unethical Art Museum,” in Elaine King and Gail Levin, eds., Ethics and the Visual Arts (New York: Allworth Press, 2006), 23-35; “On the Uses of Art: Nineteenth and Early Twentieth Century Works from the Jersey City Museum,” in Alan Wallach and Rocío Aranda-Alvarez, First Look: The Essential Guide to the Jersey City Museum (Jersey City, N.J.: The Jersey City Museum, 2007), 6-34; “Accounting for the Panoramic in Hudson River School Landscape Painting,” in Betsy Kornhauser and Ortrud Westheider, eds., New World: Creating an American Art (Hamburg: Bucerius Kunst Forum, 2007), 78-89. Also published in German.
Otto-Karl Werckmeister: Northwestern University, emeritus. Recent or upcoming works:Der Medusa Effekt: Politische Bildstrategien seit dem 11. September 2001 (Leipzig: form+zweck Verlag, 2005); with Stephen Eisenman, Culture and Barbarism—A History of European Art (in progress); and The Political Confrontation of the Arts: From the Great Depression to the Second World War, 1929-1939 (in progress). Contact information: email: email@example.com.