MEMBERS A-C

MEMBERS D-G

MEMBERS H-K

MEMBERS L-Q

MEMBERS R-Z

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, and Afterimage. His most recent book is Terror and the Sublime in Art and Critical Theory (Palgrave Macmillan, 2005). Archives of some recent texts are online at http://www.linksnet.de/autor.php?id=1321 and http://transform.eipcp.net/bio/ray.

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. 

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: okw2002@aol.com.

 

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