Caroline Arscott is a Senior Lecturer at the Courtauld Institute of Art. She is the author of numerous essays and articles, and co-editor, with Katie Scott, of Manifestations of Venus: Essays on Art and Sexuality (Manchester University Press, 2000). Her forthcoming book is provisionally titled Edward Burne-Jones and William Morris: Interlacings and discusses allusions to the heroic body and military themes in Burne-Jones’s painting and William Morris’s design work.
David Bindman is Emeritus Professor of History of Art at University College London. In addition to numerous articles, catalogues and essays, he is the author of several books, the most recent being Hogarth and his Times: Serious Comedy (University of California Press, 1997) and Ape to Apollo: Aesthetics and the Idea of Race in the Eighteenth Century (Reaktion, 2002). He is editor of The Image of the Black in Western Art, vol.3.3 (Eighteenth Century), to be published by Norton in 2007.
Jutta Held is Professor in History of Art at the University of Osnabrück. She is the author of several books, including, most recently, Caravaggio. Politik und Martyrium der Körper (1996) and Avantgarde und Politik in Frankreich: Revolution, Krieg und Faschismus in Blickfeld der Künste (Reimer, 2005), and has edited a number of anthologies. She is also editor of Kunst und Politik: Jahrbuch der Guernica-Gesellschaft.
Andrew Hemingway is Professor in History of Art at University College London. He is the author of numerous articles and essays, and of the books Landscape Imagery and Urban Culture in Early Nineteenth-Century Britain (Cambridge University Press, 1992) and Artists on the Left: American Artists and the Communist Movement, 1926–1956 (Yale University Press, 2002).
Marc James Léger is Associate Professor in Art History at the University of Lethbridge. His articles have appeared in a number of journals, including Afterimage, Parachute and the Journal of Canadian Studies. He has recently completed his Ph.D. dissertation in Visual and Cultural Studies on contemporary critical public art practices.
Stanley Mitchell is Emeritus Professor of Aesthetics at the University of Derby and Senior Honorary Research Fellow in the History of Art at University College London. He is the author of numerous articles and essays, and translator of Lukács’s, The Historical Novel (Merlin Press, 1962) and Essays on Thomas Mann (Merlin Press, 1965), and Walter Benjamin’s ‘Short History of Photography’ (Screen, vol. 13, no. 1, 1972). His translation of Pushkin’s Eugene Onegin for Penguin Classics is due to appear in 2007.
John Roberts is Senior Research Fellow in Fine Art at the University of Wolverhampton. He is the author of numerous articles, essays and reviews, and of several books, the most recent of which are The Art of Interruption: Realism, Photography and the Everyday (Manchester University Press, 1998), Philosophizing the Everyday: Revolutionary Praxis and the Fate of Cultural Theory (Pluto Press, 2006) and, co-editor, with Dave Beech, of The Philistine Controversy (Verso, 2002).
Frederic J. Schwartz is Reader in History of Art at University College London. He is the author of numerous articles and essays, and of the books The Werkbund: Design Theory and Mass Culture before the First World War (Yale University Press, 1996) and Blind Spots: Critical Theory and the History of Art in Twentieth-Century Germany (Yale University Press, 2005).
Paul Stirton is Senior Lecturer in the History of Art at the University of Glasgow. He is the author of several books, and of numerous articles, essays and exhibition catalogues on British and Hungarian art. He is the co-editor, with Juliet Kinchin, of ‘Is Mr Ruskin living too long?’: Selected Writings of E.W. Godwin on Victorian Architecture, Design and Culture (White Cockade, 2005).
Otto Karl Werckmeister is Mary Jane Crow Distinguished Professor Emeritus in Art History at Northwestern University. He is the author of numerous articles and essays and several books, the most recent of which are Icons of the Left: Benjamin and Eisenstein, Picasso and Kafka after the Fall of Communism (University of Chicago Press, 1999) and Der Medusa Effekt: Politische Bildstrategien seit dem 11. September 2001 (Form + Zweck, 2005).