NOTES ON CONTRIBUTORS

Wolfgang Brückle works as an AHRC research fellow for the Aesthetics after Photography project at the University of Essex. His publications include Civitas terrena: Staatsreprasentation und politischer Aristotelismus in der französischen Kunst 1270–1380 (Munich, 2005) and essays on medieval and early modern art and theory as well as on contemporary art and the history of photography and film. He co-curated Von Rodin bis Baselitz: Der Torso in der Skulptur der Moderne (Stuttgart, 2001) and Brennpunkt Schweiz. Positionen in der Videokunst seit 1970 (Bern, 2005).

Christine Conley is an independent curator and lecturer in History and Theory of Art at the University of Ottawa. Her research involves issues of gender, allegory, trauma and cultural memory. She has published essays in books, journals and exhibition catalogues on artists Mary Kelly, Charlotte Salomon, Joyce Wieland, performance artist May Chan, Ed Pien and the Vancouver-based photo conceptual artist Theodore Wan. An essay on Rebecca Belmore and Faye HeavyShield is forthcoming in Jonathan Harris ed. Inside the Death Drive: Excess and Apocalypse in the World of the Chapman Brothers, Liverpool, 2009.

Diarmuid Costello is Associate Professor of Philosophy, University of Warwick. He co-edited (with Dominic Willsdon) The Life and Death of Images: Ethics and Aesthetics (Tate/Cornell, 2008) and (with Jonathan Vickery) Art: Key Contemporary Thinkers (Berg, 2007). His articles at the intersection of aesthetics and art theory have appeared in The British Journal of Aesthetics, Journal of Aesthetics and Art Criticism, Critical Inquiry, Rivista di Estetica, Angelaki, Australian and New Zealand Journal of Art, Philosophy Compass and various collections. He is working on two longer projects, Aesthetics after Modernism and On Photography. He is Co-Director (with Margaret Iversen) of the AHRC research project ‘Aesthetics after Photography’.

Mark Godfrey is a Curator at Tate Modern. He is the author of Abstraction and the Holocaust (Yale University Press, 2007) and of Anri Sala (Phaidon, 2006). He curated the exhibitions Douglas Huebler (Camden Arts Centre, 2002), Matthew Buckingham: Play the Story (Camden Arts Centre, 2007), and Roni Horn aka Roni Horn (Tate Modern, 2009). He contributes regularly to October, Frieze, Artforum, and Parkett, and has recently published essays on Christopher Williams, Zoe Leonard, Tacita Dean, Sharon Lockhart, Ceal Floyer, and Simon Starling. He is currently working on a monograph about Alighiero E Boetti, and on a retrospective for Tate Modern of the work of Francis Alys.

Gordon Hughes is a Mellon Assistant Professor in art history at Rice University. His work has appeared in The Art Bulletin, October, Art Journal, and Oxford Art Journal. He is also the editor, with Hal Foster, of October Files: Richard Serra. He is currently completing a book on Cubism and Robert Delaunay’s early abstraction.

Margaret Iversen is Professor in the Department of Art History and Theory, University of Essex, England. Her most recent book is Beyond Pleasure: Freud, Lacan, Barthes (2007. Her other published books include Alois Riegl: Art History and Theory (1993); Mary Kelly co-authored with Douglas Crimp and Homi Bhabha, (1997); Art and Thought, edited and introduced with Dana Arnold (2003). Forthcoming books are Writing Art History (co-authored with Stephen Melville) and Chance. She is Director (with Diarmuid Costello) of a three-year interdisciplinary AHRC-funded research project, ‘Aesthetics after Photography’.

Sarah Edith James read Social & Political Sciences and the History of Art at King’s College, University of Cambridge, then completed an MA and PhD at the Courtauld Institute of Art, London. Her doctoral thesis, which was submitted in 2007, was entitled ‘Negative aesthetics: the late art of East & West German photography, after 1968’. She is University Lecturer in History of Art and Tutor, Christ Church College, at the University of Oxford. She was previously an Alexander von Humboldt Postdoctoral Research Fellow at the Institut fur Kunstund Bildgeschichte, Humboldt Universität Berlin, and is completing her book manuscript German Photography: The Demands of Realism & the Aesthetics of Objectivity. She is a regular contributor to Art Monthly, Art Review and Frieze. Her main areas of research are: German photography, photography and modernism, international photography and theory, German art after 1945, contemporary art, and the aesthetics of Theodor W. Adorno.

Luke Skrebowski is a doctoral candidate at Middlesex University where he studies in the Centre for Research in Modern European Philosophy and the History of Art and Design Department. He is completing his thesis which reconsiders conceptual art’s critical legacy. His work has appeared in Grey Room and Tate Papers.

Tamara Trodd lectures in History of Art at the University of Cambridge. Her research interests are in twentieth-century and contemporary art with a special focus on photography and artists’ film and video. Her publications include articles on Tacita Dean (Art History) and Paul Klee (Oxford Art Journal) and she is currently completing a book called Art After Photography.

Aron Vinegar is Associate Professor in the Department of History of Art at Ohio State University. His research and publications focus on the history and theory of modern architecture and art. His book I AM A MONUMENT: On Learning from Las Vegas (MIT, 2008) considers postmodern architecture from the perspective of philosophical skepticism. The chapter appearing in this Art History book is part of a larger book project on Heidegger, world-formation, and contemporary photography.