Caroline Arscott is Professor of Nineteenth-Century British Art and Head of Research at the Courtauld Institute of Art, London, where she has taught since 1988. In 2008, she published William Morris and Edward Burne-Jones: Interlacings. She has an interest in Victorian biology and physics, and leads an interdisciplinary project on Victorian telegraphy with King’s College London and University College London. In 2013, she published on Morris, Darwin and tapestry in The Clever Object, a special issue of Art History.
Matthew Beaumont is Senior Lecturer in English at University College London. He is the author of Utopia Ltd.: Ideologies of Social Dreaming in England, 1870–1900 (2005), The Spectre of Utopia: Utopian and Science Fictions at the Fin de Siècle (2012) and, with Terry Eagleton, The Task of the Critic: Terry Eagleton in Dialogue (2009).
Warren Carter is a staff tutor at the Open University and a teaching fellow in history of art at University College London. He is also one of the co-conveners of the long-running seminar series ‘Marxism in Culture’ at the Institute of Historical Research in London. He has published on 1930s art in the United States and Mexico.
Gail Day is Senior Lecturer in History of Art in the School of Fine Art, History of Art and Cultural Studies at the University of Leeds. Her book Dialectical Passions: Negation in Postwar Art Theory (2010) was shortlisted for the Isaac and Tamara Deutscher Memorial Prize.
Steve Edwards is head of the Department of Art History at the Open University. He is an editor of Oxford Art Journal, Historical Materialism: A Journal of Critical Marxist Theory, as well as of the Historical Materialism book series. His recent publications include The Making of English Photography: Allegories (2006) and Martha Rosler: The Bowery in two inadequate descriptive systems (2012).
Stephen F. Eisenman is Professor of Art History at Northwestern University, Evanston. He is the author of eight books, including The Ecology of Impressionism (2011), The Abu Ghraib Effect (2007) and Gauguin’s Skirt (1997). His latest book, The Cry of Nature: Art and the Making of Animal Rights, was published in 2013. From 2008, Eisenman worked with a group of Chicago artists and activists to end torture at Tamms supermax prison in Illinois. His article on the prison, ‘The Resistible Rise and Predictable Fall of the American Supermax’, was published by Monthly Review in 2009.
Charles Ford is Senior Lecturer in History of Art at University College London. He has worked extensively on early modern texts, and has recently completed translations of Karel van Mander and Samuel van Hoogstraten, both soon to appear on the web. He is also preparing transcriptions of two volumes of Roger North’s manuscripts for web publication.
Brian Foss wrote his PhD under Andrew Hemingway’s supervision, taught art history at Concordia University, Montreal, and is now Director of the School for Studies in Art and Culture at Carleton University, Ottawa. He has curated and published extensively on nineteenth- and twentieth-century Canadian art, is the author of War Paint: Art, War, State and Identity in Britain 1939–45 (2007), and co-edited The Visual Arts in Canada: The Twentieth Century (2010).
Martin I. Gaughan publishes on German cultural politics in the 1920s, especially on the left. He is author of German Art, 1907–1937: Modernism and Modernisation (2007), as well as chapters on German Dada in various collections of essays. He was formerly Director of History of Art and Theory at Cardiff Metropolitan University.
Tom Gretton is Senior Lecturer in History of Art at University College London. He works on nineteenth-century print culture, particularly the work of José Guadalupe Posada and upmarket illustrated general-interest weekly news magazines in Britain and France between 1840 and 1914. Recent publications include ‘From La Méduse to the Titanic: Géricault’s Raft in Journalistic Illustration up to 1912’ in 19: Interdisciplinary Studies in the Long Nineteenth Century.
Barnaby Haran teaches history of art at University of Bristol. He completed his PhD at University College London in 2008, with supervision from Andrew Hemingway. He has published articles on photography and film for Oxford Art Journal and Textual Practice. He is currently developing a study on American and Soviet avant-garde interrelations during the first Five Year Plan.
Paul B. Jaskot is Professor of Art History at DePaul University, Chicago. His work focuses on the political history of modern German art and architecture, with a specific concentration on the Nazi period. His latest book is The Nazi Perpetrator: Postwar German Art and the Politics of the Right. From 2008 to 2010, he was the President of the College Art Association.
Stewart Martin is Senior Lecturer in Modern European Philosophy, Aesthetics and Art Theory at Middlesex University, and a member of the editorial collective of the journal Radical Philosophy. He is the author of various essays, mostly concerning the philosophical critique of capitalist culture. He is currently working on a book about Marx’s conception of life.
Angela Miller is Professor of Art History and American Studies at Washington University, St Louis. She has lectured and published on a range of topics spanning from the sixteenth century to the mid-twentieth. Her current research focuses on US modernism, pragmatism and cultural democracy in the first half of the twentieth century. Most recently she led a co-authored team to produce American Encounters: Art, History, and Cultural Identity (2008), an integrated history of American arts from pre-conquest to the present.
Fred Orton is Emeritus Professor of the History and Theory of Art at the University of Leeds. He has published widely on nineteenth-century European art, twentieth-century American art and criticism, and Anglo-Saxon stone sculpture. His books include Figuring Jasper Johns (1994), Jasper Johns: The Sculptures (1996) and, with Ian Wood and Clare A. Lees, Fragments of History: Rethinking the Ruthwell and Bewcastle Monuments (2008).
Jody Patterson received her PhD from University College London in 2009. She has held postdoctoral fellowships at the Smithsonian American Art Museum, Washington, DC, and the Terra Foundation for American Art Europe. She is Lecturer in Art and Visual History at Plymouth University.
Alex Potts teaches history of art at the University of Michigan, Ann Arbor. He is a member of the History Workshop Journal editorial collective, and author of the book Experiments in Modern Realism: World Making, Politics and the Everyday in Postwar European and American Art (2013).
John Roberts is Professor of Art and Aesthetics at the University of Wolverhampton, and the author of a number of books, including The Intangibilities of Form: Skill and Deskilling in Art After the Readymade (2007) and The Necessity of Errors (2011). His book Photography and Its Violations is to be published in 2014.
Rachel Sanders completed her PhD, ‘Realism and Ridicule: The Pictorial Aesthetics of the American Left, c. 1911–34’, under Andrew Hemingway’s supervision in 2011. She is currently teaching at the City Literary Institute, Covent Garden, and developing her research on the Liberator and New Masses.
Norbert Schneider is Professor Emeritus and former Director of the Institute of Art History at the University of Karlsruhe. Prior to that he taught at the universities of Münster, Bielefeld and Dortmund. He has written numerous books dealing with the social history of painting (especially of the early modern era), art theory and aesthetics, and epistemology.
Frederic J. Schwartz is Professor of History of Art and Architecture at University College London. He is author of The Werkbund: Design Theory and Mass Culture Before the First World War (1996; German edition, Der Werkbund: Ware und Zeichen 1900–1914, 1999) and Blind Spots: Critical Theory and the History of Art in Twentieth-Century Germany (2005), as well as numerous articles on German art, architecture, literature and critical theory.
Peter Smith teaches history of art at the University of West London. His specialist interests include utopianism and the visual arts. He is author of ‘Never Work! The Situationists and the Politics of Negation’, in Matthew Beaumont, Andrew Hemingway, Esther Leslie and John Roberts (eds.), As Radical as Reality Itself: Essays on Marxism and Art for the 21st Century (2007). He has also published ‘Attractive Labour and Social Change: William Morris Now’, in Phillippa Bennett and Rosie Miles (eds.), William Morris in the Twenty-First Century (2010). He is currently co-authoring a book on theories and practices of photography.
Kerstin Stakemeier is a junior professor at the cx Centre for Interdisciplinary Studies, Academy of Fine Arts Munich. Her Painting: The Implicit Horizon (edited with Avigail Moss) and Anfang Gut. Alles Gut. Actualizations of ‘Victory over the Sun’ (1913) (edited with Eva Birkenstock and Nina Köller) were both published in 2012. Her next book, Entkunstung: Artistic Models for the End of Art, is forthcoming.
Frances Stracey (1963–2009) was Senior Lecturer in History of Art at University College London. She is the author of a series of groundbreaking articles on the Situationist International, published in Oxford Art Journal, October and Art History, among other places. Her monograph Constructed Situations: The Situationist International (1957–1972) is forthcoming.
James A. van Dyke teaches history of art at the University of Missouri-Columbia and writes about German art, visual culture and politics between the world wars. His book Franz Radziwill and the Contradictions of German Art History, 1919–45 appeared in 2010. His current book project is entitled Otto Dix: The Production of the Artist in Crisis.
Alan Wallach is the Ralph H. Wark Professor of Art and Art History and Professor of American Studies Emeritus at the College of William and Mary, Williamsburg. He writes on the history of American art museums and on nineteenth-century American landscape painting. In 2007, he was the recipient of the College Art Association’s Distinguished Teaching of Art History Award.
Chin-tao Wu specializes in contemporary art and culture, and has contributed to New Left Review, Third Text and Journal of Visual Culture. Her book Privatising Culture: Corporate Art Intervention Since the 1980s, published in 2002, has been translated into Turkish (2005), Portuguese (2006) and Spanish (2007). She is currently Associate Research Fellow at the Academia Sinica in Taiwan and an Honorary Research Fellow of University College London.