Shulamith Behr is Honorary Research Fellow at the Courtauld Institute of Art, University of London. She is a specialist in the study of German Expressionism and has published widely in the field: as editor, jointly with David Fanning and Douglas Jarman, of Expressionism Reassessed (Manchester University Press, 1993), as the curator – and author of the accompanying catalogues – of exhibitions on Conrad Felixmüller at the New Walk Museum and Art Gallery (Leicester) and at The Courtauld Gallery in 1994, and as the author of Expressionism (Tate Gallery Publishing, 1999). Her publications encompass the contribution of women artists to German and Swedish modernism, starting with her Women Expressionists (Phaidon, 1988) to essays for catalogues of the Gabriele Münter (1992–1993) and Sigrid Hjérten (1999) retrospectives held in Germany and Stockholm. Relating to these interests, she was the curator and contributor to the catalogue of the exhibition Gabriele Münter: The Search for Expression 1906–1917, held at The Courtauld Gallery (23 June–11 September 2005), and is finalizing an in-depth study of Women Expressionists and the Public Sphere: From Empire to Emancipation.
Annie Bourneuf is Associate Professor of Art History, Theory and Criticism at the School of the Art Institute of Chicago. She is the author of Paul Klee: The Visible and the Legible (University of Chicago Press), winner of the 2016 Robert Motherwell Book Award; her research has been supported by fellowships from the Alexander von Humboldt-Stiftung and the Institute for Advanced Study, Princeton. Her book re-examining Klee’s Angelus Novus (1920) is in progress.
Katherine M. Kuenzli is Professor of Art History at Wesleyan University. Her research focuses on European modernism 1880–1940, which she studies from a broad cultural and political perspective. She is the author of a number of publications, including The Nabis and Intimate Modernism: Painting and the Decorative at the Fin de Siècle (Routledge, 2010) which examines the decorative painting of Nabi artists Edouard Vuillard, Pierre Bonnard, Maurice Denis, Paul Sérusier and Paul Ranson. In particular it reconstructs their relationship to Impressionism, mass culture, literary Symbolism, Art Nouveau, Wagnerianism, and a revolutionary artistic tradition. It also re-positions the Nabis to occupy a crucial place in modernism’s development from 1860 to 1914 and challenges that narrative to place more emphasis on notions of decoration, totality and interiority. Kuenzli has also published articles in The Art Bulletin, The Journal of the Society of Architectural Historians, Art History, and Nineteenth-Century Art Worldwide, as well as essays in edited volumes and exhibition catalogues. Her work has been supported by Fulbright, Chateaubriand, Dedalus, DAAD, Klassik Stiftung Weimar, Getty Library, Canadian Center for Architecture, ACLS and NEH grants.
Deborah Lewer is Senior Lecturer in History of Art at the University of Glasgow. She has published widely on many aspects of German modernism, particularly on Dada in Zurich and Berlin, on Expressionism and on aspects of Weimar culture, architecture and on art in the GDR. She also works on the intersection between art, the radical avantgarde and theology. Her work has appeared in The Oxford Art Journal, Art History and in Art in Translation, and she has edited the volume Post-Impressionism to World War II for the Blackwell anthologies series. She has also published numerous translations of key texts from the German. In 2009–2010 she held a Senior Alexander von Humboldt Foundation research fellowship at the University of Bonn, Germany. She is a Visiting Scholar at Sarum College, Salisbury.
Sarah McGavran fell in love with the art of Der Blaue Reiter during a Fulbright year in Germany, and a decade later she earned her doctorate from Washington University in St. Louis with a study on Paul Klee and Orientalism. The recipient of a Volkswagen Foundation Postdoctoral Fellowship at the Johannes-Gutenberg University of Mainz and a Postdoctoral Teaching Fellowship at Washington University in St. Louis, McGavran went on to work as an art consultant before starting her own business as an editor and translator for art-related writing. She now works as an editor at the Smithsonian’s National Portrait Gallery in Washington, D.C.
Dorothy Price is Professor of History of Art at the University of Bristol and Editor of Art History, the journal of the Association for Art History, UK. She is the author and editor of numerous books including Representing Berlin: Sexuality and the City in German Modernism (Ashgate, 2003), Architecture and Design in Europe and America 1750–2000 (with Abigail Harrison Moore, Wiley Blackwell, 2006), After Dada: Marta Hegemann and the Cologne Avant-Garde (Manchester University Press, 2013), Women, the Arts and Globalization: Eccentric Experience (with Marsha Meskimmon, Manchester University Press, 2013) and Chantal Joffe: Personal Feeling is the Main Thing (Victoria Miro and Elephant, 2018). She has published extensively on her two main areas of research specialism, German art and black and diasporic art in Britain, in leading international exhibition catalogues and journals and she works as guest curator for a number of distinguished institutions in the UK, including The Lowry, Salford, the Royal West of England Academy, Bristol and the Royal Academy of Arts, London.
Dr Christopher Short is the author of two books, The Art Theory of Wassily Kandinsky, 1909–1928: The Quest for Synthesis (Peter Lang, 2010) and Schiele (Phaidon, 1997). He has also written a number of essays on Der Blaue Reiter, and Wassily Kandinsky in particular. When not ruminating on Kandinsky, Short works as a photographer and researcher. His photographic research relates to land and seascape, and to portraiture. The latter is a new project, exploring the psychological relation of the subject to the photographic image. Until recently, he was also Senior Lecturer and Deputy Chair of the Centre for Fine Art Research at Cardiff School of Art and Design.
Nathan J. Timpano is Associate Professor, Associate Chair and Area Head of Art History within the Department of Art and Art History at the University of Miami. His area of research centres on modern art and visual culture in Europe and the Americas, with a particular focus on Germany and Austria. Before joining the faculty in Miami, he was a Fulbright Fellow to Vienna, Austria, served as a Stefan Engelhorn Curatorial Fellow at the Harvard Art Museums/Busch-Reisinger Museum, and held positions at the National Gallery of Art in Washington, DC. He is the author of Constructing the Viennese Modern Body: Art, Hysteria, and the Puppet (Routledge, 2017), and has published articles and reviews in journals such as Art History, Oxford Art Journal, Journal of Art Historiography and caa.reviews. In line with his chapter in this volume, his current book project examines the role of colour symbolism in German modern art and literature, especially in works by Blaue Reiter artists.
Rose-Carol Washton Long is Professor Emerita of Art History at the Graduate Center of the City University of New York. Particularly concerned with the relation of art to politics and other contextual issues, her special research interests are the visual culture of Germany, Central Europe, and Russia during the last twenty years of the nineteenth and the first half of the twentieth centuries. She was a founding member of the CAA-affiliated Historians of German, Scandinavia, and Central European Art and Architecture (HGSCEA). She has published Kandinsky: The Development of an Abstract Style (Clarendon Press, 1980), edited the anthology, German Expressionism : Documents from the End of the Wilhelmine Empire to the Rise of National Socialism (G. K. Hall, 1993), and has co-edited the anthologies Of ‘Truths Impossible to Put in Words’: Max Beckmann Contextualized (Peter Lang, 2009) and Jewish Dimensions in Modern Visual Culture: Antisemitism, Assimilation, Affirmation (Brandeis University Press/University Press of New England, 2010). Her most recent essay, ‘“Dangerous Portraits?” Lotte Jacobi’s Photos of Uzbek and Tajik Women’, appears in the fall 2019 issue of the Women’s Art Journal. She is working on a book on photography in the Weimar Republic.
Christian Weikop is Senior Lecturer in History of Art at the University of Edinburgh, and is a specialist in modern and contemporary German art. He has taught, supervised, and published extensively in this field, including an edited volume, articles and catalogue essays on the Brücke group and discrete essays on Ernst Ludwig Kirchner, Emil Nolde and Karl Schmidt-Rottluff. He was co-editor of the third volume of The Oxford Critical and Cultural History of Modernist Magazines (2013), devoted to the European avant-garde between 1880 and 1940. Weikop has led major projects for the Tate/National Galleries Scotland ARTIST ROOMS research partnership on August Sander, Joseph Beuys, Gerhard Richter, Georg Baselitz and Anselm Kiefer, and continues to publish on these artists. He is a specialist on Kiefer and wrote an extended catalogue essay for the highly acclaimed Royal Academy of Arts Kiefer retrospective in 2014, a major Tate Kiefer In Focus publication and essays on the artist for Sammlung Marx – 40 Works, a Hamburger Bahnhof and Nationalgalerie Berlin publication in 2019.