Zainab Bahrani, Ph.D., is the Edith Porada Professor of Ancient Near Eastern Art History and Archaeology and the director of graduate studies in the Department of Art History and Archaeology at Columbia University, New York. A native of Baghdad, Iraq, her research focuses on the art and archaeology of Mesopotamia and the eastern Mediterranean, philosophies of aesthetics and representation, gender and feminist theories. Prior to her position at Columbia, Bahrani taught at the State University of New York at Stony Brook and the University of Vienna, Austria. She has also worked as a curator in the Near Eastern Antiquities Department of the Metropolitan Museum of Art and has been most recently elected to the Slade Professorship in the Fine Arts at the University of Oxford. Bahrani has authored, co-authored, and edited a number of books, including Rituals of War: the Body and Violence in Mesopotamia, The Graven Image: Representation in Babylonia and Assyria, and Women of Babylon: Gender and Representation in Mesopotamia. She received her M.A. and Ph.D from the Institute of Fine Arts, New York University.
Marla C. Berns, Ph.D, is the director of the Fowler Museum at UCLA and is adjunct professor of art history. Berns was formerly director of the University Art Museum at the University of California, Santa Barbara, and the Goldstein, a museum of design at the University of Minnesota. Her research and writing have concentrated on women’s arts in Northeastern Nigeria—which include ceramics, decorated gourds and programs of body scarification—and on the historical and ritual importance of figurative ceramic vessels. Exhibitions she has curated feature topics on twentieth-century art and design, including solo projects on the artists Magdalene Odundo and Renee Stout. She is currently organizing a major exhibition on the arts of the Benue River Valley, Central Nigeria. Berns received her Ph.D. in art history from UCLA.
Andrew Bolton is a curator at the Costume Institute at the Metropolitan Museum of Art. He has curated several exhibitions including, “Bravehearts: Men in Skirts,” “Dangerous Liaisons: Fashion and Furniture in the 18th Century,” “AngloMania: Tradition,” and “Transgression in British Fashion,” and “Superheroes: Fashion and Fantasy.” Bolton is a regular contributor to newspapers and journals and has written many books to accompany his exhibitions. Prior to joining the Metropolitan Museum of Art, Bolton held positions in contemporary fashion at the Victoria and Albert Museum and the London College of Fashion.
Stephen J. Campbell, Ph.D., is a professor of the history of art at Johns Hopkins University, where he specializes in Italian art of the fifteenth and sixteenth centuries. Prior to joining the Johns Hopkins faculty, Campbell taught at the University of Pennsylvania, the University of Michigan, and Case Western University. He has also held post-doctoral fellowships at the Center for Advanced Study in the Visual Arts at the National Gallery in Washington, D.C., the Harvard University Center for Italian Renaissance Studies at Villa I Tatti in Florence, and the Metropolitan Museum of Art in New York. Campbell has authored many articles and books, including Cosmè Tura of Ferrara and The Cabinet of Eros. Campbell received his B.A. from Trinity College, Dublin, his M.A. from the University of North Carolina, and his Ph.D. from Johns Hopkins.
Christa Clarke, Ph.D., a specialist in historic and contemporary arts of Africa, is senior curator of arts of Africa and the Americas and curator of arts of Africa at the Newark Museum. Prior to this appointment, she served as the first curator of African art at the Neuberger Museum of Art and was a curatorial advisor for the Barnes Foundation, the Philadelphia Museum of Art, the Kreeger Museum, and the World Bank. She has held teaching appointments at George Washington University, the Corcoran School of Art, Rutgers University, and Purchase College, SUNY, and fellowships at the National Museum of African Art and the Metropolitan Museum of Art. Clarke is the author of several exhibition catalogues and articles, including an essay on exhibiting African art in Art and Its Publics: Museum Studies for the New Millenium and The Art of Africa: A Resource for Educators. A forthcoming book co-edited with Kathleen Bickford Berzock, Representing Africa in American Art Museums: A Century of Collecting and Display, examines the impact that museum practice has on the formation of meaning and the public perception of African art. Clarke received her B.A. from the University of Virginia and M.A. and Ph.D. from the University of Maryland.
Anne D’Alleva, Ph.D., is an associate professor of art history and women’s studies at the University of Connecticut. D’Alleva is the author of Art of the Pacific Islands, Sacred Maidens and Masculine Women: Art, Gender, and Power in Post-Contact Tahiti. She has also written several books on the discipline of art history. These include Look! The Fundamentals of Art History, Look Again! Art History and Critical Theory, How to Write Art History, and Methods and Theories of Art History. D’Alleva’s work has earned her grants from the National Endowment for the Humanities, the Getty Foundation, the Metropolitan Museum of Art, and the Woodrow Wilson Foundation. She received her B.A. from Harvard University and her M.A. and Ph.D. from Columbia University.
Vidya Dehejia, Ph.D., is the Barbara Stoler Miller Professor of Indian and South Asian Art at Columbia University. Prior to her position at Columbia, Dehejia was the deputy director and chief curator of the Smithsonian’s Freer Gallery of Art and Arthur M. Sackler Gallery. She also previously taught at Sarah Lawrence College, the University of Chicago, the University of Hong Kong, and the Delhi School of Planning and Architecture. Over the course of her career, Dehejia has focused her research on Indian and South Asian art, specifically Indian sculpture and architecture. Her interests range from Buddhist and colonial India to issues of gender and visual narrative. She has conducted extensive field research in South and Southeast Asia and possesses a background in classical Sanskrit and Tamil. Dehejia is a prolific writer who, in addition to numerous articles, has authored over twenty books. Her works include Indian Art, The Sensuous and the Sacred: Chola Bronzes from South India, Representing the Body: Gender Issues in Indian Art, and most recently, The Body Adorned: Sacred and Profane in Indian Art. She has been honored with Columbia University’s Hettleman Award for teaching and service, a Guggenheim and an NEH Fellowship. Dehejia received her B.A., M.A., and Ph.D. from Cambridge University. She also holds a B.A. from St. Xavier’s College, Bombay University.
RoseLee Goldberg is the founding director and curator of PERFORMA, a non-profit, multi-disciplinary arts organization. Prior to founding PERFORMA, Goldberg held positions as the director of the Royal College of Art Gallery and curator at The Kitchen in New York. She is the author of Performance Art from Futurism to the Present. Goldberg teaches at New York University and has lectured at Princeton University, the Architectural Association, and Yale University. She commissioned and produced “Logic of Birds,” a touring multi-media performance by artist and filmmaker Shirin Neshat, and organized the performance series, “Six Evenings of Performance,” which was part of the Museum of Modern Art’s “High and Low: Modern Art and Popular Culture” exhibition. A native of South Africa, Goldberg studied at Wits University in Johannesburg and graduated from the Courtland Institute of Art in London.
Rosemary Joyce, Ph.D., is an archaeologist and professor of anthropology at the University of California, Berkeley, where she teaches courses on the archaeology of the Maya and Central America, archaeological method and theory, and museum studies, among other topics. She has also conducted field research and curated exhibitions in both North America and Honduras. Joyce joined the Berkeley faculty as director of the Phoebe Apperson Hearst Museum of Anthropology, after serving as director and curator at the Peabody Museum of Harvard University where she was on the faculty in Anthropology. Joyce has published a number of works, including Ancient Bodies, Ancient Lives: Sex, Gender, and Archaeology and Mesoamerican Archaeology: Theory and Practice, Gender and Power in Prehispanic Mesoamerica. She earned her A.B. from Cornell University and her Ph.D. from the University of Illinois at Urbana-Champaign.
Pepe Karmel, Ph.D., is associate professor of art history and chair of the Department of Art History at New York University. His research interests include Picasso, Pollock, Cubism, Abstraction, Minimalism, and contemporary art. He has curated or co-curated numerous exhibitions, including “New York Cool: Painting and Sculpture from the NYU Art Collection,” “The Age of Picasso: Gifts to American Museums,” and “Jackson Pollock” for the Museum of Modern Art in New York. Author of the book Picasso and the Invention of Cubism, Karmel is also a frequent contributor to exhibition catalogues and has written for Art in America and the New York Times. He received his B.A. from Harvard College and his Ph.D. from New York University.
Shigeyuki Kihara is a visual and performance artist based in Auckland, New Zealand. A native of Samoa, her work explores themes of representation, authenticity, consumerism, collective memory, gender roles and spirituality. Kihara represented New Zealand at the 4th Asia Pacific Triennial of Contemporary Art (2002). Recipient of both the Emerging Pacific Artist Award (2003) and Pacific Innovation & Excellence Award (2009) from Creative New Zealand Arts Council, Kihara has held solo exhibitions worldwide, including Shigeyuki Kihara; Living Photographs at the Metropolitan Museum of Art in New York. Kihara has also contributed to group exhibitions at the Shanghai Zendai Museum of Modern Art, China; Kaohsiung Museum of Fine Arts, Taiwan; Centro Ricerca Arte Attuale, Italy; and National Museum of Poznan, Poland. Kihara has undertaken residencies at Physics Room Contemporary Art Space, New Zealand, and Campbelltown Arts Centre, Australia. Her work is represented in the private collection of Giorgio Armani and is part of the public collections of Te Papa Tongarewa Museum of New Zealand; Sherman Contemporary Arts Foundation, Australia; and the Metropolitan Museum of Art, New York. Kihara was recently profiled in Rolling Stone magazine (Italy) and was selected as one of five “path-breaking artists” by ArtAsiaPacific Almanac magazine NYC for 2009.
Carolee Schneemann is a multidisciplinary artist whose work explores gender, sexuality, and the body. Her painting, photography, performance art, and installation works have been shown at the Los Angeles Museum of Contemporary Art, the Whitney Museum of American Art, the Museum of Modern Art, New York, Centre Georges Pompidou, and the New Museum of Contemporary Art in New York. She has taught at New York University, California Institute of the Arts, Bard College, and the School of the Art Institute of Chicago. Schneemann is the author of numerous books, including Cezanne, She Was A Great Painter, Early and Recent Work, More Than Meat Joy: Performance Works and Selected Writings, and Imaging Her Erotics. Her many honors include the Art Pace International Artist Residency, a Pollock-Krasner Foundation Grant, a Guggenheim Fellowship, a Gottlieb Foundation Grant, and a National Endowment for the Arts Fellowship. Schneemann received a B.A. from Bard College and an M.F.A. from the University of Illinois. She holds honorary doctor of fine arts degrees from the California Institute of the Arts and the Maine College of Art.
Susan Sidlauskas, Ph.D., is an associate professor of art history and graduate program director at Rutgers University. Sidlauskas specializes in nineteenth- and early twentieth-century art and theory, gender studies, interiority in representation, and contemporary art. Prior to her work at Rutgers, Sidlauskas held positions at the Museum of Fine Arts, Boston and the Committee on the Visual Arts at MIT. She has taught at both Columbia University and the University of Pennsylvania, where she was on the faculty for eleven years. Sidlauskas has written two books, Cezanne’s Other: The Portraits of Hortense and Body, Place, and Self in Nineteenth-Century Painting. She has also contributed to Skin and Bones: Parallel Practices in Fashion and Architecture, edited by Brooke Hodge for the Los Angeles Museum of Contemporary Art. She served on the Committee on Nomination to Phi Beta Kappa and is a recipient of the University of Pennsylvania’s Ira Abrams Memorial Award for Distinguished Teaching. Sidlauskas holds a B.A. from the University of Massachusetts, Amherst, and a Ph.D. from the University of Pennsylvania.
Andrew Stewart, Ph.D., is Nicholas C. Petris Professor of Greek Studies at the University of California, Berkeley, and Director of the UC Berkeley excavation team at Tel Dor, Israel. Stewart’s research focuses on ancient Greek art and culture and the later reception of Greek sculpture. Stewart has earned grants and fellowships from the Getty Foundation, the American Council of Learned Societies, and the Guggenheim Foundation. A recipient of Berkeley’s Distinguished Teaching Award, Stewart has also taught at Cambridge University, Columbia University, and the University of Otago in New Zealand. Some of his published works include Greek Sculpture: An Exploration (winner of the Wittenborn Memorial Book Award and the Award for Excellence in Professional and Scholarly Publishing); Art, Desire, and the Body in Ancient Greece; and most recently, Classical Greece and the Birth of Western Art. Stewart earned his B.A., M.A., and Ph.D. from Cambridge University.
Deborah Vischak, Ph.D., is a lecturer and postdoctoral fellow in the Department of Art and Archaeology at Princeton University. Vischak specializes in the areas of ancient Egyptian art, archaeology, and history. She has also served as a lecturer at Columbia University. She holds a B.A. from the University of Pennsylvania and a Ph.D. from the Institute of Fine Arts at New York University.