David Bernstein, Ph.D., is a professor of European and English History at Sarah Lawrence College, where he specializes in social, religious, artistic, and cultural history of late antiquity and the Middle Ages. Courses he teaches include Art and the Sacred in Late Antiquity and Medieval Europe, The Medieval Foundations of English Art and History: An Interdisciplinary Workshop, and From the Catacombs to Chartres: A Research Seminar in Christian Iconography. Author of The Mystery of the Bayeux Tapestry, Bernstein has received grants from the National Endowment for the Humanities, the American Philosophical Society, and the American Council of Learned Societies. He holds a B.A. from Brandeis University and an M.A. and Ph.D. from Harvard University.
Judith Bettelheim, Ph.D., professor of art history at San Francisco State University, specializes in arts of the African Diaspora, Afro-Caribbean culture and festivals, multicultural American art, and Cuban art. She has worked in the Caribbean and in Cuba for various projects, including the exhibitions “Caribbean Festival Arts” and “AFROCUBA: Works on Paper.” She is the author of Cuban Festivals: a Century of Afro-Cuban Culture.
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.
CHiXapkaid (Michael Pavel), Ph.D., is an artist and traditional bearer for the tuwaduq Nation. CHiXapkaid currently serves as a professor in the Department of Educational Leadership and Counseling Psychology in the College of Education at Washington State University. He was previously a co-director of Oksale, a teacher preparation program through Washington State University and Northwest Indian College. CHiXapkaid has authored and co-authored many books, reports for foundations, and articles including, “American Indian Stories Enrich Intervention” in the ASHA Leader and “The American Indian and Alaska Native Student’s Guide to College Success.” In addition, he has served as a consultant for organizations such as Save the Children and the Muckleshoot Indian Nation and has received grants and honors from a variety of institutions. A frequent lecturer and a member of many committees and organizations, CHiXapkaid holds a B.A. from the University of Puget Sound and a M.Ed. and Ph.D. from Arizona State University.
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.
Roy W. Hamilton is curator for Asian and Pacific collections at the Fowler Museum at UCLA. In this capacity, he has developed and executed many Asian and Pacific art exhibitions. Hamilton is the author of several books, including The Art of Rice: Spirit and Sustenance in Asia, From the Rainbow’s Varied Hue: Textiles of the Southern Philippines, and Gift of the Cotton Maiden: Textiles of Flores and the Solor Islands. In 2006–07, Hamilton received a curatorial fellowship from the Getty Foundation for his research on the textiles of Timor.
Patrick Hunt, Ph.D., teaches art history, mythology, and classics at Stanford University and serves as the director of the Stanford Alpine Archaeology Project in France, Italy, and Switzerland. Hunt has led archaeology exhibitions worldwide, including the Hannibal Expedition, sponsored by the National Geographic Society. He has been honored as a fellow of the Royal Geographical Society and has authored numerous publications, including Ten Discoveries That Rewrote History and Myths for All Time. Hunt is also an avid musician, composer, and artist. He earned his Ph.D. from the University of London’s Institute of Archaeology.
Santhi Kavuri-Bauer, Ph.D., is an assistant professor of art history at San Francisco State University. Her areas of interest include South Asian visual culture, colonial and postcolonial cultural theory, contemporary Asian art, Asian American art, and Islamic art and architecture. Among the courses she has taught or developed are Arts of Asia, The Islamic World, and Asian American Art. Her current book project examines the modern spatial significance and history of Mughal monuments in India. Kavuri-Bauer received her Ph.D. from the University of California, Los Angeles.
Kay-UAmihs (Winona Plant) is a traditional bearer of the tuwaduq Nation, traditional native plant gatherer, and artist. A first generation Twana Dancer, she received a B.A. from Evergreen State College. Kay-UAmihs is the personnel manager for the Skokomish Indian Tribe.
Babatunde Lawal, Ph.D., is a professor of art history at Virginia Commonwealth University in Richmond, Virginia, where he specializes in African, African American, and African Diaspora art. Lawal has conducted field work in Nigeria, Zimbabwe, Republic of Benin, Brazil, and the U.S. In addition to his position at VCU, Lawal has taught at several other universities in the U.S., Africa, and Brazil. His publications include The Gelede Spectacle: Art, Gender, and Social Harmony in African Culture, Embodying the Sacred in Yoruba Art, and several articles in leading art journals. Lawal holds a Ph.D. in art history from Indiana University.
Mary Nooter Roberts, Ph.D., is a professor of culture and performance in the Department of World Arts and Cultures at UCLA and is a prominent scholar of African art. Roberts was formerly the chief curator and deputy director of UCLA’s Fowler Museum, and senior curator of the Museum for African Art in New York. She has organized and curated numerous exhibitions and authored articles and books on African art and culture. “A Saint in the City: Sufi Arts of Urban Senegal,” co-curated with her spouse, Dr. Allen F. Roberts, was hailed by the New York Times as one of the ten best of 2003 and the accompanying book won both the Herskovits Award and the Arnold Rubin Outstanding Publication Award. Other books and exhibitions that she and her husband have collaborated on include Memory: Luba Art and the Making of History, which won the College Art Association’s Alfred Barr Award for Outstanding Museum Scholarship and A Sense of Wonder: African Art from the Faletti Family Collection. Roberts received her Ph.D. from Columbia University.
Tavia Nyong’o, Ph.D., is associate professor of performance studies at New York University. He is the author of The Amalgamation Waltz: Race, Performance, and the Ruses of Memory and articles in the Nation, Social Text, Radical History Review, and Women & Performance. He has received fellowships from the Javits, Ford, and Marshall Foundations. Nyong’o has a B.A. from Wesleyan University and a Ph.D. from Yale University.
Nasser Rabbat, Ph.D., is the Aga Khan Professor at Massachusetts Institute of Technology. In addition to being an architect, Rabbat is a historian with a focus on Islamic architecture, urban history, and post-colonial studies. His books include The Citadel of Cairo: A New Interpretation of Royal Mamluk Architecture, Making Cairo Medieval, and L’art Islamique à la recherche d’une méthode historique. He serves on the boards of several organizations devoted to Islamic studies and delivers lectures around the world.
Jeff Spurr is an Islamic and Middle East specialist at the Documentation Center of the Aga Khan Program for Islamic Architecture, Fine Arts Library, Harvard University. An authority on historical textiles, Spurr is on the advisory committees of several art institutions. He is also an active leader in efforts to restore libraries in Bosnia, and more recently, Iraq. Spurr is a graduate of the University of Chicago, where he pursued studies in art, archaeology, and anthropology.
sm3tcoom (Delbert Miller) is a cultural leader in the Skokomish House of shLanay, member of the swadash (medicine society) and the sha’laqW (warrior) society, a cultural bearer, or x3ch’usadad (cultural teacher), artist, lecturer, storyteller, grandfather, and husband. He continues to fight for native hunting and fishing rights, as well as environmental and sacred sites issues. This work includes his involvement with the Native American Graves Protection and Repatriation Act. He conducts ceremonial reburials of ancestral remains and leads other ceremonies involving ancestors, repatriation of artifacts, and language preservation. sm3tcoom is currently employed with the Education Department for the Skokomish Tribe, where he continues to learn, study, and teach the history of the tuwaduq people to young and older students. As a member of the Skokomish Tribe, sm3tcoom has never moved away from his ancestral territories and currently lives less than one-fourth of a mile from where he grew up. This proximity has allowed him to remain in close contact with elders (many of whom are gone now).