Читать книгу A Concise Companion to Visual Culture - Группа авторов - Страница 11

Kate Palmer Albers is associate professor of art history at Whittier College in Los Angeles. Her research interests include the role of ephemerality in photographic experience; narrative, biography, and archive in relation to visual art; mapping and landscape; and emerging technologies of computer vision and machine learning. Albers is the author of Uncertain Histories: Accumulation, Inaccessibility, and Doubt in Contemporary Photography (2015) and co‐editor, with Jordan Bear, of The Night Albums: Visibility and the Ephemeral Photograph (forthcoming, 2021).

Aubrey Anable is associate professor of film studies in the School for Studies in Art and Culture at Carleton University in Ottawa. She is the author of Playing with Feelings: Video Games and Affect, published by the University of Minnesota Press in 2018. Her research on digital media history and aesthetics, video games, and theories of affect has appeared in the journals Feminist Media Histories, Afterimage, Television & New Media, Ada, and various edited collections.

Ross Barrett is associate professor of art history at Boston University. He is the author of Rendering Violence: Riots, Strikes, and Upheaval in Nineteenth‐Century American Art (2014), and co‐editor, with Daniel Worden, of Oil Culture (2014). His current book project examines five American artists who painted and speculated on real estate during the nineteenth century.

Jane Blocker is professor of art history at the University of Minnesota. Her most recent book is Becoming Past: History in Contemporary Art (2015). She has published articles in Performance Research, Grey Room, Art Journal, Camera Obscura, Cultural Studies, Visual Resources, and Performing Arts Journal and contributed essays to anthologies including Perform, Repeat, Record: Live Art in History; The Aesthetics of Risk; After Criticism: New Responses to Art and Performance; and The Ends of Performance.

Eugenie Brinkema is associate professor of contemporary literature and media at the Massachusetts Institute of Technology. Her first book, The Forms of the Affects, was published in 2014, and her articles have appeared in numerous journals such as Angelaki, Camera Obscura, Criticism, differences, Discourse, Journal of Speculative Philosophy, Journal of Visual Culture, LIT, Polygraph, qui parle, and World Picture.

Margot Bouman is assistant professor of visual culture at the New School. Her research addresses the interplay between the neo‐avant‐garde and broadcast television, as well as sampling in contemporary art. Her monograph, Cut, Shift, Paste: Recursive Systems in Contemporary Art is under contract with Bloomsbury Publishing. It addresses sampling’s structural affinities with knowledge production systems such as serialism, the grid, and online information distribution. Bouman’s work has appeared in Parachute, Etc. and the Journal of Curatorial Studies.

Joel Burges is associate professor of English and director of the Graduate Program in Visual and Cultural Studies at the University of Rochester, where he is also faculty in Film and Media Studies and Digital Media Studies. He is the author of Out of Sync & Out of Work: History and the Obsolescence of Labor in Contemporary Culture (Rutgers UP, 2018) and co‐editor, with Amy J. Elias, of Time: A Vocabulary of the Present (NYU Press, 2016). He is at work on two books. The first is Television and the Work of Writing, which focuses on the figure of the television writer from Carl Reiner and Rod Serling to Issa Rae and Michaela Coel; the second is Late Bourgeois Unities: Class Morbidity and Racial Informality in the 21st Century World. He also recently co‐edited “Black Studies Now and the Countercurrents of Hazel Carby” with Alisa V. Prince and Jeffrey Allen Tucker for InVisible Culture.

Lisa Cartwright is professor of visual arts, communication and science studies at the University of California at San Diego, where she heads the Program in Speculative Design. She is the author of Screening the Body: Tracing Medicine’s Visual Culture (1995) and Moral Spectatorship: Technologies of Voice and Affect in Postwar Representations of the Child (2008), and co‐author, with Marita Sturken, of Practices of Looking: An Introduction to Visual Culture (3rd edn. 2018). She works at the intersection of art and media studies and feminist science and technology studies.

Irene Cheng is an architectural historian and theorist and associate professor of architecture at the California College of the Arts. She co‐edited, with Bernard Tschumi, The State of Architecture at the Beginning of the 21st Century (2003) and, with Charles L. Davis II and Mabel O. Wilson, Race and Modern Architecture: A Critical History from the Enlightenment to the Present (2020).

Laurie Beth Clark is an artist, scholar of trauma tourism, and professor of art at the University of Wisconsin‐Madison. Together with Michael Peterson, she co‐founded the arts collaborative Spatuala&Barcode (www.spatulaandbarcode.net), which has produced social practice participatory projects around the world. The two of them have published in diverse journals and collections and co‐edited a special issue of Performance Research titled “On Generosity.”

Douglas Crimp was an art critic and the Fanny Knapp Professor of Art History at the University of Rochester. He was the author or editor of numerous books, including Pictures, AIDS: Cultural Analysis/Cultural Activism, On the Museum’s Ruins, “Our Kind of Movie”: The Films of Andy Warhol, Before Pictures, and the forthcoming Dance Dance Film.

Jon Davies is a PhD candidate in art history at Stanford University. He has a background in film and queer studies, and worked as a contemporary art curator in Toronto for several years. His writing has been published widely, including in C Magazine, Canadian Art, Criticism, Fillip, Frieze, GLQ, and Master Drawings; he also co‐edited issue #5 of Little Joe magazine with Sam Ashby. He wrote a book about Andy Warhol and Paul Morrissey’s film Trash (Arsenal Pulp Press, 2009), and his edited anthology More Voice‐Over: Colin Campbell Writings is forthcoming from Concordia University Press. His dissertation research focuses on the intertwining of artistic and sexual experimentation and queer pedagogy in San Francisco from 1945–1995.

T. J. Demos is a cultural critic, professor of visual culture at University of California, Santa Cruz, and director of its Center for Creative Ecologies. He is the author of numerous books, including Against the Anthropocene: Visual Culture and Environment Today (2017), Decolonizing Nature: Contemporary Art and the Politics of Ecology (2016), and most recently, Beyond the World’s End: Arts of Living at the Crossing (2020).

Chad Elias teaches at Dartmouth College and publishes on contemporary art. In his research he looks expansively across geographies and media to engage with debates about archival knowledge, the epistemological status of images, the political claims of contemporary visual cultures, and speculative and conceptual futures. Through an attention directed not only to social conflicts, but also to planetary‐scale environmental and technological transformations, his work reconsiders the role of humans within emergent systems of image production and exchange.

Meggan Gould is a photographer living and working outside of Albuquerque, New Mexico, where she is associate professor of art at the University of New Mexico. Her work has been exhibited in the United States and internationally and is part of many private, corporate, and public collections, for example the DeCordova Museum, the New Mexico Museum of Art, Light Work, and the University of New Mexico Art Museum. Her multifaceted practice uses photography, drawing, sculpture, and installation in an open‐ended dissection of vision and photographic tools.

James J. Hodge is associate professor in the Department of English and in the Alice Kaplan Institute for the Humanities at Northwestern University. His essays on digital aesthetics have been published in Critical Inquiry, Film Criticism, Postmodern Culture, ASAP/Journal, and elsewhere. He is the author of Sensations of History: Animation and New Media Art (2019).

Louis Kaplan is professor of history and theory of photography and new media at the University of Toronto. He is the author of numerous books and essays including Photography and Humour (2017) and, most recently, At Wit’s End: The Deadly Discourse on the Jewish Joke (2020). His article “Did you hear the one about Žižek and The Aristocrats?” is forthcoming in CR: The New Centennial Review. Kaplan also collaborates with artist Melissa Shiff on research‐creation projects in augmented and virtual reality.

Gloria C. S. Kim is assistant professor of media and culture at the University of California‐Riverside. Her research specializes in the areas of visual culture, the environmental humanities, and science and technology studies. She has published articles in Configurations, ASAP/J, and Consumption, Markets and Culture.

Eve Meltzer is associate professor of visual studies at New York University’s Gallatin School of Individualized Study, and an affiliate faculty member in the Department of Art History. She is the author of Systems We Have Loved: Conceptual Art, Affect, and the Antihumanist Turn (2013). Her current book project, Not‐Me, Mine, Ours: Belonging and Psychic Life after Photography, wagers that the relationship between the psyche and the camera is more intimate and important than we have yet to describe, particularly as it pertains to claims of belonging.

Richard Meyer is Robert and Ruth Halperin Professor in Art History at Stanford University and author of Outlaw Representation: Censorship and Homosexuality in Twentieth‐Century American Art and What Was Contemporary Art? With Peggy Phelan, he wrote Contact Warhol: Photography without End and co‐curated the exhibition of the same title. With Catherine Lord, he is the author of Art and Queer Culture (an updated edition of which appeared in 2019 to mark the 50th anniversary of the Stonewall Riots). He is currently writing Master of the Two Left Feet: Morris Hirshfield Rediscovered, the first book‐length study of a Brooklyn tailor and slipper‐maker who, against all odds, achieved international recognition as a self‐taught painter in the 1940s. A Hirshfield retrospective organized by Meyer will open in October 2022 at the American Folk Art Museum in New York.

W. J. T. Mitchell is the author of numerous books and articles on visual culture, media aesthetics, and iconology. He teaches literature, film, and the visual arts at the University of Chicago, where he is the editor of Critical Inquiry. His books include Iconology, Picture Theory, What Do Pictures Want?, and Image Science. He is currently at work on a book entitled Seeing Through Madness: Insanity, Media, and Visual Culture.

Derek Conrad Murray is an interdisciplinary theorist specializing in the history, theory, and criticism of contemporary art and visual culture. He is professor of history of art and visual culture at the University of California, Santa Cruz. Murray is the author of Queering Post‐Black Art: Artists Transforming African–American Identity after Civil Rights (2016) and Mapplethorpe and the Flower: Radical Sexuality and the Limits of Control (2020).

Franny Nudelman is professor in the Department of English Language and Literature at Carleton University in Ottawa, where she teaches US culture and writes about war, protest, and documentary. She is the author of John Brown’s Body: Slavery, Violence, and the Culture of War (2004) and Fighting Sleep: The War for the Mind and the US Military (2019) and coeditor, with Sara Blair and Joseph Entin, of Remaking Reality: US Documentary Culture after 1945 (2018).

Michael Peterson is an artist and a scholar of performance and popular cultures. He is professor of art and founding member in Interdisciplinary Theater Studies at the University of Wisconsin‐Madison. Together with Laurie Beth Clark, he co‐founded the arts collaborative Spatuala & Barcode (www.spatulaandbarcode.net), which has produced social practice participatory projects around the world. The two of them have published in diverse journals and collections and co‐edited a special issue of Performance Research titled “On Generosity.”

Lane Relyea is an art historian and critic who has written about contemporary art for more than thirty‐five years for a variety of books, journals, and museum catalogues. He is a member of the College Art Association and from 2012 to 2015 served as editor‐in‐chief of its quarterly publication Art Journal. His book Your Everyday Art World was published in 2013.

Scott C. Richmond is associate professor in the Cinema Studies Institute at the University of Toronto, where his work focuses on film and media theory, experimental media practice, and the history of computational media. He has published in Cinema Journal, the Journal of Visual Culture, and Discourse. He is the author of two books: Cinema’s Bodily Illusions: Flying, Floating, and Hallucinating (2016), and Find Each Other: Networks, Affects, and Other Queer Encounters (forthcoming).

A. Joan Saab is the Susan B. Anthony Professor of Art and Art History and vice provost of academic affairs at the University of Rochester. She is the author of For the Millions: American Art and Culture Between the Wars (2004, 2nd edn. 2009); Searching for Siqueiros, written on the digital publishing platform Scalar; and Objects of Vision: Making Sense of What We See (2020).

Marquard Smith is a founder and the editor‐in‐chief of Journal of Visual Culture, programme leader of the Museums and Galleries in Education MA at the UCL Institute of Education, London, and professor of artistic research at Vilnius Academy of Arts, Lithuania.

Sarah E. K. Smith is assistant professor in communication and media studies at Carleton University in Canada. Her research examines contemporary art, cultural labor, museums, and cultural diplomacy. Recent publications include General Idea: Life and Work (2016). She is co‐founder of the North American Cultural Diplomacy Initiative, a Fellow of the Canadian Global Affairs Institute, and in 2015 held the Canada‐US Fulbright Visiting Research Chair in Public Diplomacy at the University of Southern California.

Braxton Soderman is assistant professor in the Department of Film & Media Studies at the University of California, Irvine. He researches digital media, video games, new media aesthetics, the history of technology, and critical theory. He is the author of Against Flow: Video Games and the Flowing Subject (2021). He has published articles in the Journal of Visual Culture, Space and Culture, differences: A Journal of Feminist Cultural Studies, Games and Culture, Transformative Works and Cultures, and elsewhere.

Marita Sturken is professor in the Department of Media, Culture, and Communication at New York University, where she teaches courses in visual culture, cultural memory, and consumerism. She is the author of Tangled Memories: The Vietnam War, the AIDS Epidemic, and the Politics of Remembering (1997) and Tourists of History: Memory, Kitsch, and Consumerism From Oklahoma City to Ground Zero (2007) and co‐author, with Lisa Cartwright, of Practices of Looking: An Introduction to Visual Culture (3rd edn. 2018).

Norman Vorano is associate professor and Head of the Department of Art History and Art Conservation at Queen’s University in Canada. His work focuses on Indigenous arts of North America, museum culture, and material studies. He edited Inuit Prints, Japanese Inspiration: Early Printmaking in the Canadian Arctic (2011) and curated Picturing Arctic Modernity: North Baffin Drawings from 1964 (2017–19). From 2005 to 2014 he was the Curator of Contemporary Inuit Art at the Canadian Museum of History, Canada’s national museum.

Sharon Willis is professor of art history and visual and cultural studies at the University of Rochester. A co‐editor of Camera Obscura, she is the author of Marguerite Duras: Writing on the Body; High Contrast: Race and Gender in Contemporary Hollywood Films; and The Poitier Effect: Racial Melodrama and Fantasies of Reconciliation.

Catherine Zuromskis is associate professor in the School for Photographic Arts and Sciences at Rochester Institute of Technology. She is the author of Snapshot Photography: The Lives of Images (2013), and The Factory (2012). Her writings on photography, film, and visual culture have appeared in American Quarterly, Archives of American Art Journal, Art Journal, The Velvet Light Trap, Photography & Culture, Criticism and various edited volumes.