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.
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