Deborah Cherry is Professor of Modern and Contemporary Art at the University of Amsterdam. She has curated a number of exhibitions and published extensively on recent and contemporary art. Her publications include Spectacle and Display, co-edited and introduced with Fintan Cullen, 2008; Location, co-edited and introduced with Fintan Cullen, 2007. The Afterlives of Monuments will be published in 2012.
Angela Dimitrakaki is Lecturer in Contemporary Art History and Theory at the University of Edinburgh. Angela's research focuses on globalisation, labour and biopolitics as key terms in the theorisation of contemporary art. She is the author of a number of articles, essays and interviews including 'Materialist Feminism for the Twenty-first Century: The Video Essays of Ursula Biemann', The Oxford Art Journal (2007), 'Labour, Ethics, Sex and Capital: On Biopolitical Production in Contemporary Art' n.paradoxa (July 2011) and ' Art, Globalisation and the Exhibition Form: What is the Case, What is the Challenge?' Third Text (2012) and of a monograph forthcoming from Manchester University Press, Gender, Art/Work and the Global Imperative: A Materialist-Feminist Critique.
Malin Hedlin Hayden, PhD, is Assistant Professor at the Department of Art History, Stockholm University. She has been Senior Lecturer at the Department of Art History, Uppsala University, the Royal University College of Fine Arts in Stockholm and a Research Associate at the Department of Art History, Uppsala University. She writes on contemporary art practice and is currently working on a study of feminism and video art history. Most recently, Hedlin Hayden was co-editor of and writer for Feminisms Is Still Our Name: Seven Essays on Historiography and Curatorial Practices, (Cambridge Scholars Publishing, 2010).
Lubaina Himid has participated at an international level in exhibitions, conferences, books and films as a painter, writer and curator. Her contribution to the publication (2005) and conference (2001) Shades of Black: Assembling Black Arts in 1980s Britain addressed the importance of black artists archiving the history of their own visual contribution. She has worked extensively with the Tate, most recently curating a collection display at Tate Britain in 2011/12, The Thin Black Line(s) based on her curatorial work in the 1980s; and contributing artwork to the 2012 Tate Britain exhibition, Migrations: Journeys into British Art.
Jo Anna Isaak is Professor of Art History at Fordham University in New York City where she holds the John L. Marion Chair in Art History. Her publications include The Ruin of Representation in Modernist Art and Text (1986), Feminism and Contemporary Art: The Revolutionary Power of Women's Laughter (1996), and numerous articles and catalogue essays. She has organized several art exhibitions, most recently an exhibition of works by artists grappling with ecological problems entitled And For All This, Nature is Never Spent (2009). Currently she is writing a book on art and environmental reform.
Amelia Jones is Professor and Grierson Chair in Visual Culture at McGill University in Montréal. Her recent publications include major essays on Marina Abramovic (in TDR), on feminist art and curating, and on performance art histories, as well as the edited volume Feminism and Visual Culture Reader (2003; new edition 2010). Her book, Self Image: Technology, Representation, and the Contemporary Subject (2006), is followed by two new books in 2012 Seeing Differently: A History and Theory of Identification in the Visual Arts and her major volume, Perform Repeat Record: Live Art in History, co-edited with Adrian Heathfield.
Katrin Kivimaa is a senior researcher at the Estonian Academy of Arts. She holds a PhD in art history from the University of Leeds (2004). Her research focuses on Estonian 20th-century and contemporary art, feminist art history, nationalism and art, and visual culture. Her recent publications include a monograph on National and Modern Femininities in Estonian art, 1850-2000 (Tartu University Press, 2009), a chapter on interwar women artists in the history of Estonian art (2010), and on feminism in the survey of 20th-century philosophical ideas (2009). In 2009-2010, she was part of the research team for the exhibition Gender Check: Femininity and Masculinity in the Art of Eastern Europe (MUMOK, Vienna, Zacheta Gallery, Warsaw).
Alexandra M. Kokoli (BA Thessaloniki, MA Warwick, DPhil Sussex) is Lecturer in Critical and Contextual Studies at Gray's School of Art, The Robert Gordon University, Aberdeen. She writes on feminism, gender and race in visual art and culture and has published in n.paradoxa and Wasafiri, among other journals. She is the editor of Feminism Reframed: Reflections on Art and Difference (Cambridge Scholars Press, 2008); Susan Hiller, The Provisional Texture of Reality: Selected Talks and Texts, 1977-2007 (JRP| Ringier & les presses du réel, 2008), and a contributor to the exhibition catalogue Susan Hiller (Tate Publishing, 2011).
Kuratorisk Aktion [Curatorial Action] is an all-female independent curatorial collective committed to curating radical critique and critical action. The collective was formed in 2005 by Danish curators Frederikke Hansen (b. 1969) and Tone Olaf Nielsen (b. 1967) with an aim to take action against the injustices produced and sustained by global capitalism. Kuratorisk Aktions's productions have probed neocolonial structures of exploitation as well as postcolonial legacies of resistance. Recent projects include Rethinking Nordic Colonialism: A Postcolonial Exhibition Project in Five Acts (2006), The Road to Mental Decolonization (2008), Metropolitan Repressions (2009), TUPILAKOSAURUS: Pia Arke's Issue with Art, Ethnicity, and Colonialism, 1981-2006 (2010), and Troubling Ireland: A Cross-Borders Think Tank for Artists and Curators Engaged in Social Change (2010-11). Websites: www.kuratorisk-aktion.org, www.rethinking-nordic-colonialism.org, www.troublingireland.com
Suzanne Lacy is a visual artist whose prolific career includes performances, video and photographic installation, critical writing and public practices in communities. She is best known as one of the original Los Angeles performance artists and for her international contributions to the art of social engagement. She lectures widely, has published over 70 texts of critical commentary, and has exhibited in The Museum of Contemporary Art in Los Angeles, The New Museum and P.S. 1 in New York, and The Bilbao Museum in Spain. Her book, Mapping the Terrain: New Genre Public Art (1995) was responsible for coining the term and articulating the practice; Leaving Art: Performances, Politics and Publics, The Collected Essays of Suzanne Lacy is published by Duke University Press.
Lucy R. Lippard. Critic, writer, lecturer, teacher and curator of exhibitions in the field of contemporary art, Lucy R. Lippard is also a political activist. She was the founder of feminist art organisations including WEB, The Women's Art Registry, and Heresies: A Feminist Publication on Art and Politics. Among her books are The Pink Glass Swan: Selected Feminist Essays on Art (1995), The Lure of the Local: Sense of Place in a Multicentered Society (1997), Get the Message?: A Decade of Art for Social Change (1984), Mixed Blessings: New Art in a Multicultural America (1990) and Eva Hesse (1976). She is also the author of several recently published essays on feminism and art curating.
Sue Malvern is Senior Lecturer in History of Art at the University of Reading. She has published Modern Art, Britain and the Great War: Witnessing, Testimony and Remembrance, (Yale, 2004, Finalist for the 2006 American Historians of British Art Book Prize) and numerous articles on art and war, museums, feminism and contemporary art. She recently co-directed the research network 'Terrorist Transgressions' and her essay, 'On the Troublesome Relationship of Feminism and Terrorism: Representing the Female Terrorist in Contemporary Art', is forthcoming in Hikel and Schraut, eds., Terrorismus /Geschlecht/ Erinnerung (Campus Verlag, 2012).
Suzana Milevska (PhD, Goldsmiths) is an art theorist and curator interested in the postcolonial critique of hegemonic power in art, feminist art and gender theory, and participatory art. She has been curator of the Open Graphic Art Studio of the Museum of the City of Skopje (1998-2005), the national coordinator for the International Istanbul Biennale (1994-1999) and curator of the exhibition Workers' Club, part of the International Art Biennale in Prague (2005). Her many publications include Gender Difference in the Balkans (Saarbrucken, Germany: 2010) and The Renaming Machine. Suzana teaches art history and theory at the Faculty of Fine Arts in Skopje, Macedonia.
Bojana Pejic studied History of Art at Belgrade University. From 1977 to 1991 she was a curator at Belgrade University's Student Cultural Centre and also worked as an editor for the art theory journal Moment. Bojana was chief curator of After the Wall - Art and Culture in Post-Communist Europe, organized by the Moderna Museet, Stockholm (1999), shown also in Budapest (2000) and Berlin (2000-2001). She was chief curator of Gender Check: Femininity and Masculinity in the Art of Eastern Europe, shown at MUMOK (Vienna) in 2010/11 and at Zacheta National Gallery of Modern Art in Warsaw. She edited Gender Check: A Reader – Art and Theory in Eastern Europe (2010).
Lara Perry is Principal Lecturer in the School of Humanities at the University of Brighton. Her book History's Beauties: Women in the National Portrait Gallery 1856-1900 (2006) is a study of the collection, administration and audience of the museum, and she takes a similarly broad view of Tate Modern in this book. Lara was the lead applicant in the Leverhulme international research network that investigated 'Transnational Perspectives on Women's Art, Feminism and Furating' (2010-12), and one of the organizers of Civil Partnerships, a programme of exhibition and debates on feminist and queer curating at the University of Brighton with a symposium at Tate Modern in May 2012.
Nancy Proctor is Head of Mobile Strategy and Initiatives at the Smithsonian, co-chairs of the Museums and the Web conference, and is Digital Editor of Curator: The Museum Journal. With a PhD in art history, Nancy Proctor published her first online exhibition in 1995 and co-founded TheGalleryChannel.com with Titus Bicknell. TheGalleryChannel was acquired by Antenna Audio, where Nancy led the development of mobile platforms for museums from 2000-2008. She was Head of New Media at the Smithsonian American Art Museum 2008-2010, has served as program chair for the Museums Computer Network (MCN) conference, co-organized the Tate Handheld conference and founded MuseumMobile.info.
Helena Reckitt is an independent curator and critic and Senior Lecturer in Curating at Goldsmiths College, University of London. She has previously held curatorial and programming roles at the Power Plant, Toronto, the Atlanta Contemporary Art Center, Georgia, and the ICA, London. Reckitt is editor of Art and Feminism (Phaidon Press, 2001), a sourcebook which has been reissued numerous times and translated into several languages. Currently she is curating one zone for Nuit Blanche, Toronto, 2012, with works by artists including the Trisha Brown Dance Company, Ruth Ewan, Oliver Husain, and Katie Patterson, and organizing a solo show for Oakville Galleries, Ontario, with the artist Keren Cytter.
Jessica Sjöholm Skrubbe, PhD, holds a research position at the Department of Art History, Stockholm University. She has been Senior Lecturer in Art History and Gender Studies since 2003. Her research has focused primarily on public art, gendered representations in modern art, and contemporary exhibition practices. She is currently working on representations of masculinity and femininity in art and exhibition practices during the First World War, and has started research for a book on the Berlin gallery Der Sturm. She was co-editor of and writer in Feminisms Is Still Our Name: Seven Essays on Historiography and Curatorial Practices (Cambridge Scholars Publishing, 2010).
Jeannine Tang teaches contemporary art and curatorial history as Academic Advisor at Center for Curatorial Studies, Bard College, while completing her doctoral dissertation on conceptualism and media theory at the Courtauld Institute of Art. Previously a fellow at the Smithsonian American Art Museum, she is also an alumna of the Whitney Independent Study Program's Critical Studies track. Her writing appears in venues including Artforum; Afterimage; Theory, Culture and Society; journal of visual culture. Her essay "Future Circulations: On the Work of Hans Haacke and Maria Eichhorn" is forthcoming in the edited volume Provenance: Transferal and Transformation (Getty Research Institute).
Catherine Wood is Curator of Contemporary Art/Performance at Tate Modern. She initiated the Live programme at Tate in 2003 and has produced projects with artists including Mark Leckey, Jiri Kovanda, Joan Jonas, Keren Cytter, Michael Clark and Katerina Seda. She has co-curated major exhibitions including The World as a Stage (2008) and Pop Life (2009) and programmed the live series for the Tate Triennial 2006. Author of Yvonne Rainer: The Mind is a Muscle for MIT Press, she also contributes to journals such as ARtforum and Afterall. She is planning the opening programme for the Oil Tank spaces at Tate Modern in 2012, and an exhibition about painting and performance titled: A Bigger Splash (2012).
