Allan Antliff, Canada Research Chair at the University of Victoria, is author of Anarchist Modernism: Art, Politics, and the First American Avant-Garde (University of Chicago Press, 2001), Anarchy and Art from the Paris Commune to the fall of the Berlin Wall (Arsenal Pulp Press, 2007), and Joseph Beuys (Phaidon Press, 2013). He is also editor of Only a Beginning: An Anarchist Anthology (Arsenal Pulp Press, 2004) and Director of the University of Victoria's Anarchist Archive. He serves as art editor for the interdisciplinary journals Anarchist Studies and Anarchist Developments in Cultural Studies.
Mark Antliff , Professor of Art History at Duke University, is author of numerous studies on modernism, art and ideology, including Inventing Bergson: Cultural Politics and the Parisian Avant-Garde (Princeton University Press, 1993) and Avant-Garde Fascism: The Mobilization of Myth, Art and Culture in France, 1909-1939 (Duke University Press, 2007). He has also co-edited the volume Fascist Visions: Art and Ideology in France and Italy (Princeton University Press, 1997); and co-authored Cubism and Culture (Thames and Hudson, 2001) and A Cubism Reader: Documents and Criticism, 1906-1914 (University of Chicago Press, 2008), both with Patricia Leighten. Most recently he co-curated the exhibition The Vorticists: Rebel Artists in London and New York, 1914-1918, with Vivien Greene, which opened at the Nasher Museum of Art at Duke University in 2010 and traveled to the Peggy Guggenheim Collection, Venice, and to Tate Britain in 2011. His current book project is titled Sculpture Against the State: Direct Carving, Gaudier-Brzeska and the Cultural Politics of Anarchism.
Rebecca Beasley is University Lecturer in Twentieth and Twenty-First Century Literature in the Faculty of English at the University of Oxford, and a Fellow of The Queen's College. She is the author of Ezra Pound and the Visual Culture of Modernism (Cambridge University Press, 2007), and Theorists of Modernist Poetry: Ezra Pound, T.S. Eliot and T.E. Hulme (Routledge Critical Thinkers series, 2007). She is currently writing a book of the impact of Russian culture on British modernism
Jonathan Black was educated at the Universities of Cambridge and London. His PhD in History of Art was awarded in 2003 by University College, London, for a thesis exploring the image of the British soldier, or "Tommy", in the First World War art of Eric Kennington, C. R. W. Nevinson, and Charles Sargeant Jagger circa 1915-1925. In 2004 he curated the exhibition Blasting the Future: Vorticism in Britain held at the Estorick Collection of Modern Italian Art, London, and the Whitworth Art Gallery, the University of Manchester. Publications include: Form, Feeling and Calculation: The Complete Paintings and Drawings of Edward Wadsworth (Philip Wilson Publishers, 2006); Dora Gordine: Artist, Sculptor, Designer (with Brenda Martin; Philip Wilson Publishers, 2008); The Face of Courage: Eric Kennington, Portraiture and the Second World War (Philip Wilson, 2011) and The Spirit of Faith: The Sculpture of John Bunting (John Bunting Foundation, London, 2012). He has also published widely on Futurism, Vorticism and early Twentieth Century British Art.
Paul Edwards has recently retired as Professor of English and History of Art from Bath Spa University, and now works part-time as a Lecturer in British Modernism at the University of East Anglia. He was the editor of Blast: Vorticism 1914-1918 (Ashgate, 2000) and the author of Wyndham Lewis: Painter and Writer (Yale University Press, 2000). He was visiting curator of the major Wyndham Lewis retrospective exhibition at the Juan March Foundation in Madrid (2010) and joint curator of Wyndham Lewis Portraits at the National Portrait Gallery, London, in 2008. He has edited several of Lewis's books and is currently working on a comprehensive catalogue of Lewis's paintings and drawings.
Andrzej Gasiorek is a Reader in English Literature at the University of Birmingham. He has published numerous articles and chapters on modernist writers, and is the author of Post-War British Fiction (Edward Arnold, 1995), Wyndham Lewis (Northcote House, 2004), and J. G. Ballard (Manchester University Press, 2005). He is also a co-editor of T. E. Hulme and the Question of Modernism (Ashgate, 2006), Ford Madox Ford: Literary Networks and Cultural Transformations (Rodopi, 2008), The Oxford Handbook of Modernisms (OUP, 2010), The Oxford History of the Novel in English -- Vol. 4: The Reinvention of the British Novel 1880-1940 (OUP, 2011), and Wyndham Lewis and the Cultures of Modernity (Ashgate, 2011). He is editor of The Journal of Wyndham Lewis Studies and co-editor of the journal Modernist Cultures. At present he is writing a history of literary modernism.
Vivien Greene is Curator, Nineteenth and Early Twentieth-Century Art at the Guggenheim Museum, where she specializes in European modernism with a concentration in Italian art. In 2010 she co-curated The Vorticists: Rebel Artists in London and New York, 1914-1918. Among the exhibitions she has curated are Utopia Matters: From Brotherhoods to Bauhaus (2010) and Divisionism/Neo-Impressionism: Arcadia and Anarchy (2007). She is currently planning the large-scale, multi-disciplinary exhibition, Italian Futurism, 1909-1944 (2014). Greene most recently contributed an article on ethnographer Giuseppe Pitrè to the Journal of Modern Italian Studies (2012). Her forthcoming publications include a chapter on fine secolo Italian magazines for Oxford University Press's Modernist Magazines series. Greene presents papers regularly at the College Art Association conference and other scholarly symposia. Her fellowships include a Fulbright, a Rome Prize, and a Bogliasco residency. She holds a Ph.D. in Nineteenth-Century European Art History from the Graduate Center, CUNY.
Miranda Hickman is Associate Professor of English at McGill University in Montréal. Recent work includes Rereading the New Criticism, co-edited with John McIntyre (Ohio State UP, 2012); an edition of the correspondence between Ezra Pound and publisher Stanley Nott, One Must Not Go Altogether with the Tide (McGill-Queen's Univeristy Press, 2011; essays by Miranda Hickman; annotations by Robin E. Feenstra with Miranda Hickman); and "Uncanonically Seated: H.D. and Literary Canons" in The Cambridge Companion to H.D. (2011). Her book, The Geometry of Modernism (University of Texas Press) appeared in 2005. Other articles address Ezra Pound's engagement with deluxe editions, H.D.'s imaginations of the body, the minor works of James Joyce, and the legacy of Raymond Chandler in contemporary culture. She is currently at work on a monograph on women in early twentieth-century cultural criticism and the construction of critical authority.
Fredric Jameson is William A. Lane, Jr., Professor of Comparative Literature and Director of the Institute for Critical Theory at Duke University. Among his ongoing concerns is the need to analyze literature as an encoding of political and social imperatives, and the interpretation of modernist and postmodernist assumptions through a rethinking of Marxist methodology. His books include Fables of Aggression: Wyndham Lewis, the Modernist as Fascist (University of California Press, 1979), Postmodernism, or, The Cultural Logic of Late Capitalism (Duke University Press,1991; winner of the MLA Lowell Award), Seeds of Time (Columbia University Press, 1994), Brecht and Method (Verso, 1998), The Cultural Turn (Verso, 1998), A Singular Modernity (Verso, 2002), Archaeologies of the Future (Verso, 2005), The Modernist Papers (Verso, 2007), Valences of the Dialectic (Verso, 2009), The Hegel Variations (Verso, 2010), and Representing Capital (Verso, 2011).
Scott W. Klein is Professor and Chair of the Department of English at Wake Forest University, North Carolina. He is the author of The Fictions of James Joyce and Wyndham Lewis: Monsters of Nature and Design (Cambridge, 1994) and the editor of the Oxford World's Classics edition of the 1928 edition of Wyndham Lewis's Tarr (Oxford, 2010). He has published essays on such varied subjects as Lewis and D. W. Griffith, James Joyce and avant-garde music, and Ford Madox Ford and utopianism, in a variety of edited volumes and in such journals as English Language History, Modernist Cultures, Twentieth Century Literature, The James Joyce Quarterly, and The Journal of Wyndham Lewis Studies. His current work concerns the interrelationship of modernism and cinema.
Douglas Mao is Professor of English at Johns Hopkins University. The author of Solid Objects: Modernism and the Test of Production (Princeton, 1998) and Fateful Beauty: Aesthetic Environments, Juvenile Development, and Literature 1860-1960 (Princeton, 2008), he is also the co-editor, with Rebecca Walkowitz, of Bad Modernisms (Duke, 2006) and the editor of the Longman Cultural Edition of E. M. Forster's Howards End (2009). He has served as president of the Modernist Studies Association and held a Guggenheim Foundation Fellowship. His current work concerns representations of utopia.
Anne McCauley is David H. McAlpin Professor of the History of Photography and Modern Art in the Department of Art and Archaeology at Princeton University. She has published extensively on the social history of photography, including A.A.E. Disdéri and the Carte de Visite Portrait Photograph (Yale University Press, 1985); Industrial Madness: Commercial Photography in Paris, 1848-1871 (Yale University Press, 1994); The Museum and the Photograph (co-authored with Mark Haworth-Booth; Sterling and Francine Clark Art Museum, 1998); and Alfred Stieglitz and 'The Steerage' (co-authored with Jason Francisco; University of California Press, 2012). She is currently writing books on American modernist photography during World War I and photography and the nude.
Martin Puchner is the Byron and Anita Wien Professor of Drama and of English and Comparative Literature at Harvard University. He is the author of The Drama of Ideas: Platonic Provocations in Theater and Philosophy (Oxford, 2010; winner of the Joe A. Callaway Award), Poetry of the Revolution: Marx, Manifestos, and the Avant-Gardes (Princeton, 2006; winner of the MLA's James Russell Lowell Award) and Stage Fright: Modernism, Anti-Theatricality, and Drama (Hopkins, 2002; 2011), as well as of numerous edited volumes and sourcebooks, including Karl Marx and Friedrich Engels: The Communist Manifesto and Other Writings (Barnes & Noble, 2005). He is the general editor of the Norton Anthology of World Literature, third edition (2012) and co-editor of the Norton Anthology of Drama (2009). He also writes on literature, drama, and politics for the London Review of Books, Raritan, Bookforum, N+1, and Inside Higher Ed.
