Shimon Attie is a photographer and installation artist whose work explores lost histories, memories, and identities. He is known for works in which he projects contemporary media onto architectural sites, as well as for his multiple-channel video installations. Attie lived and worked in Europe for a number of years before relocating to New York. Attie’s work has been featured in many solo and group exhibitions in both the U.S. and abroad and is in the permanent collections of the Museum of Modern Art in New York, the Museum of Modern Art in San Francisco, Centre Pompidou in Paris, the High Museum of Art in Atlanta, the Corcoran Gallery of Art in Washington, D.C., and the Miami Art Museum, among others. He has received fellowships from the National Endowment for the Arts, the Prix de Rome, the Pollock-Krasner Foundation, Harvard University’s Radcliffe Institute, the New York Foundation for the Arts, and the Ministry of Culture in Berlin. Four monographs have been published and several films made about Attie’s work. Attie earned his B.A. at the University of California, Berkeley, his M.A. at Antioch University, and his M.F.A. at San Francisco State University.
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.
Jonathan Brown, Ph.D., is the Carroll and Milton Petrie Professor of Fine Arts at the Institute of Fine Arts at New York University. Brown also has taught art history and fine arts at Princeton University, was Slade Professor of Fine Arts at Oxford University, and served as the Andrew W. Mellon Lecturer in Fine Arts for the National Gallery of Art in Washington, D.C. His research has focused primarily on Spanish and new Spanish painting from 1500–1800, the history of collecting, and art at the European courts in the seventeenth century. His publications include Images and Ideas in Seventeenth-Century Spanish Painting, Velazquez: Painter and Courtier, and A Palace for a King: The Buen Retiro and the Court of Philip IV, co-authored with Sir John Elliot. Brown has been honored with the Arthur Kingsley Porter Prize of the College Art Association, a fellowship from the National Endowment for the Humanities, and the Gran Cruz (Great Cross) of the Order of Alfonso X el Sabio by the Spanish government for his contributions to the history of Spanish culture. He holds a B.A. from Dartmouth College and an M.F.A. and Ph.D. from Princeton University.
Thomas Crow, Ph.D., is the Rosalie Solow Professor of Modern Art at the Institute of Fine Arts at New York University. Prior to joining the Institute of Fine Arts, Crow was the director of the Getty Research Institute. He has also taught art history at the University of Southern California, Yale University, the University of Sussex, the University of Michigan, Princeton University, and the University of Chicago. Crow has received numerous honors for his work, including a National Endowment for the Humanities Fellowship and the Charles Rufus Morey Prize of the College Art Association. Some of his published works include Emulation: Making Artists for Revolutionary France, The Rise of the Sixties: American and European Art in the Era of Dissent, and Modern Art in the Common Culture. Crow received his B.A. from Pomona College and his Ph.D. from the University of California, Los Angeles.
Mónica Domínguez Torres, Ph.D., is an associate professor of art history at the University of Delaware, where she teaches Renaissance and Baroque art with an emphasis on the Hispanic world. Courses that she has taught include Myth, Religion, and Art, Art in the Age of Exploration, and Art of Latin America. Prior to joining the Delaware faculty, Domínguez Torres was a curator at the National Gallery of Art in Caracas, Venezuela, and taught at the University of Toronto. During the year 2008–9, she was a Kluge Fellow at the Library of Congress, where she conducted research on her current project, “Blazons of the Anahuac: the Production, Regulation and Consumption of the Indigenous Heraldry in 16th-century Mexico.” She received her B.A. from the Universidad Central de Venezuela and her M.A. and Ph.D. from the University of Toronto, Canada.
Oleg Grabar, Ph.D., a leading specialist in Islamic art and architecture, is a professor emeritus at the Institute for Advanced Study in Princeton, New Jersey. Grabar has also held the post of professor at the University of Michigan and at Harvard University. His extensive publications include Constructing the Study of Islamic Art, Mostly Miniatures, The Shape of the Holy: Early Islamic Jerusalem, and The Dome of the Rock. Among the many honors he has received for his work are the Giorgio Levi Della Vida Medal and the Freer Medal in Asian Art. He holds his B.A. from Harvard University and his M.A. and Ph.D. from Princeton University.
John Hanhardt is curator of the Nam June Paik Archive and consulting senior curator for media arts at the Smithsonian American Art Museum in Washington.
Barbara E. Mundy, Ph.D., is an associate professor of art history at Fordham University. She specializes in colonial Latin American art and has taught courses in Pre-Columbian, Latin American, Aztec, and Native American art. Mundy has authored several works including The Mapping of New Spain, which received the Nebenzahl Prize in the History of Cartography, and “Mesoamerican Cartography” in The History of Cartography (Volume 2, Book 3), winner of the American Historical Association’s James Henry Breasted Prize. Mundy is the co-creator of Vistas: Visual Culture in Spanish America, 1520–1820, an educational project consisting of a Web site (www.smith.edu/vistas) and interactive DVD.
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.
Lisa Saltzman, Ph.D., is a professor of the history of art and director of the Center for Visual Culture at Bryn Mawr College, where she teaches courses on contemporary art and theory. She is the author of the books Anselm Kiefer and Art After Auschwitz, Making Memory Matter: Strategies of Remembrance in Contemporary Art, and co-editor of Trauma and Visuality in Modernity. Saltzman is a former fellow of the Radcliffe Institute of Advanced Study. She earned her B.A. from Princeton University and her M.A. and Ph.D. from Harvard University.
Larry Silver, Ph.D., is the Farquhar Professor of Art History at the University of Pennsylvania. He specializes in Northern European painting and graphics of the Renaissance and Reformation periods. In addition to his position at the University of Pennsylvania, Silver has taught at the University of California, Berkeley, Northwestern University, and Smith College. He has been the recipient of many honors, including a Guggenheim Fellowship and grants from the National Endowment for the Humanities and the Kress Foundation. A prolific author, Silver has written numerous articles and books, among them Peasant Scenes and Landscapes, Marketing Maximilian, and a survey text, entitled Art in History. He is also the co-author of books including Rembrandt’s Faith and The Graven Image. Silver served as a former president of both the College Art Association and the Historians of Netherlandish Art. He earned his B.A. from the University of Chicago and his M.A. and Ph.D. from Harvard University.
Lowery Stokes Sims, Ph.D., is a curator at the Museum of Arts and Design in New York. She has served as the executive director and president of the Studio Museum in Harlem and the curator of modern art at the Metropolitan Museum of Art. Exhibitions she curated for the Metropolitan Museum of Art include “John Marin: Selected Works” and “Richard Pousette-Dart, 1912–1992,” and for the Studio Museum, “Challenge of the Modern: African American Artists (1925–1945).” Sims has lectured nationally and internationally and has authored or co-authored numerous books, including Fritz Scholder: Indian/Not Indian, Wilfredo Lam and the International Avant Garde, 1923–1982, and The Persistence of Geometry: Form, Content, and Culture in the Collection of the Cleveland Museum Of Art. She received her B.A. from Queens College of the City University of New York, her M.A. from Johns Hopkins University, and her Ph.D. from the Graduate School of the City University of New York.
Barbara Thompson, Ph.D., is the Phyllis Wattis Curator for the Arts of Africa and the Americas at the Cantor Arts Center at Stanford University, where she supervises African, Native American, and Pre-Columbian art. Prior to her position at the Cantor Arts Center, Thompson was the curator of the African, Oceanic, and Native American collections for the Hood Museum of Art at Dartmouth College. She also worked as a consultant for the Africa Bureau of United States Aid in International Development in Washington, D.C. Thompson was honored with a LEF Foundation grant for a site-specific installation project with artist Fred Wilson, entitled So Much Trouble in the World—Believe It or Not!, and a grant from the Andy Warhol Foundation for the Visual Arts for her exhibition and accompanying catalogue, “Black Womanhood: Images, Icons, and Ideologies of the African Body.” Thompson earned her doctorate from the University of Iowa and her M.A. from the University of Florida, Gainesville.