Caroline Arscott is Head of Research and Professor of Nineteenth-Century British Art at The Courtauld Institute of Art, London, where she has lectured since 1988. She was a member of the editorial board of the Oxford Art Journal from 1998 to 2008. She is also a UK editor of the international RIHA Journal (Research Institutes in the History of Art). She has been a visiting scholar at the Yale Center for British Art in New Haven and at the University of California, Berkeley. In 2011 she was the Sarah Cutts Frerichs Lecturer in Victorian Studies at Brown University and she presented the 2013 Allen R. Hite Memorial Lecture at the University of Louisville. She has published on William Holman Hunt, Millais, Scharf, Fildes, Frith, Leighton, Poynter, Tissot, Whistler and Sickert, and is the author of William Morris and Edward Burne-Jones: Interlacings (2008), which discusses Morris’s design and Burne-Jones’s mythological painting in relation to the armaments industry and other Victorian technologies. She has an interest in Victorian physics and biology and is primary investigator on a four-year history of art, Victorian literature, history of science research project (with King’s College London and University College London) on Victorian telegraphy. She has written on Victorian theories of evolution and Morris’s tapestry in Hunter and Lucchini (eds), The Clever Object (a special issue of Art History 2013), and on biopolitics, Darwin’s view of earthworms and Morris’s printed textiles in Warren Carter, Barnaby Haran, and Frederic J. Schwartz (eds), Re/New Marxist Art History (due out November 2013).
Fabio Barry is Assistant Professor in the Department of Art & Art History at Stanford University. His publications include “Walking on Water: Cosmic Floors in Antiquity and the Middle Ages” (The Art Bulletin, Dec. 2007), which won the College Art Association’s Arthur Kingsley Porter Prize in 2008. Among many other topics, he has also published on Bernini and Piranesi.
Sarah Hamill is Assistant Professor of Modern and Contemporary Art at Oberlin College. Her book David Smith in Two Dimensions: Photography and the Matter of Sculpture is forthcoming from the University of California Press in 2014. With Megan Luke (USC), she is co-authoring a book, with funding from a Collaborative Research Fellowship from the American Council of Learned Societies, on the role of the photography of sculpture in the writing of art history, aesthetics, and media theory.
Matthew C. Hunter is Assistant Professor in the Department of Art History and Communication Studies at McGill University where his research explores interactions of art and science in the long eighteenth century. Author of Wicked Intelligence: Visual Art and the Science of Experiment in Restoration London (University of Chicago Press, 2013), he has co-edited Beyond Mimesis and Convention: Representation in Art and Science (2010), The Clever Object (2013), and is an editor of Grey Room.
Yukio Lippit is Professor of History of Art and Architecture at Harvard University, where he has taught since 2003. Recent publications include Colorful Realm: Japanese Bird-and-Flower Paintings by Itō Jakuchū (1716-1800) (The National Gallery of Art, Washington D.C., 2012), Kenzo Tange: Architecture for the World (Graduate School of Design, Harvard University, 2012), and Painting of the Realm: The Kano House of Painters in Seventeenth-Century Japan (University of Washington Press, 2012).
Jeffrey Moser is Assistant Professor of East Asian Art History at McGill University. His research deals primarily with the artistic and intellectual history of China during the Song era (tenth to thirteenth centuries AD), with a particular focus on the ways in which sensory engagement with material things transformed cognition and behavior. He has published in Harvard Journal of Asiatic Studies, Literature & Aesthetics, and is currently completing a manuscript entitled Recasting Antiquity: Ancient Bronzes and the Hermeneutics of Classical Ritual in Northern Song China.
Alexander Nemerov is the author of several books of cultural history, including most recently Wartime Kiss: Visions of the Moment in the 1940s (2013), Acting in the Night: Macbeth and the Places of the Civil War (2010), and Icons of Grief: Val Lewton’s Home Front Pictures (2005). He is the Carl and Marilynn Thoma Provostial Professor in the Arts and Humanities at Stanford University.
Jennifer L. Roberts is Elizabeth Cary Agassiz Professor of the Humanities and Chair of the Program in American Studies at Harvard. Her publications include Mirror-Travels: Robert Smithson and History (Yale University Press, 2004) and Jasper Johns/In Press: The Crosshatch Works and the Logic of Print (Harvard Art Museums, 2012). Her forthcoming book Transporting Visions: The Movement of Images in Early America (January 2014), forges a material history of visual communication by tracing the literal transportation of pictures through the swamps, forests, oceans, and cities of the Anglo-American landscape between 1760 and 1860. “Visual communication” in early America was a fraught practice beset by intractable physical challenges – the long delays inherent in long-distance reception, concerns about the stability and mnemonic capacity of images, the uneasy mingling of artworks with everyday commodities in transit, and so forth. In confronting these challenges, early American art internalized the complications of its own transmission. Her current book project is tentatively titled The Printerly Intelligence of American Art.
Itay Sapir is professor of art at the Université du Québec à Montréal (UQAM). He is the author of Ténèbres sans leçons: esthétique et épistémologie de la peinture ténébriste romaine 1595-1610 (2012), and is co-editor of Ways of Knowing: (Un) Doing Methodologies, Imagining Alternatives in the Humanities (2009).