Notes on Contributors

Felicity Allen is an artist, writer, and educator. Her career's work is a model of The Disoeuvre, the neologism she coined to describe the contingent and adaptable practices that she has developed (like many other artists), in contrast to a conventional 'oeuvre'. In the last decade she has made five series of Dialogic Portraits projects, producing paintings, films, and artists books (included in Tate's and Getty's artists' books collections). She has written numerous articles on gallery education, published poetry, and sustained a long-term project with a Syrian artist based in Damascus.

Tanya Augsburg is a humanities-trained, interdisciplinary feminist performance scholar, critic, and curator who can be occasionally persuaded to perform. She teaches at San Francisco State University, where she is Professor of Humanities. Her current projects include completing a book-length manuscript on the interdisciplinary arts and a book-length manuscript on what she is calling "feminist ars erotica."

Jill Bennett is an Australian Research Council Laureate Fellow and Professor of Experimental Arts at the University of New South Wales. She leads a transdisciplinary research team investigating the experience of ageing and neurological/mental health, and producing 3D immersive visualization of subjective experience. She is Founding Director of The Big Anxiety: Festival of Arts?+?Science?+?People. Her books include Empathic Vision: Affect, Trauma and Contemporary Art and Practical Aesthetics, as well as monographs on media arts and curating.

Susan Best is Professor of Art History and Theory and Deputy Director (research and postgraduate) at Queensland College of Art, Griffith University. She is the author of Visualizing Feeling: Affect and the Feminine Avant-Garde (2011) and Reparative Aesthetics: Witnessing in Contemporary Art Photography (2016).

Lucy Day is a lecturer, writer, and Fellow of the Royal Society of Arts. Alongside her 30-year curating career, Day has supported artists and arts organizers through mentoring, workshops, and organizational change. For over 10 years as part of the independent curatorial partnership Day?+?Gluckman, she has collaborated with a variety of organizations, and in 2015 founded A Woman's Place Project CIC, which takes equality as its starting point, exploring it creatively through contemporary-art exhibitions, projects, and events.

Angela Dimitrakaki is Senior Lecturer in Contemporary Art History and Theory, University of Edinburgh. She has co-edited Economy: Art, Production and the Subject in the 21st Century (2015, with Kirsten Lloyd) and Politics in a Glass Case: Feminism, Exhibition Cultures, and Curatorial Transgressions (2013, with Lara Perry), and special issues on social reproduction for the journals Historical Materialism (2016) and Third Text (2017), and on antifascist art theory for Third Text (2019). She has authored Gender, ArtWork and the Global Imperative (2013), and Art and Globalisation: From the Postmodern Sign to the Biopolitical Arena (2013, in Greek). Her forthcoming book is Feminism, Art, Capitalism. She has received an Academy of Athens award for fiction writing (2017).

Julie Ewington is a writer and curator based in Sydney, Australia. Between 2001 and 2014 she was Head of Australian Art at Queensland Art Gallery|Gallery of Modern Art, Brisbane. She has written numerous catalogue essays and reviews for journals, including The Monthly, Art Monthly Australasia, and Artforum. Major publications include monographs on Fiona Hall (2005) and Del Kathryn Barton (2014). In 2016 Ewington curated The Sculpture of Bronwyn Oliver for TarraWarra Museum of Art, and in 2017 was a curatorium member for Unfinished Business: Perspectives on Art and Feminism, at ACCA, Melbourne.

Maria Fernandez teaches at Cornell University. She works on the history and theory of digital art, postcolonial and gender studies, Latin American art and architecture, and the intersections of these fields. She is the author of Cosmopolitanism in Mexican Visual Culture (2014) for which she was awarded the Arvey Prize by the Association for Latin American Art in 2015. She edited Latin American Modernisms and Technology (2018) and with Faith Wilding and Michelle Wright coedited Domain Errors: Cyberfeminist Practices (2002).

Eliza Gluckman was Curator of the New Hall Art Collection, Murray Edwards College, University of Cambridge, the largest collection of works by women in Europe, from 2015 to 2018, and is currently Senior Curator and Deputy Director of the Government Art Collection (UK). For over 10 years as part of the independent curatorial partnership Day?+?Gluckman, she has collaborated with a variety of organizations, and in 2015 founded A Woman's Place Project CIC, which takes equality as its starting point, exploring it creatively through contemporary-art exhibitions, projects, and events.

Lubaina Himid is an artist, curator, and Professor of Contemporary Art at the University of Central Lancaster. She was awarded the Turner Prize (2017), and an MBE for services to Black women's art (2010). Recent exhibitions include Invisible Strategies, Modern Art Oxford, 2017, and Navigation Charts, Spike Island, 2017. Other exhibitions include the Studio Museum, New York, 1997, Tate Britain, 2011, and the Badischer Kunstverein, 2017. She represented Britain at the Gwangju Biennial, 2014 and the Berlin Biennial, 2018. She curated Five Black Women, Africa Centre, London 1983, The Thin Black Line, ICA London, 1985, and Thin Black Line(s), Tate Britain 2011.

Amelia Jones is Robert A. Day Professor, Roski School of Art & Design, USC, and is a curator and scholar of contemporary art, performance, and feminist/sexuality studies. Recent publications include Seeing Differently: A History and Theory of Identification and the Visual Arts (2012), co-edited with Erin Silver, Otherwise: Imagining Queer Feminist Art Histories (2016), and the edited special issue "On Trans/Performance" of Performance Research (2016). Jones is currently working on a retrospective of the work of Ron Athey and a book tentatively entitled In Between Subjects: A Critical Genealogy of Queer Performance.

Alexandra Kokoli is Senior Lecturer in Visual Culture, Middlesex University, London, and Research Associate at VIAD, University of Johannesburg. A writer and curator, she has published widely on feminism, art, and visual culture in journals including Art Journal, Women and Performance, n.paradoxa, Performance Research, Oxford Art Journal, and Hypatia. Her books include The Feminist Uncanny in Theory and Art Practice (2016, paperback 2017), and (as editor) Feminism Reframed: Reflections on Art and Difference (2008), and The Provisional Texture of Reality: Selected Talks and Texts by Susan Hiller, 1977-2007 (2008).

Tirza Latimer earned her PhD in Art History at Stanford University. Professor in Visual Studies at California College of the Arts, Oakland/San Francisco, her teaching, publications, and curatorial projects reflect on visual culture and visual politics from queer feminist perspectives. Her latest book, Eccentric Modernisms: Making Differences in the History of American Art, was released by University of California Press in 2016.

Alanna Lockward was a Dominican-German writer, journalist, filmmaker and founding director of Art Labour Archives. Lockward conceptualized and curated the groundbreaking transdisciplinary meeting BE.BOP. BLACK EUROPE BODY POLITICS (2012-2018). She was the author of several books, including Apremio: apuntes sobre el pensamiento y la creación contemporánea desde el Caribe (2006) and Un Haití Dominicano: Tatuajes fantasmas y narrativas bilaterales (2014), and editor of BE.BOP 2012-2014. El cuerpo en el continente de la conciencia Negra (2016). She was research professor at the Center of Caribbean Studies, Pontificia Universidad Católica Madre y Maestra. Dr Lockward passed away in January 2019.

Natalie Loveless is an associate professor in the Department of Art and Design (History of Art, Design, and Visual Culture) at the University of Alberta, Canada, where she also directs the Research-Creation and Social Justice CoLABoratory. Recent projects include New Maternalisms and Immune Nations. Current work includes a forthcoming book, Art at the End of the World: A Manifesto for Research-Creation, and a collaborative project on art and ecology called Speculative Energy Futures.

Jaleh Mansoor is Associate Professor of Art History at the University of British Columbia. She coedited the anthology Communities of Sense: Rethinking Aesthetics and Politics (2010), and her monograph Marshall Plan Modernism: Italian Postwar Abstraction and the Beginnings of Autonomia was published in September 2016. She has contributed to October, Texte Zur Kunst, and Artforum. Mansoor's current project traces the historical and structural entwinement of aesthetic and real (or concrete) abstraction, the latter understood as the extraction of surplus labor valorized on and by the market.

Michelle Meagher is Associate Professor of...