BOARD OF ADVISORS
Suzanne Anker (www.geneculture.org.) is a visual artist and theoretician working with the cultural meanings and metaphors of scientific iconography. She had written and lectured widely on the intersection of art and genetics. Her visual work in this area has been featured in Devices of Wonder: From Images in a Box to Images On A screen at the Getty Museum and Paradise Now originated at Exit Art in NY before traveling to numerous museums. Her forthcoming book (co-authored with Dorothy Nelkin) entitled The Molecular Gaze: Art in the Genetic Age will be published by Cold Springs Harbor Laboratory Press in 2003. She currently is Chair of the Art History Department at the School of Visual Arts and Editor/Founder of ArtLab 23, its on-line journal.
Robert Atkins - a New York-based art historian and author - is a former columnist for The Village Voice, the author of books including ArtSpeak: A Guide to Contemporary Ideas, Movements and Buzzwords, and the recipient of awards for art criticism from the NEA, Manufacturers Hanover Bank, and the Penny McCall Foundation. A Fellow at Carnegie Mellon's Studio for Creative Inquiry, he is arts editor of The Media Channel (www.mediachannel.org), editor in chief of Artery: The AIDS-Arts Forum (www.artistswithaids.org/artery), and an instructor at the Rhode Island School of Design. He is a founder of Visual AIDS, the group that originated Day Without Art and the Red Ribbon and the founding editor of TalkBack! A Forum for Critical Discourse, the first American on-line journal about art and cyber-cultural issues (talkback.lehman.cuny.edu/tb). He has also curated exhibitions at far-flung venues ranging from Tokyo's Sagacho Art Space to the Sao Paulo Biennial and is currently at work on an anthology of his writing called Eye/I Witness: Art Writing as Activism, Criticism and Reportage.
Johanna Drucker is the Robertson Professor of Media Studies at the University of Virginia and Director the Media Studies Program; she has written, lectured, and published on the history of writing, typography, graphic design, and digital media and is also known as a book artist; her most recent creative work, Night Crawlers on the Web, is forthcoming from JABBOOKS.
Thomas Huhn is the Assistant Professor of Letters and the Assistant Professor of Philosophy at Wesleyan University. He is the co-author of a book on Arthur Danto, The Wake of Art: Philosophy, Criticism, and the Ends of Taste, and editor of the forthcoming Cambridge Companion to Adorno.
Lewis Kachur is an Associate Professor of Art History at Kean University, New Jersey and author of Displaying the Marvelous: Marcel Duchamp, Salvador Dali, and Surrealist Installations (MIT Press).
Richard Leslie is an independent art historian, critic and curator specializing in the art, theory, criticism, and photography of the twentieth century. His degrees are in philosophy and modern art theory and criticism and he has taught the art and visual culture of the late nineteenth and twentieth centuries for over fifteen years at such universities as SUNY-Stony Brook, the School of Visual Arts in Manhattan, City College, Rutgers, SUNY-Purchase and The School of the Art Institute of Chicago. He has published dozens of reviews and articles in print and on-line with books on Pop Art, Picasso and Surrealism, served as Managing Editor of the journal Art Criticism, and is recipient of several fellowships. He has curated several exhibitions on art and technology and serves on the Board of Directors for Art and Science Collaborations, Inc.
Tom McEvilley is Distinguished Lecturer in Art History at Rice University, where he has been on the faculty since 1969. He has been a visiting professor at Yale University and the School of the Art Institute of Chicago, among others. He was a recipient of the Fullbright Grant in 1993, and has been awarded an NEA critic’s grant and the Frank Jewett Mather Award for Distinction in Art Criticism by the College Art Association. McEvilley has been a contributing editor of Artforum and has published hundreds of articles, catalogue essays, and reviews in the field of contemporary art. His recent books include Art and Discontent, Art and Otherness, and The Exile’s Return: Toward a Redefinition of Painting for the Post-Modern Era.
Christiane Paul, author of Unreal City: A Hypertextual Guide To T. S. Eliot's The Waste Land, is Editor in Chief of Intelligent Agent: The Use of Interactive Media and Technology in Arts and Education (www.intelligentagent.org.) Her other work includes Reading/Writing "Hyperfictions: The Psychodrama of Interactivity" (LEONARDO, Vol. 28 No. 4, MIT Press) and Die Antizipation der amerikanischen Postmoderne im Romanwerk Herman Melvilles (Idstein: Schulz-Kirchner Verlag). From 1988 to 1991, Dr. Paul was Visiting Scholar at New York University, specializing in myth criticism and the use of myth in American literature. She received her Ph.D. from Dusseldorf University.
Mira Schor is a painter, a faculty member of Parsons School of Design and former coeditor and founder of M/E/A/N/I/N/G magazine. She is the author of Wet: On Painting, Feminism, and Art Culture. She has received many prestigious awards including a National Endowment for the Arts Fellowship, a Guggenheim Fellowship, Pollock-Krasner Foundation Grant, and The MacDowell Colony and the Frank Jewett Mather Award for Distinction in Art Criticism by the College Art Association.
Jeanne Siegel is Chair of the Fine Arts Department and Advanced Art History Seminars at the School of Visual Arts. She is the author of Painting After Pollock: Structures of Influence, Artwords: Discourse on the 60s and 70s and ArtTalk: The Early 80s. She is a former associate editor of Arts Magazine, former President of the American Section, International Association of Art Critics (AICA), and author of many articles and reviews on art. |
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