MemberCeren Ozpinar

I am a scholar and lecturer in art historiography, modern & contemporary art and feminist art. Currently, I teach at the University of Brighton, College of Art and Humanities. Prior to that, I was a British Academy Newton International Fellow at the University of Sussex (2015-2017).
My first book, Turkiye’de Sanat Tarihi Yazimi (1970-2010) [The Art Historiography in Turkey (1970-2010)], was published in 2016 by Tarih Vakfi Press [History Foundation]. I have authored chapters and peer-reviewed articles on art history writing for journals and edited collections, such as the one in National Art Histories in an Unfinished World (McGill-Queen’s University Press, 2017). My latest article is forthcoming from the Art Journal.

MemberSimon Soon

I characterise my research very broadly as social art history, which reflects an interest in approaching ‘art history from below’. I also have a broader interest in Asian modernities as a discursive method and in the broader field of art historiography. Principally, questions about spatial-visual subjectivities and social formations, in relation to art and cultural history, animate the kind of research I do. I also have a strong interest in examining art or cultural phenomenon through understanding them as intersections of history, memory and mythology. I work primarily as an art historian, teaching in the Visual Art Program, Cultural Centre at the University of Malaya, while also devoting my time to Malaysia Design Archive, an education platform and online repository on 20th-century visual culture. To find out more, please visit:

MemberEmilie Oléron Evans

…, pp. 84-85

Kunstchronik 9/10, Oct-Nov 2016, pp. 499-503

Annales. Histoire, Sciences sociales 71/2, Apr-Jun 2016, pp. 542-544

Angermion 11/1, November 2018


Peer-reviewed articles 

2018 (Commissioned) ‘Art Practice and Art History in Fin de Siècle Alsace: the Art Journal Das Kunstgewerbe in Elsass-Lothringen’, Journal of Art Historiography 19, December 2018.

2018 ‘Housing the Art of the Nation: The Home as Museum in Gustav F. Waagen’s Treasures of Art in Great Britain‘, Nineteenth Century Art Worldwide.

2017 ‘A Cultural Constellation:’, Open Library of Humanities: Special Issue on  Visual Culture, 3(1), 2, p. 1–12.


I am an art historian specialising in cultural transfers, historiography (19th-20th century) and the interrelation of art and translation. I joined Queen Mary, University of London in 2017 and I am currently a lecturer in the Department of Modern Languages and Cultures. I teach on the visual culture of the French-speaking world.

MemberJennifer Way

I am an art historian specializing in the 20th and 21st centuries, with emphasis on the period from 1945 to the present. Previously, I worked in the curatorial departments of art museums in Philadelphia and Detroit and in leadership for nfp organizations. My current research explores how Americans engaged with a foreign art form in projects that intersected international agendas with domestic everyday life, and linked the United States and Vietnam on questions of diplomacy, domestication and belonging in the Free World during the 1950s. I use historical texts and contemporary theory to illuminate archival materials, object practices, and discursive meanings that arise at the intersection of politics, economy and art. Course topics I teach in relation to my research examine craft and decorative art in historiographies of modernism; visual culture, refugees and migrants; art and suffering; objects of diplomacy; heritage and memory; and the politics of exhibitions.  

MemberMax Marmor

Max Marmor is President of the Samuel H. Kress Foundation. An art librarian by profession, he began his career in the 1980s as curator of special collections at the UCLA Art Library, where he was responsible for managing the collections and services of the west coast branch of the Princeton Index of Christian Art, the premier photographic archive devoted to medieval art and iconography, and the Elmer Belt Library of Vinciana, the premier research collection devoted to Leonardo da Vinci and his milieu. Mr. Marmor has also been professionally affiliated with Avery Library at Columbia University (1988-90), the NYU Institute of Fine Arts Library (1990-94), and the Yale Arts Library, of which he was the director for seven years (1994-2001). He left Yale to assume a position at the Andrew W. Mellon Foundation, as part of the planning team for the ARTstor digital initiative, serving as Director of Collection Development (2001-2007). He was appointed President of the Kress Foundation in July 2007. Mr. Marmor’s scholarly interests lie in the field of Leonardo studies and in the bibliography and historiography of art. He is co-editor of the standard reference work, Guide to the Literature of Art History (ALA Editions, 2004) and author of numerous articles, translations and book reviews. Notable publications include: “Par che sia mio destino: the Prophetic Dream in Leonardo and in Dante,” in Raccolta Vinciana (2005); “One for the Books: A Bibliographical Gleaning for C[arlo] P[edretti],” in Illuminating Leonardo. A Festschrift for Carlo Pedretti Celebrating His 70 Years of Scholarship (1944–2014), ed. by Constance Moffatt and Sara Taglialagamba (Brill, 2016); and most recently, “Art History and the Digital Humanities,” an invited response to Hubertus Kohle, “Kunstgeschichte und Digital Humanities. Einladung zu einer Debatte/Art History and the Digital Humanities. Invitation to a Debate,” in Zeitschrift fuer Kunstgeschichte Bd. 79, no., 2 (2016).

MemberMark Cheetham

My research centres on the imbrications of artwriting and art making in the modern and contemporary periods. I have written books and articles on abstract art, the reception of Immanuel Kant’s thinking in the visual arts and the discipline of art history, on art historical methodology, and on recent Canadian and international art. The historiography and methodology of art history and the field of Visual Culture Studies is an ongoing research interest, as is contemporary art in Canada and abroad, from both curatorial and academic perspectives. Much of my current work is on ecoart and GeoAesthetics. I am the recipient of a John Simon Guggenheim Memorial Fellowship, a Sterling & Francine Clark Art Institute Fellowship, a University of Toronto Connaught Research Fellowship and Chancellor Jackman Research Fellowship in the Humanities, several Social Sciences and Humanities Research Council of Canada research grants, the Edward G. Pleva Award for Excellence in Teaching (University of Western Ontario, 1998), and the Northrop Frye Award for teaching (University of Toronto, 2006). In 2006, I received the Art Journal Award from the College Art Association of America for “Matting the Monochrome: Malevich, Klein, & Now,” and in 2008, the Curatorial Writing Award from the Ontario Association of Art Galleries, for “The Transformative Abstraction of Robert Houle,” in Robert Houle: Troubling Abstraction. Exh. Cat. McMaster University Art Gallery, Robert McLaughlin Gallery (Oshawa), 2007. My co-curated exhibition Jack Chambers: The Light From the Darkness / Silver Paintings and Film Work was awarded “Exhibition of the Year” (a juried prize) by the Ontario Assoc. of Art Galleries, 2011. I was the principal investigator on a SSHRC Partnership Development Grant titled CACHET (Canadian Art Commons for History of Art Education and Training), 2013-17. is our (now archived) website.

MemberGavin Schwartz-Leeper

Gavin Schwartz-Leeper is a transdisciplinary researcher and higher education specialist with interests in aspects of representation and perception from the sixteenth century to the modern day. He has published and taught on a range of topics, including Renaissance politics, religion, and literature; historiography and genre; and liberal education pedagogies. Gavin has held fellowships at the University of Sheffield’s Centre for Early Modern Studies, the University of Warwick’s Centre for the Study of the Renaissance and Humanities Research Centre, the Warwick International Higher Education Academy, the Newberry Library, the Johns Hopkins University, and from the European Colleges of Liberal Arts and Sciences (ECOLAS). Gavin’s first book (From Princes to Pages: The Literary Lives of Cardinal Wolsey, Tudor England’s ‘Other King’) was published in 2016 by Brill. He is currently working on his second monograph, The Art of Richard Grafton: The Cultural Networks of a Mid-Tudor Printer (Brill, 2019).

MemberSam Barber

I study the material and visual cultures of late ancient and early medieval Europe, with a special focus on iconographies and architectures of authority in the post-Roman successor states. My doctoral dissertation investigates palaces between the time of Tetrarchy and that of the Carolingians. Though a constant across this period, palaces underwent dramatic changes architecturally, conceptually, and institutionally. By viewing them simultaneously as physical architecture, as social spaces, and as nodes in ‘royal landscapes’, I use palaces as a lens for examining shifting concepts of rulership and legitimate authority in Late Antiquity and the Early Middle Ages. In doing so I argue that they were not simple assertions of Roman-derived sovereignty, but rather essential instruments in the reordering of political space in the post-Roman West. In addition to my dissertation, I am also interested in the history of medieval art (including its historiography); urban studies and architectural theory; and concepts of identity, ethnicity, and community in the Early Middle Ages.

MemberGeorge Flaherty

George Flaherty is an associate professor of art history and director of the Center for Latin American Visual Studies (CLAVIS).   Dr. Flaherty’s research and teaching focus primarily on visual, urban, and media cultures in twentieth-century and contemporary Latin America and the Latino U.S., with emphasis on Mexico, the U.S.-Mexico borderlands, and Cuba. His interests extend to postcolonial and subaltern studies, and the historiography of “global contemporary” art. On campus he is affiliated with the Lozano Long Institute of Latin American Studies and Center for Mexican American Studies.   His first book, Hotel Mexico: Dwelling on the ’68 Movement (University of California Press 2016), investigated the spatial dimensions of the 1968 student-led democratization movement in Mexico City and its afterlives. This project received support from the Center for Advanced Study in the Visual Arts (National Gallery of Art, Washington), Social Science Research Council, Society of Architectural Historians, and a Fulbright-García Robles grant to Mexico City, where he was a visiting scholar at the Instituto de Investigaciones Estéticas of the Universidad Nacional Autónoma de México. Hotel Mexico was recognized with the 17th annual Arvey Book Award from the Association of Latin American Art.   His second book, tentatively titled Aperturas: Opening Social Truth in Greater Mexico between Still and Moving Images, examines the increasingly overlapping roles of photography, film, and television as creative strategies for advancing critical modernity and social justice in Mexico and its borderlands in the long twentieth century.   Dr. Flaherty’s essays and reviews have appeared in Journal of the Society of Architectural HistoriansArt in Translation, and History of Photography, as well as several anthologies, including Genealogías del arte contemporáneo en México, 1952-1967 (IIE/UNAM 2015), Defying Stability: Artistic Processes in Mexico, 1952-1967 (MUAC 2014), and Latin American Modern Architectures: Ambiguous Territories (Routledge 2012). He has lectured at the University of Chicago, Stanford University, Dartmouth College, Williams College, Museo Universitario de Arte Contemporáneo, and Centro Cultural Universitario Tlatelolco.   From 2012-2018 he is co-principal investigator, with Dr. Andrea Giunta (Universidad de Buenos Aires), of “Grounds for Comparison: Neo-Vanguards and Latin American/U.S. Latino Art, 1960-90,” a series of research seminars and publications for emerging scholars from across the Americas sponsored by the Getty Foundation’s Connecting Art Histories initiative. He has also contributed to curatorial projects at the Autry Museum of the American West, Harry Ransom Center, and Santa Barbara Museum of Art, and served on the editorial board of Aztlán: A Journal of Chicano Studies.