Charlotte Lucy Latham is completing her dissertation on experimental writings about art, from museum verbiage to art criticism to literary ekphrases, at the CUNY Graduate Center in the Comparative Literature Department. She has taught at the School for Visual Arts, CUNY City College, CUNY Baruch and New York University.
Marijke Jonker is an independent scholar. She received a doctorate in art history from the University of Amsterdam in 1994 (Dissertation title: “Diderot’s Shade: the Discussion on ‘Ut Pictura Poesis’ and Expression in French Art Criticism 1819-1840”). She is a specialist in French eighteenth- and nineteenth-century art and art criticism. Her publications include articles about David’s Leonidas, the critics La Font de Saint-Yenne, Delécluze and Planche, Delacroix’s use of allegory, his painting Execution of the Doge Marino Faliero, and nineteenth-century interpretations of Géricault’s Raft of the Medusa. In 2019 she published “On Asp and Cobra You Will Tread…:” Animals as Allegories of Transformation in Delacroix’s Liberty Leading the People. http://nbn-resolving.de/urn:nbn:de:bsz:16-artdok-65320 For education, affiliations, publications and memberships see CV.
André Pitol is a researcher in artistic, educational and curatorial projects in Brazil and he focuses on art history and criticism and photography. He has developed extensive historical and art research on the works of Brazilian photographer Alair Gomes, and is the author of Alair Gomes: Photography, Art Criticism and Sexuality (2013) and “Ask me to send these photos to you”: The Artistic Production of Alair Gomes in the United States (2016). Currently, he is a PhD candidate in the Visual Arts program at the USP researching Digital Curation and Contemporary Art. He acts as Educational Facilitator in the Pedagogical Didactic Training Program for Distance education, at the Virtual University of the State of São Paulo. He is a member of the Research Group on Art, Design and Digital Media (GP_ADMD), of USP and also a member of the Art Criticism Group of São Paulo Cultural Center (2019-2020). Since 2017, he has been an ad hoc reviewer of Brazilian and British academic journals in the field of arts and photography. In 2019, he participated in the 3rd ed. of the Technologies and Network Art project: Black Technologies, with the courses Black Cloud: Technological Glossary for Black Artists and Researchers and How To Black: Technological Procedures Manual in Artistic Experiments. Has experience in: Visual Arts, Photography, Art History and Criticism, and Digital Curation.
I am Chair of Contemporary Art Practice & Theory in The University of Edinburgh and Programme Director of MA Contemporary Art Theory, Edinburgh College of Art. My work involves inventing postdisciplinary methods to parasite the field of contemporary art. It is a pour of historical, critical, materialist and fictional approaches to writing charged and torn with curatorial, paragogical and artistic work. In the pursuit of para, ‘pata and psuedo-disciplinary methods, I frequently work collaboratively, adopting shared avatars that have interpretive flexibility. As a member of the International Art Critics Association, I am a critic for many international art publications, write for literary and political magazines, the popular press, television, commissioned monographs and artwriting publications and have curated exhibitions as part of international biennials as well as numerous projects at artist-led organisations. Additionally, I continue to conduct research on Contemporary Art in Britain since the 1970s.
Cultural critic and arts writer
Lynnette Miranda is a curator and writer who focuses on the social and political role of contemporary art, critically examining social practice, contemporary craft, performance, and new media work. She is passionate about centering artists and practitioners of color, not only through representation but through building support systems and the redistribution of resources. Lynnette is the Program Manager at United States Artists and has held positions as Creative Time, ART21, and the Art Institute of Chicago. She was also the 2016-2017 Curator in Residence at Charlotte Street Foundation in Kansas City. Her writing has been published in Hyperallergic, Pelican Bomb, American Craft Magazine, Chicago Artist Writers, KC Studio, Informality, and This is Tomorrow, Contemporary Art Magazine. She has contributed writing to the exhibition catalogs Prospect.4: The Lotus in Spite of the Swamp for Prospect New Orleans and Wanderlust: Actions, Traces, Journeys 1967–2017 published by MIT Press for the University of Buffalo Art Galleries.
I am the project manager of the “Humanities in American Life” initiative for the Federation of State Humanities Councils and Adjunct Assistant Professor in Liberal Studies for Arts and Sciences at New York University. As a scholar, I study how music shapes narrative temporalities in twentieth-century literature stretching from E. M. Forster’s 1907 The Longest Journey to Robert Ashley’s 2011 opera-novel Quicksand. As a post-doctoral fellow at Rice University in 2019, I organized the first performance of John Luther Adams’ Inuksuit, an environmental work scored for between 9 and 99 percussionists, to feature a landscape installation created specifically for the piece. As an arts critic, I have published articles on opera, Classical music, dance, visual art, and film for Houstonia Magazine, Houston Chronicle, Bachtrack, ArtsJournal, Arts + Culture Texas Magazine, and the Washington Classical Review. I hold a Ph.D. and M.A. in English from Rice University and degrees in music and English from the University of Idaho.
Medieval Iberian Literature, Women and Gender Studies, Critical Theory, Art History
Chika Okeke-Agulu specializes in indigenous, modern, and contemporary African and African Diaspora art history and theory. He previously taught at The Pennsylvania State University, University of Nigeria, Nsukka, and Yaba College of Technology, Lagos. He is co-editor of Nka: Journal of Contemporary African Art, writes for Huffington Post and maintains the blog Ọfọdunka. In 2007, Professor Okeke-Agulu was appointed the Robert Sterling Clark Visiting Professor of Art History at Williams College, and Fellow at the Sterling and Francine Clark Art Institute (2008). He was a Woodrow Wilson Career Enhancement Fellow (2010). Among his many awards and prizes are: Honorable Mention, The Arnold Rubin Outstanding Publication (triennial) Award (Arts Council of African Studies Association, 2017); The Melville J. Herskovits Prize for the most important scholarly work in African Studies published in English during the preceding year (African Studies Association, 2016); Distinguished Alumnus Award for Outstanding Service to the Arts (The College of Arts, University of South Florida, Tampa, 2016); Frank Jewett Mather Award for Distinction in Art Criticism (College Art Association, 2016); and Outstanding Dissertation (triennial) award (Arts Council of African Studies Association, 2007); National Council of Arts and Culture Prize for Best Art Student, University of Nigeria (1990); Indira Gandhi Memorial Prize for Best Graduating Student of the University of Nigeria (1990); Valedictorian and Class President of the 1990 graduating class, University of Nigeria (1990). Okeke-Agulu serves on the board of directors of College Art Association, the advisory board of the Center for the Study of Visual Arts, National Gallery of Art, Washington, DC, the executive board of Princeton in Africa. He is on editorial board of African Studies Review and on the advisory boards of Journal of African American Studies, and Journal of Igbo Studies