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Dan Adler is assistant professor of modern and contemporary art history at York University in Toronto. A specialist in the history of art writing and the aesthetics of installation art, he has published in the London-based journal Art History and regularly contributes reviews to Artforum and Canadian Art Magazine. An alumnus of the Whitney Museum’s Independent Study Program, he holds a doctorate in art history from the Graduate Center, City University of New York. He has taught previously at Hunter College, RISD, the University of Guelph, and the New School in New York. He was formerly senior editor of the Bibliography of the History of Art at the Getty Research Institute in Los Angeles. His book about the German conceptual artist Hanne Darboven was recently published by Afterall Books/MIT Press.
Kenneth R. Allan is Assistant Professor of Art History at the University of Lethbridge. Publications include: “Metamorphosis in 391: A Cryptographic Collaboration by Francis Picabia, Man Ray, and Erik Satie” for Art History (2011). “Grounds of Forgetting and Intermediaries for Memory: Some Photographs by David M.C. Miller” is included in PUBLIC, 42, “Traces” (2010). “Understanding Information” deals with the 1970 Museum of Modern Art Information exhibition, and forms a chapter of Conceptual Art: Theory, Myth, and Practice (Cambridge: Cambridge University Press, 2004). “The A-Poetic Poetry of Bernar Venet” was written for PUBLIC, 26 (2003) and he contributed “Business Interests, 1969-72: N.E. Thing Co. Ltd., Les Levine, Bernar Venet, and John Latham,” to Parachute, 106 (April-June, 2002). Current research projects deal with Conceptual art as well as the paintings of Kazimir Malevich and Barnett Newman.
Christine Davis is a visual artist based in Toronto. She is a founding member of the Public Access Collective and PUBLIC journal. Davis has exhibited widely both nationally and internationally, and her work has been included in numerous group exhibitions including: Projections, Hart House, University of Toronto (2007); La Biennale de Montréal (2007); Paradise Now: Creating the Genetic Revolution, Exit Art, New York (2000); Press/Enter: Between Seduction and Disbelief, The Power Plant, Toronto (1995); Prospect ’93, Frankfurter Kunstverein; Beau, Canadian Museum of Contemporary Photography, Ottawa (1992); and Embodying Faith, The New Museum of Contemporary Art, New York (1991), among others. Christine Davis is represented by Olga Korper Gallery in Toronto.
Jim Drobnick is a critic, curator and Associate Professor of Contemporary Art and Theory at the Ontario College of Art & Design, Toronto. He has published on the visual arts, performance, and post-media practices in recent anthologies such as Art, History and the Senses (2010) and Senses and the City (2010), and the journals Angelaki, High Performance, Parachute, Performance Research, and The Senses & Society, where he is now reviews editor. His books include the anthologies Aural Cultures (2004) and The Smell Culture Reader (2006), and an upcoming book on smell in contemporary art. He is a co-founder of DisplayCult, a curatorial collaborative that has recently produced Odor Limits (2008), MetroSonics (2009) and NIGHTSENSE (2009) (www.displaycult.com).
Caitlin Fisher is an Assistant Professor in the Department of Film and holds a Canada Research Chair in Digital Culture at York University. A theorist, creative writer, and digital artist with broad interdisciplinary interests, she completed York’s first hypertextual dissertation in 2000. Her hypermedia novella, These Waves of Girls, was awarded the International Electronic Literature Award for Fiction in 2001. Most recently, she co-edited an issue of PUBLIC on digital confession and narrative. She directs the Augmented Reality Lab in the Faculty of Fine Arts at York, where she is currently working to construct and theorize spatial narrative environments that combine the physical world with digital traces and artifacts.
Saara Liinamaa recently defended her doctoral dissertation “Experiments in Urban Knowledge: Contemporary Art as Urban Research” in Social and Political Thought, York University, Toronto, Canada. Her writing on contemporary art and photography has appeared in publications such as PUBLIC, Poiesis and most recently in the edited collection on the theme of community in contemporary art, New Communities (Ed. Nina Möntmann 2009). Upcoming publications include an essay on the artist as urban researcher, and another on the art historian as ethnographer. She is currently a post-doctoral researcher for the Centre for Public Culture, Acadia University, Nova Scotia, Canada.
Susan Lord teaches at Queen’s University in the Department of Film and Media, with cross-appointments to the Departments of Art and Women’s Studies. Her main research areas are cultural studies of media and technology, Cuban film and visual culture, and feminist film culture in Canada and internationally. She also curates film, video and new media programs. She is co-editor of two collections of essays: Fluid Screens, Expanded Cinemas (2007) and Killing Women: The Visual Culture of Gender and Violence (2006). She has been a member of the Public Access collective since 1993.
Scott Lyall is a Canadian artist who works in sculpture and painting, typographic and drawing media, and scenographic design. He has exhibited across Canada, the United States, and Europe, with recent solo shows in Paris, New York, London, and Toronto. He has also worked with artists in performance situations, including at the 2008 SITE Santa Fe Biennial in New Mexico, and with the choreographer Maria Hassabi in New York and Marfa, Texas. After completing his MFA at the California Institute of the Arts, he spent several years in practice in New York and London, England. Lyall’s work can be viewed at Susan Hobbs Gallery (Toronto), Miguel Abreu (New York), and Sutton Lane (London and Paris).
Janine Marchessault is a Canada Research Chair in Art, Digital Media and Globalization at York University (Toronto, Canada). She is the author of Marshall McLuhan: Cosmic Media (2005) and is the editor of several collections, including Mirror Machine: Video and Identity (1994); and co-editor of Gendering the Nation: Canadian Women Filmmakers (1999); Wild Science: Reading Feminism, Medicine and the Media (2000) and Fluid Screens, Expanded Cinema (2007). She is the Director of the Visible City Project + Archive at York University (www.visiblecity.ca), which is examining artists’ cultures in the context of globalization in Toronto, Havana and Helsinki. She is a founding member of the Public Access Curatorial Collective and the journal PUBLIC.
Dorit Naaman is a filmmaker and film theorist teaching at Queen’s University in Canada. She was born and raised in Jerusalem, and her academic work concentrates on Middle Eastern cinemas. She is currently working on a book project on the visual representation of Palestinian and Israeli women fighters. As a filmmaker she is interested in documentaries, home movies, and a diary format. She developed a video format she calls DiaDocuMEntaRy, and has so far six short videos in the series.
Deborah Root is a Toronto-based writer and critic. She is the author of Cannibal Culture: Art, Appropriation and the Commodification of Difference and numerous articles on cultural politics and the arts. She holds a Ph.D. in Social and Political Thought from York University, and has taught in Canada and overseas.
Chloë Brushwood Rose is an Associate Professor in the Faculty of Education at York University. Her main research interests have to do with the significance of art and visual culture for thinking about dynamics of knowing and learning. Her current work explores community-based media and participatory video projects as sites for negotiating transnationality and subjectivity. Her scholarly work has been widely published and her photographs appear in the award-winning Boys Like Her (1998). She is co-editor of two anthologies including Lambda finalist Brazen Femme: Queering Femininity (2002) and is curator of a DVD compilation for Video Out, entitled Gender Currents (2007). Find her at www.edu.yorku.ca/cbr.