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KAREN A. BEAROR, Associate Professor of Art History, Florida State University, specializes in twentieth-century U.S. art. She is the Chair of the Committee for Women in the Arts of the College Art Association, was the former arts representative on the International Fellowships Awards Panel of the American Association of University Women Educational Foundation, and is currently the Treasurer of the Association of Historians of American Art. She is the author of, among other publications, Irene Rice Pereira: Her Paintings and Philosophy (University of Texas Press, 1993) and Irene Rice Pereira's Early Work: Embarking on an Eastward Journey (Lowe Art Museum, University of Miami, 1994), the latter associated with an exhibition she curated at the Lowe Art Museum, University of Miami. She is now completing a book entitled The Design Laboratory: Modernism and Progressive Education on the WPA Federal Art Project.

BARBARA J. BLOEMINK is the Curatorial Director of the Smithsonian Institution's Cooper-Hewitt, National Design Museum. Formerly, she was Managing Director of the Guggenheim Hermitage and Guggenheim Las Vegas Museums and Chief Curator and Director of the Kemper Museum of Contemporary Art, the Contemporary Art Center of Virginia, and the Hudson River Museum. She has organized over eighty museum exhibitions of modern and contemporary art (including co-curating the Florine Stettheimer retrospective at the Whitney Museum of American Art); has published books on several artists, including Stettheimer, Georgia O'Keeffe, Michael Lucero, James Croak, and Kurt Seligman; and has contributed a chapter on Stettheimer and Marcel Duchamp to the recent anthology Women in Dada, edited by Naomi Sawelson-Gorse (MIT Press). She received her doctorate from Yale University.

KRISTEN FREDERICKSON received her Ph.D. from Bryn Mawr College and is owner and director of Kristen Frederickson Contemporary Art in New York

City. She has taught art history at Bryn Mawr College, Hunter College, Seton Hall University, the New York Academy of Art, and Christie's Education. She is the author of articles on modern sculptors Camille Claudel and Anna Golubkina, as well as numerous reviews of contemporary art in New York City, and was for three years Chair of the Committee on Women in the Arts of the College Art Association.

GLADYS-MARIE FRY is Professor Emerita of Folklore and English at the University of Maryland. Her books include Night Riders in Black Folk History and Stitched from the Soul: Slave Quilts from the Ante-Bellum South (New York: Button Studio Books, in association with the Museum of American Folk Art, 1990; reissued by the University of North Carolina Press, fall 2002). Dr. Fry has curated a dozen museum exhibitions at institutions such as the American Folk Art Museum, New York City; Huntsville Museum of Art, Huntsville, Alabama; and both the Renwick Gallery and Anacostia Museum, Smithsonian Institution, Washington, D.C. Her exhibition catalogues include Man Made: African-American Men and Quilting Traditions; Broken Star: Freedom Quilts Made by Blacks in the Post Civil War South; Black Folk Art in Cleveland; and Yes Sir, That's My Baby: African American Artists' Dolls. She has received major fellowships and grants from, among others, the Guggenheim Foundation, the National Humanities Center, Research Triangle Park in North Carolina, the National Endowment for the Humanities, the National Endowment for the Arts, the Rockefeller Foundation, and Radcliffe's Bunting Institute. Currently, she is a Senior History Consultant for the Smithsonian Institution, Washington, D.C.

MARY D. GARRARD is Professor of Art History at American University, Washington, D.C. She is the author of Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art (Princeton University Press, 1989) and Artemisia Gentileschi around 1622: The Shaping and Reshaping of an Artistic Identity (University of California Press, 2001). With colleague Norma Broude, Garrard edited and contributed to Feminism and Art History: Questioning the Litany (Harper and Row, 1982), The Expanding Discourse: Feminism and Art History (HarperCollins, IconEditions, 1992), and The Power of Feminist Art: The American Movement of the 1970s, History and Impact (Harry N. Abrams, 1994), books that have become basic texts in many art history and women's studies courses in American universities. Garrard is presently completing a book on gender, art, and nature in Renaissance Italy.

NANCY GRUSKIN received her Ph.D. in art history from Boston University. She has taught architectural history at Connecticut College, Tufts University, and the University of Massachusetts–Boston. She is currently writing about streamlining and its relationship to feminine beauty ideals.

MELANIE ANNE HERZOG received her M.F.A. and Ph.D. from the University of Wisconsin–Madison and is Associate Professor of Art History at Edgewood College in Madison, Wisconsin. She has written several exhibition catalogue

essays and articles and is the author of Elizabeth Catlett: An American Artist in Mexico (University of Washington Press, 2000).

ANNE HIGONNET is Professor of Art History, Barnard College/Columbia University. She is the author most recently of Pictures of Innocence: The History and Crisis of Ideal Childhood (Thames and Hudson, 1998).

FRIMA FOX HOFRICHTER, chair of the History of Art Department at Pratt Institute, New York, received her Ph.D. from Rutgers University with her dissertation on Judith Leyster. She subsequently wrote a monograph on the artist, Judith Leyster, A Woman Painter in Holland's Golden Age (Davaco, 1989), and curated the related exhibition, “Haarlem: The Seventeenth Century,” at the Zimmerli Art Museum at Rutgers. She also curated “Leonaert Bramer, 1596–1674: A Painter of the Night,” Marquette University, and was a major contributor to the Philadelphia Museum of Art's “Ars Medica: Art, Medicine and the Human Condition.” She is coauthor (with John Beldon Scott) of Baroque Visual Culture: A Social History of Art (forthcoming).

GAIL LEVIN is Professor of Fine and Performing Arts, American Studies, and Art History at Baruch College and the Graduate Center of the City University of New York. She is author of many exhibition catalogues, articles, and books on twentieth-century art, including Edward Hopper: An Intimate Biography (Alfred A. Knopf, 1995) and Edward Hopper: A Catalogue Raisonné (Norton, 1995). Her most recent book is Aaron Copland's America: A Cultural Perspective (Watson-Guptill, 2000).

CAROL MAVOR is Professor of Art at the University of North Carolina at Chapel Hill. She is the author of Pleasures Taken: Sexuality and Loss in Victorian Photographs (Duke University Press, 1995) and Becoming: The Photographs of Clementina, Viscountess Hawarden (Duke University Press, 1999) and has just completed two new books, Boyish Labor: J.M. Barrie, Roland Barthes, Jacques Henri Lartigue and Marcel Proust and Full (a novel).

AMY INGRID SCHLEGEL is an art historian and curator of contemporary art based in Philadelphia. She wrote her dissertation on the work of Nancy Spero and has also written on Ilya Kabakov, Komar and Melamid, Barbara Zucker, Sylvia Sleigh, and numerous other artists, some of whom she has invited to exhibit in Philadelphia. Schlegel has also taught art history at the University of Vermont and at Columbia University, where she received her doctorate.

MARY D. SHERIFF is Daniel W. Patterson Distinguished Professor in the Art Department at the University of North Carolina at Chapel Hill. She is the author of Fragonard: Art and Eroticism (University of Chicago Press, 1990), The Exceptional Woman: Elisabeth Vigée-Lebrun and the Cultural Politics of Art (University of Chicago Press, 1996), and Moved by Love: Inspired Artists and Deviant Women in Eighteenth-Century France (forthcoming from the University of Chicago Press). She is also editor of The Cambridge Companion to Watteau, forthcoming from Cambridge University Press.


KRISTINE STILES is an artist and Associate Professor of Art and Art History at Duke University. She is internationally recognized for her research and writing on performance and experimental art, and destruction, violence, and trauma in art. She coedited with Peter Selz Theories and Documents of Contemporary Art (University of California Press, 1996). Her forthcoming books include Correspondence Course: Selected Letters of Carolee Schneemann, Uncorrupted Joy: Art Actions, History, and Social Value (University of California Press), and Concerning Consequences: Trauma, Survival, and Action in Art. She received a John Simon Guggenheim Fellowship in 2000 to work on her manuscript “Remembering Invisibility: Documentary Photography of the Nuclear Age.” Stiles is the recipient of numerous other grants, including the J. William Fulbright, Foreign Scholar, and she received the Richard K. Lublin Distinguished Award for Teaching Excellence at Duke University in 1994.

SARAH E. WEBB is an artist and Visiting Assistant Professor in the Department of Art and Art History at the University of Rochester in New York. She received her M.F.A. from Visual Studies Workshop, Rochester, New York. Her performance and installation work is exhibited nationally. Webb has curated two national exhibitions on the work of women: “Stories from Her” and “The Female Gaze: Women Look at Men.” She has taught critical theory in the Fine Art Photography Program at Rochester Institute of Technology.

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