Notes from the Field: Appropriation: Back Then, in Between, and Today

Abstract

Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsGeorg BaselitzGeorg Baselitz was born January 23, 1938, in Deutschbaselitz in Saxony, Germany, and given the name Hans-Georg Bruno Kern. He lives and works at the Lake Ammersee (Bavaria) and in Imperia (the Italian Riviera).Kirk AmbroseKirk Ambrose is associate professor of medieval art history at the University of Colorado. His publications include the book The Nave Sculpture of Vézelay: The Art of Monastic Viewing and a co-edited volume that surveys approaches to Romanesque sculpture [Department of Art and Art History, 318 UCB, University of Colorado, Boulder, Colo. 80309, kirk.ambrose@colorado.edu].Elizabeth EdwardsElizabeth Edwards is professor of photographic history and director of the Photographic History Research Centre, De Montfort University. A visual and historical anthropologist, she previously held academic and curatorial posts in Oxford and London. She has written extensively on cross-cultural relations between photography, anthropology, and history [Photographic History Research Centre, De Montfort University, The Gateway, Leicester LE1 9BH, U.K., eedwards@dmu.ac.uk].Ursula Anna FrohneUrsula Anna Frohne is professor of art history for twentieth- and twenty-first-century art at the Kunsthistorisches Institut, University of Cologne. Her research focuses on contemporary art practices, visual theory, video, film, photography, cinematographic aesthetics (http://kinoaesthetik.uni-koeln.de/), the political implications of art, and the economies of the art system [Kunsthistorisches Institut, University of Cologne Albertus-Magnus-Platz, 50923 Cologne, Germany, ursula.frohne@uni-koeln.de].Cordula GreweCordula Grewe, author of Painting the Sacred in the Age of Romanticism (2009), recently completed The Nazarenes: Romantic Avant-Garde and the Art of the Concept; her new projects explore the arabesque from eighteenth-century aesthetics to twentieth-century modernism and the tableau vivant from 1800 to 2000 [Department of Art History and Archaeology, Columbia University, MC 5517, New York, N.Y. 10027, cg2101@columbia.edu or cordula@grewe.us].Daniel Heller-RoazenDaniel Heller-Roazen is the Arthur W. Marks ‘19 Professor of Comparative Literature and the Council of the Humanities at Princeton University. He is the author of five books, among which, most recently, The Fifth Hammer: Pythagoras and the Disharmony of the World (Zone Books, 2011) [Department of Comparative Literature, 133 East Pyne, Princeton University, Princeton, N.J. 08544, dheller@princeton.edu].Ian McLeanResearch professor of Indigenous contemporary art at the University of Wollongong, Ian McLean has published How Aborigines Invented the Idea of Contemporary Art, The Art of Gordon Bennett, and White Aborigines: Identity Politics in Australian Art. He serves on the advisory boards of Third Text, World Art, and National Identities [Faculty of Creative Arts, University of Wollongong, NSW 2522 Australia, imclean@uow.edu.au].Saloni MathurSaloni Mathur, associate professor of art history at the University of California, is author of India by Design: Colonial History and Cultural Display (2007), editor of The Migrant's Time: Rethinking Art History and Diaspora (2011), and co-editor of No Touching, Spitting, Praying: Modalities of the Museum in South Asia (forthcoming) [Department of Art History, University of California at Los Angeles, 100 Dodd Hall, Los Angeles, Calif. 90095, mathur@ucla.edu].Lisa PonLisa Pon is associate professor at Southern Methodist University. Author of Raphael, Dürer, and Marcantonio Raimondi: Copying and the Italian Renaissance Print (Yale University Press, 2004), she is completing two books, Art, Icon, Print: Forlì's Madonna of the Fire and Raphael and the Italian Renaissance: Theorizing Artistic Collaboration [Department of Art History, Southern Methodist University, PO Box 750356, Dallas, Tex. 75275, lpon@smu.edu].Iain Boyd WhyteIain Boyd Whyte is professor of architectural history at the University of Edinburgh and has written extensively on architectural modernism and twentieth-century German art. Recent publications include Beyond the Finite: The Sublime in Art and Science (2011). He is also editor of the electronic journal Art in Translation [Edinburgh School of Architecture and Landscape Architecture, 20 Chambers Street, Edinburgh EH1 1JZ, Scotland, U.K., i.b.whyte@ed.ac.uk].