Winnie Wong is a Professor of Rhetoric at the University of California, Berkeley. Her research focuses on art history, particularly exploring themes of fakes, forgeries, and authorship through interdisciplinary approaches. She examines the global artistic networks of Hong Kong, Guangzhou, and Shenzhen, challenging Western narratives of Chinese artistic practices. Wong holds a PhD from MIT's History, Theory + Criticism program and was a Harvard Society of Fellows Junior Fellow. Her major works include Van Gogh on Demand: China and the Readymade (2014, Joseph Levenson Prize winner), Learning from Shenzhen (2017), and a forthcoming book on Canton trade portraitists. She teaches courses like Theory of the Copy and Rhetoric of the Image , mentoring undergraduates through the Undergraduate Research Apprentices program and advising PhD students in art history and visual studies. Wong's research has been supported by grants from Mellon Foundation, ACLS, SSRC, and others. Her work has been translated into multiple languages and appears in journals like Current Anthropology and Law & Literature . She frequently discusses her work on podcasts and collaborates with museums including M+ and the Asian Art Museum.
University of California, Los AngelesUnited States
H. Samy Alim is a Professor and David O. Sears Presidential Endowed Chair in the Division of Social Sciences at UCLA, holding a joint appointment in the Department of Anthropology. He serves as Associate Director of the Ralph J. Bunche Center for African American Studies and leads the UCLA Hip Hop Initiative. Alim’s research focuses on Hip Hop Culture, Black Language, and Culturally Sustaining Pedagogies, with over 25 years of scholarship in these areas. His work bridges academia and activism, emphasizing Hip Hop’s transformative role in global social justice movements. Alim earned his PhD in Anthropology from Stanford University (2003), following MA (2002) and BA (1999) degrees. His academic contributions include twelve authored/edited books, such as Freedom Moves (2023) and Articulate While Black (2012). His research spans Hip Hop’s linguistic innovations, racialized language politics, and its pedagogical potential in education. Key projects include ethnographic studies in Cape Town, South Africa, and collaborative initiatives like the UC Press Hip Hop Studies Book Series. He co-edits the Oxford Handbook of Language and Race and directs the Center for Race, Ethnicity, and Language. Alim has engaged with global Hip Hop artists (e.g., Chuck D of Public Enemy) to co-produce knowledge, emphasizing Hip Hop as a site of theorizing and activism. His teaching and research highlight intersections of language, race, and power, advocating for pedagogies that sustain cultural identities while fostering equity. Collaborations with organizations like Heal the Hood in South Africa reflect his commitment to community-driven scholarship.
Matthew Potolsky is Professor of English at the University of Utah, specializing in nineteenth-century literature and literary theory. His career spans from 1998 Lecturer at Harvard University to current University Professorship. He earned a BA in Comparative Literature and Philosophy (1990), followed by MA and PhD in Comparative Literature (1992, 1997) from UC Irvine. Chair of English Department (2013-2016) University Professor (2014-2016) Research focuses on Decadence , Mimesis , Finance-Aesthetics intersections , and Government Secrecy . His work traces connections between financialization and decadent aesthetics, revealing how economic cycles influence artistic production. Key themes include: Decadent anti-realist literary movements Finance capital's cultural impact Decadent counterpublic formations Victorian aesthetic education debates Sublime aesthetics in national security Cosmopolitanism in literary communities Recent publications analyze: Decadent style as financialization rhetoric Reintroduction of verisimilitude theory Decadent responses to financial crises Mimetic labor in artistic production Decadent cosmopolitan counterpublics Historical parallels between financialization and literary decadence
Ramsey McGlazer is an Associate Professor specializing in twentieth-century European and Latin American literature, film, and critical theory. His research engages with poetry, politics-aesthetics intersections, critical carceral studies, and feminist/queer/psychoanalytic frameworks. He holds a Ph.D. in Comparative Literature and Critical Theory from UC Berkeley (2015) and previously taught at the University of St Andrews and Brown University’s Pembroke Center. McGlazer’s work interrogates modernist critiques of progress, radical psychiatry movements, and the interplay between aesthetic practices and institutional critique. His acclaimed monograph Old Schools: Modernism, Education, and the Critique of Progress (2020) won the American Association for Italian Studies First Book Prize. Current projects include The Clinic and its Double , exploring mid-century radical psychiatry and avant-garde art. He serves as Senior Editor of Critical Times and Coeditor of Italian Culture , and has translated key works like Rita Segato’s The War Against Women . McGlazer’s writing appears in venues such as Los Angeles Review of Books and n+1 . Research interests span Surrealist provocations, Brazilian artist Lygia Clark’s propositions, and transnational feminist solidarities. His scholarship bridges literary analysis with critical engagements in carceral studies, postcolonial theory, and decolonial thought.
Dr. François Soyer is an Associate Professor at the University of New England's School of Humanities, Arts, and Social Sciences, specializing in Early Modern History. He holds a PhD from the University of Cambridge (2007) and has held academic positions at the University of Southampton and the University of Adelaide. His research focuses on anti-Semitism, the Spanish and Portuguese Inquisitions, gender/sexuality history, and colonial empires. He has authored multiple books and articles, including Popularizing anti-Semitism in early modern Spain and its empire (2014) and Antisemitic conspiracy theories in the early modern Iberian world (2019). His work often examines how religious persecution intersected with medical, artistic, and legal practices. Education: PhD in History, University of Cambridge (2007) MPhil in History, University of Cambridge (2003) MA Honours, University of St. Andrews (2002) Postgraduate Certificate in Academic Practice, University of Southampton (2011) Research Interests: Anti-Semitic propaganda and conspiracy theories Inquisitorial archives and legal practices Gender transgression and queer histories Censorship of art and religious imagery His recent publications explore the Blood Libel legend, the trial of Catalan cross-dresser Maria Duran, and the emotional dimensions of religious conversion. He has been awarded fellowships from the Royal Historical Society and the Parkes Institute. His current projects include tracing the origins of anti-Jewish iconography in colonial Peru and analyzing the role of emotion in early modern religious trials.
Juan Ortiz-Apuy is a Canadian-Costa Rican artist and Assistant Professor in the Department of Studio Arts at Concordia University . His practice critically examines intersections of commodity fetishism , object-oriented ontology , and post-colonialism through installations addressing sustainability and environmental exploitation . He has exhibited internationally in institutions such as Les Abattoirs Museum (France) and MASS MoCA (USA). MFA, NSCAD University (2011) PG Dip, The Glasgow School of Art (2009) BFA, Concordia University (2008) His research investigates material cultures and ecological impacts of consumerism, employing found objects, 3D animation, and industrial materials. Key projects include Tropicana (2020), which critiques tropicality commodification, and La Guaria Morada (2019), exploring Costa Rican identity through environmental systems. Best International Representation (2024) by AICA, Costa Rican Chapter Grants from Canada Council for the Arts, Conseil des arts et lettres du Québec, and SSHRC Ortiz-Apuy has participated in residencies at MASS MoCA and Guldagergaard Ceramic Research Center . His work has been reviewed in Canadian Art , MOMUS , and local Montreal publications.
Dr. Catherine Wynne is a Reader in Victorian and Early Twentieth-Century Literature and Visual Cultures at the University of Hull, where she also serves as Associate Dean for Research and Enterprise in the Faculty of Arts, Cultures and Education. She teaches undergraduates and supervises PhD students, with a focus on literature and creative writing. B.A., English and French, University of Galway M.A., Modern English and American Literature, University College Dublin D.Phil., University of Oxford (on Bram Stoker, Arthur Conan Doyle, and the Colonial Gothic) Her research spans Victorian and early 20th-century literature and visual cultures, with a focus on the Gothic, war art and memoir, Victorian theatre, travel writing, colonialism, and contemporary adaptations. She has published monographs on Bram Stoker, Conan Doyle, and Lady Butler, a biography of the Victorian war artist. Her work intersects with cultural studies, material culture, and pandemic narratives, particularly through the University of Hull's Living with Death – Learning from COVID research cluster. Recent projects include editing new editions of The Adventures of Sherlock Holmes (Oxford University Press, 2025) and co-editing works on The Hound of the Baskervilles and The Valley of Fear for Edinburgh University Press. She contributes to public discourse as co-host of the Pandemic Pages podcast and through media engagements with the BBC, Channel 4, CBC, and Deutsche Welle. Scientific Awards Fellowship from the English Association (2023) Her research has been funded by the British Academy, the Marc Fitch Fund, the Society for Theatre Research, and the Royal Society of Edinburgh. She organized the Bram Stoker Centenary Conference (2012), contributes to the Barbara Canham Turner Lecture series, and collaborates with local charities on cultural heritage access for children with SEND.
Prof. Dr. Barbara Mittler is Professor of Sinology at Heidelberg University and founding co-director of the Heidelberg Centre for Transcultural Studies (CATS) and the Cluster of Excellence 'Asia and Europe in a Global Context.' Her research explores Chinese cultural policy, print media, musicology, visual culture, and transcultural studies. Mittler's scholarly contributions include groundbreaking work on Cultural Revolution culture, early Chinese print media (particularly women's magazines), and the transcultural flows of cultural production. Her current projects examine Mao as a global icon and comparative studies of Asian 'fathers of the nation.' Her publication record demonstrates consistent focus on cultural transmission mechanisms, with recent research developing transcultural frameworks for understanding cultural exchange and historical analysis. Publications reflect an interdisciplinary approach combining visual analysis, media studies, and historical methodology. Mittler has received numerous honors including the Fairbank Prize, Heinz-Maier-Leibnitz Prize, and memberships in the Leopoldina and Heidelberg Academy of Sciences. She leads major initiatives like the China-Schul-Akademie developing educational materials about China for German schools.
Professor Isabella Alexander is a distinguished legal historian and intellectual property scholar at the University of Technology Sydney (UTS), Faculty of Law. She specializes in copyright law with a particular focus on its historical dimensions and application to cartography and visual works. As a leading researcher in her field, she holds significant research grants including ARC Discovery projects on copyright law in the 21st century and copyright in cartography. Her educational background includes: PhD from the University of Cambridge LLB (Hons) from the Australian National University BA (Hons) from the Australian National University Professor Alexander's research explores how laws inform and regulate the creation, circulation and reception of knowledge and culture from a historical perspective. Her work bridges legal history with contemporary intellectual property challenges, particularly in areas of copyright for visual works, cartography, and digital creativity. She has made significant contributions to understanding the historical development of copyright principles and their application to modern technological contexts. An analysis of her recent publications reveals a strong focus on the intersection of copyright law with visual culture, cartography, and emerging digital challenges including AI-generated content and memes. Her work demonstrates a clear trajectory toward interdisciplinary approaches that connect historical legal frameworks with contemporary technological and cultural phenomena, showing increasing engagement with how historical understanding can inform solutions to modern intellectual property challenges. Her notable scientific achievements include: 2023 LSAANZ Award for published scholarly book/monograph for "Copyright and Cartography: History, Law, and the Circulation of Geographical Knowledge" Professor Alexander has secured significant research funding as Lead Chief Investigator on the ARC Discovery grant "Hacking Copyright Law in the 21st Century: Art, Law, History and Technology" and as sole Chief Investigator on "Copyright and Cartography: Understanding the past, shaping the future." She has actively contributed to policy development through submissions to the Australian Productivity Commission's Inquiry into IP Arrangements and on addressing copyright infringement online through secondary liability and website blocking mechanisms. She currently serves as President of the Australian and New Zealand Law and History Society and is a member of the Governing Board of the International Society for the History and Theory of Intellectual Property, demonstrating her leadership and influence in both national and international academic communities.
Marysol Quevedo is an Associate Professor at the University of Miami's Frost School of Music, specializing in musicology with a focus on Cuban and Puerto Rican musical cultures. Her research explores intersections between music, politics, and identity in post-revolutionary Cuba and the Caribbean diaspora. Research Themes: Cuban avant-garde music and revolutionary ideology Film music analysis (e.g., Leo Brouwer's scores) Cultural diplomacy through symphonic institutions Puerto Rican music historiography Public ethnomusicology and community engagement Publication Trends: Analyzes Cuban composers' negotiation of socialist values with global artistic movements, emphasizing music's role in ideological narratives through film scores, symphonic programming, and diasporic cultural preservation.
Ayesha Jalal is a distinguished Professor of History at Tufts University's School of Arts and Sciences and holds a joint appointment at The Fletcher School of Law and Diplomacy. She currently serves as the Mary Richardson Professor and directs the Center for South Asian and Indian Ocean Studies. With a career spanning over three decades, Professor Jalal has established herself as a leading scholar in South Asian history, particularly focusing on Pakistan studies, the partition of India, and Muslim political thought in the region. Professor Jalal's academic journey began with a double major in History and Political Science from Wellesley College in 1978. She then pursued doctoral studies at the University of Cambridge, earning her PhD in History in 1983. Her early career included prestigious fellowships at Trinity College, Cambridge (1980-84), the Centre of South Asian Studies (1984-87), the Woodrow Wilson Center for International Scholars (1985-86), and the Harvard Academy for International and Area Studies (1988-90). Professor Jalal's research primarily centers on South Asian history with special emphasis on Pakistan, the partition of India, and Muslim political thought. Her work explores the complex interplay between religious identity, nationalism, and state formation in the region. She has made significant contributions to understanding democratic development in Pakistan, sectarian dynamics in South Asia, and the historical connections between the Indian subcontinent and the wider Indian Ocean world. Her recent scholarship has focused on 'Oceanic Islam,' examining transregional Muslim networks and universalist aspirations that transcended colonial boundaries. Professor Jalal's extensive publication record demonstrates a consistent focus on South Asian political history, with particular attention to Pakistan's formation and development. Her recent works show a progression from studies of partition and state formation toward broader examinations of Muslim intellectual history and transregional connections. The 2020-2024 publications reveal a sophisticated engagement with themes of democratic erosion, sectarianism, and the historical roots of contemporary political challenges in South Asia, while also exploring more cultural and religious dimensions through works on Muslim enlightened thought and oceanic connections. Patrus Bukhari Award for the best English language book, The Pity of Partition , Academy of Letters, Government of Pakistan (2015) Britannica Book of the Year recognition (2015) MacArthur Fellowship (1998-2003) As an educator, Professor Jalal has mentored numerous graduate students through thesis supervision and directed research projects. Her teaching portfolio includes courses on Modern South Asia, Contemporary South Asia, Islam and the West, and specialized seminars on South Asian history. She has taught at several prestigious institutions including the University of Wisconsin-Madison, Columbia University, and Harvard University before joining Tufts in 1999. In her role as Director of the Center for South Asian and Indian Ocean Studies, she has fostered interdisciplinary research and provided guidance to emerging scholars in the field. Professor Jalal directs the Center for South Asian and Indian Ocean Studies at Tufts University, which serves as a hub for interdisciplinary research on South Asia and its connections to the wider Indian Ocean world. The center facilitates collaborative projects, hosts visiting scholars, and organizes events that bridge historical, political, and cultural perspectives on the region. Under her leadership, the center has become a prominent institution for South Asian studies, promoting dialogue between academic research and contemporary policy issues.
Claire Battershill is an Assistant Professor jointly appointed in the Faculty of Information and the Department of English at the University of Toronto. She holds a PhD from the University of Toronto and a BA (Hons) from the University of Oxford. Her research focuses on the history and future of the book, with a particular emphasis on feminist experimental publishing, literary aesthetics, and 20th/21st-century publishing practices. She is Co-Director of the Modernist Archives Publishing Project (MAPP), a critical digital archive of early 20th-century publishers’ records, and Co-Creator of the SSHRC-funded 'Make Believe' research-creation project. Her publications include Women and Letterpress Printing: Gendered Impressions (2022) and Using Digital Humanities in the Classroom (2022). Dr. Battershill has held prestigious roles such as Wendy M. Cecil Professor in VicOne at Victoria College and Fellow of the Royal Historical Society. She has secured grants including the SSHRC Impact Award (2017) and funding from the Canada Council for the Arts. Her teaching spans courses like INF2228H (The Future of Things: Digitization and Remediation) and BKS1002H (Book History in Practice), blending theory with hands-on engagement in digital humanities and book studies. Her research interests span digital humanities pedagogy, collaborative publishing projects, and the intersection of feminist theory with material book culture. She actively contributes to interdisciplinary initiatives like the Critical Digital Humanities Initiative (CDHI) at the University of Toronto.
Carlos Jáuregui is Professor of Spanish at the University of Notre Dame, with concurrent appointments in Anthropology and faculty fellowships at the Kellogg Institute for International Studies and Institute of Latino Studies. His research focuses on colonial Latin American cultural studies, biopolitics, and visual culture, bridging literary analysis with historical anthropology. Education includes: Ph.D. Hispanic Languages and Literatures, University of Pittsburgh (2001) Graduate Certificate in Latin American Studies, University of Pittsburgh (2000) M.A. Spanish American Literature, West Virginia University (1997) Law Degree, Universidad Externado de Colombia (1993) Research explores colonial power dynamics through frameworks like biopolitics and postcolonial theory, examining how historical narratives conceal violence while invoking spectral 'returns' of suppressed alterity. Recent work analyzes visual sovereignty in revolutionary iconography (e.g., Emiliano Zapata) and theological justifications of Spanish colonialism. Publications consistently engage with paradoxes of memory, resistance, and representation across 500 years of Latin American cultural production. Awards highlight transnational recognition: 2024 Emiliano Zapata Catedra distinction 2023 Dolores Huerta Book Award Premio Casa de las Américas (2005) Multiple Fulbright and NEH fellowships Advising includes doctoral students now faculty at University of Florida, Concordia College, Carleton College, and Furman University. Current book projects examine colonial renegades in Yucatán and monumental forgetting of Hernán Cortés in Mexico (1524-2024).
Dr. Doyle D. Calhoun serves as University Assistant Professor of Francophone Postcolonial Studies within the Department of French at the Faculty of Modern and Medieval Languages and Linguistics, University of Cambridge, where he is also a Fellow of Peterhouse College. His scholarly profile spans African and Caribbean literary studies, cinema analysis, and historical sociolinguistics with a focus on resistance narratives. His educational trajectory includes a Ph.D. in French from Yale University (2022), an M.A. in Linguistics from KU Leuven, and undergraduate studies in Linguistics and French Literature at Boston College. Additional academic development occurred through residencies at Fondation Camargo (Cassis) and Bibliothèque Marmottan (Paris). Calhoun’s research centers on Francophone postcolonial resistance, particularly suicidal acts against French colonialism as documented in The Suicide Archive (2024). His work excavates silenced histories of Atlantic slavery, abolition movements, and Négritude philosophy through literary and cinematic archives, emphasizing Senegalese and Caribbean contexts. He explores how contemporary writers reconstruct erased narratives of enslaved resistance through transmedia practices. His recent publications reveal a methodological convergence between literary analysis, historical recovery, and decolonial theory. Articles frequently address archival silences in colonial documentation while examining how contemporary artists reimagine resistance through linguistic innovation, cinematic storytelling, and embodied protest. Key thematic clusters include the weaponization of silence, subversive uses of missionary linguistics, and the politics of memory in postcolonial contexts. 2024 Malcolm Bowie Prize (Society for French Studies) 2024 William R. Parker Prize (Modern Language Association) 2021 Ralph Cohen Prize (New Literary History) 2016 Vivien Law Prize (Henry Sweet Society) Calhoun actively mentors graduate students in African/Caribbean literatures and cinema studies, with current projects including Africa after 1848 and Florence . His grant history features academic residencies at Fondation Camargo and Bibliothèque Marmottan, alongside a 2021 scholarship from the latter institution. Public engagement includes the 2025 La Noire de... film symposium and contributions to Los Angeles Review of Books and Salon . He contributes to the Cambridge Language Collective and Polyglossia Magazine while organizing events through Peterhouse. His 2025 podcast appearances on Stegi Radio and New Books Network demonstrate active knowledge dissemination beyond traditional academic channels.
Clare Harris serves as Professor of Visual Anthropology and Head of the School of Anthropology and Museum Ethnography at the University of Oxford, concurrently holding curatorship of Asian Collections at the Pitt Rivers Museum and a Fellowship at Magdalen College. Her academic leadership spans institutional administration, museum curation, and doctoral supervision within Oxford's anthropological ecosystem. Her educational foundation includes a BA from the University of Cambridge and MA/doctorate from SOAS, University of London. Early career roles comprised Lecturer in Anthropology of Art at the University of East Anglia (1994-1998) before her Oxford appointment. Harris pioneers research at the intersection of visual anthropology, Tibetan studies, and museum decolonization. Her work critically examines Himalayan visual culture, colonial/post-colonial photography, and museum representation politics, evolving toward digital repatriation and community-centered curation. She integrates anthropological fieldwork (conducted in Tibetan diaspora communities since the 1990s) with art historical analysis and archival research. Her 13 recent publications (2004-2022) reveal a progressive trajectory from Tibetan art history toward urgent museum decolonization debates, with consistent focus on photographic practices and cross-cultural representation. Key thematic developments include the shift from historical analysis to active digital repatriation projects and increased engagement with contemporary artists. Harris's accolades include: Fellowship of the British Academy (2019) E. Gene Smith Prize for The Museum on the Roof of the World (2014) Visual Anthropology Prize for In the Image of Tibet (2000) She currently supervises five DPhil students while examining over 25 completed doctorates globally. Research funding spans British Academy personal grants, Leverhulme Trust support, and major collaborative projects including AHRC, Wenner-Gren Foundation, and EU grants—most notably the current AHRC-funded Decolonising the Museum: Digital Repatriation of the Gaidinliu Collection . At the Pitt Rivers Museum, Harris leads high-impact curatorial initiatives including the Abramović collaboration ( Gates and Portals ), Nyema Droma's Performing Tibetan Identities , and community projects like My Tibet Museum , establishing innovative frameworks for museum-public engagement.
