Roy R. Behrens
Roy R. Behrens is a writer and designer who has taught graphic design and design history for more than 40 years, at the University of Wisconsin-Milwaukee, Art Academy of Cincinnati and other American schools. Since 1990, he has taught at the University of Northern Iowa, where he is a Professor of Art and Distinguished Scholar.
He has published hundreds of essays and articles on art and design-related subjects in international publications, among them Leonardo, Gestalt Theory, Print, Lotus Internationale, Revista de Occidente, Philosophical Transactions of the Royal Society B and others. In 1981, he published Art and Camouflage: Concealment and Deception in Art, Nature and War, regarded as one of the earliest books about the role of artists in the development of modern camouflage. His most recent books include False Colours: Art, Design and Modern Camouflage (2002); Cookbook: Gertrude Stein, William Cook, and Le Corbusier (2005); Camoupedia: A Compendium of Research on Art, Architecture and Camouflage (2009); and Ship Shape: A Dazzle Camouflage Sourcebook (2012). Described by Communication Arts magazine as “one of the most original thinkers in design,” he was a nominee for the Smithsonian Institution’s National Design Awards in 2003. He is married to artist Mary Snyder Behrens.
Donna West Brett
Donna West Brett is an art historian and independent curator. Her doctoral thesis Seeing and not seeing: photographing place in Germany after 1945 presented a theoretical and historical analysis of German photography of place after 1945 (USyd, 2012). Exhibitions include Joseph Beuys and the ‘Energy Plan’, University of Sydney 2012 and The stranger’s eye, Peloton, 2010 and publications include essays in [i||MemoryConnection]], Photographies and Art Gallery of NSW collection publications. Brett is also a member of the editorial committee and reviews editor for the Australian and New Zealand Journal of Art.
Paul Brock and Jack Hasenpusch
Paul Brock is a world authority on Phasmida (stick and leaf insects), author of several popular books covering taxonomy, rearing, catalogues, and the continually updated Phasmida Species File phasmida.speciesfile.org as well as Insects of the New Forest (2011), a major reference source for photographers and conservationists. He has published over 200 scientific papers in many different journals. Type material is mainly deposited in the Natural History Museum, London. Latest books are, A photographic guide to Insects of the New Forest and surrounding area(Pisces Publications, Newbury, 2011) and The complete field guide to stick and leaf insects of Australia (CSIRO Publishing, Collingwood, 2009). A comprehensive guide to insects of Britain and Ireland (Pisces Publications) is scheduled for publication in 2014.
Jack Hasenpusch is a specialist of Australian Phasmida. He is author and co-author of numerous papers on phasmids and Coleoptera. He specializes in breeding and studying life histories of phasmids and Coleoptera. He is Director of the Australian Insect Farm which was initially established to supply insect specimens and breeding/life cycle insect kits. He is co-author of The complete field guide to stick and leaf insects of Australia (CSIRO Publishing, Collingwood, 2009).
Dr Edward Colless is Head of Critical and Theoretical Studies at the Victorian College of the Arts, University of Melbourne, where he has worked since 2001. He has been employed in several tertiary institutions as a lecturer in art and cultural history, aesthetics, cinema studies, and design with practical teaching in performance. In addition to a steady output of writing (including art criticism, reviewing, fiction and travel), he has also worked at various times as a professional theatre director, as a filmmaker, curator, and architectural assistant. An anthology of his selected writing, The Error of My Ways, published in 1995 by the Institute of Modern Art in Brisbane, was nominated for the NSW Premier’s Prize for Literature. Colless has also been shortlisted for the Pascall Prize for Criticism. He has been features writer and associate editor of Australian Art Collector since its inauguration and has worked as Melbourne art critic for The Australian newspaper. His most recent grant from the Australia Council has been in support of a writing project titled Hallucinogenesis, which deals with states of fascination and possession in art. He was awarded a writing residency with the Institut français/Ville de Paris in 2011 to commence work on a novel, Sanglines.
Dr Ann Elias gained an MA (First Class Hons) and PhD from the University of Auckland, and is Associate Professor of Theoretical Enquiry at Sydney College of the Arts, the University of Sydney. In the 1980s she was associate lecturer at Auckland University before appointment to Sydney University in 1990. Her doctoral thesis was on New Zealand still life and flower painting 1880-1940 and she continues to publish on New Zealand’s leading artists. Since moving to Australia the focus of Ann’s research is Australian art and visual culture and her publications place Australian material in the context of British and American histories. She has two specialisations: camouflage, including the crossing of disciplines between art and science; and flowers, especially flowers as objects of camouflage. Her research is included in major international journals and her book, Camouflage Australia: art, nature, science and war, was published by Sydney University Press in 2011.
Ross Gibson is Professor of Contemporary Arts with Sydney College of the Arts at the University of Sydney. As part of his research he makes books, films and art installations and he encourages postgraduate students in similar pursuits. His main interests are environmental consciousness and cross-cultural negotiations throughout colonial history, particularly in Australia and the Pacific. His work spans several media and disciplines. Recent projects include the books, 26 Views of the Starburst World (2012) and The Summer Exercises (2009), the video installation Street X-Rays (2005), and the minimalist, photographic poem: Accident Music which appears weekly in the form of a blog that is published by the Justice & Police Museum in Sydney (2010 - continuing).
Pamela Hansford is a writer who publishes on contemporary art and culture. Her publications include, Dagger Definitions: Peter Tyndall for the Australian Centre for Contemporary Art (ACCA), Wits End (Ed.) for the Museum of Contemporary Art, and recent contributions to New09 for ACCA, and Andrew Drummond – Observation/Action/Reflection for the Christchurch Art Gallery, New Zealand. She is currently employed as a manager of evaluation in the NSW public sector.
Ian Howard is an artist and professor at the College of Fine Arts, (COFA) University of New South Wales. Previously, he was Dean of COFA and Provost and Director of the Queensland College of Art, Griffith University. He trained as an artist and art educator in Sydney, London and Montréal and has been a practicing artist since the late 1960s, concentrating on the theme of the relationship between civilian and military cultures, and their material and symbolic products. He is represented by Watters Gallery in Sydney and Charles Nodrum Gallery, Melbourne. His art works are included in state, national and international museums and collections. He is currently Chair of the National Association for the Visual Arts (NAVA), and a Board Member of the Australian Council of University Art and Design Schools (ACUADS). Previously, he has been a member of the Visual Arts Board of the Australia Council, the Board of the Australian Centre for Photography and Chairperson of the State Government Visual Arts Committee, Arts Queensland.
Hsuan L. Hsu is an associate professor of English at the University of California, Davis. His works include, Geography and the Production of Space in Nineteenth-Century American Literature, a book manuscript entitled, Sitting in Darkness: Mark Twain and America's Asia, and articles and edited volumes on geography, transnational American studies, Asian American studies, and the environmental humanities.
Bernd Hüppauf is Professor Emeritus of New York University. He completed studies in philosophy, history and literature at the universities of Würzburg, Göttingen and Tübingen with a PhD in modern literature (Tübingen 1970). He taught Modern Literature, Theory of Culture, and Comparative Literature at the universities of Tübingen, Regensburg, at UNSW (Australia), and from 1993 at New York University. He was Director of Deutsches Haus at NYU until 2003. Bernd’s research areas include word and image, representations of war in literature and photography, Literature and Philosophical Anthropology, and Aesthetics of Scepticism. His books include, War, Violence and the modern Condition, New York/Berlin 1997; Globalization and the Future of German, Berlin, New York 2004; Vernacular Modernism: Heimat, Globalization, and the Built Environment (ed. with Maiken Umbach) Stanford University Press, 2005; Science Images and Popular Images of the Sciences (ed. with Peter Weingart), New York (Routledge) 2008; Dynamics and Performativity of Imagination (ed. with Christoph Wulf), New York (Routledge) 2009.
Ian McLean is Research Professor of Contemporary Art at University of Wollongong and a well-known commentator on Australian art. His most recent book is, How Aborigines Invented the Idea of Contemporary Art.
Dr Jacqueline Millner teaches in the theory program at Sydney College of the Arts, the University of Sydney. She writes widely on Australian and international contemporary art in leading anthologies and journals. Her book on Australian contemporary practice and aesthetics, Conceptual Beauty, was published in 2010.
Jonnie Morris is a director & editor with a passion for filmmaking and the environment. She has a double degree in Media (BA) and Biology (BSc) from Deakin University in Melbourne, as well as nine years professional experience directing and editing for advertising, documentary and television. She has worked with award-winning creative teams, and for clients such as Adidas, Converse, Mercedes Benz, Fosters Australia, ESPN Classic, BBDO Melbourne, Mother London, Weiden+Kennedy, Ogilvy & Mather, VICE UK, VICE Australia, and Al Jazeera English. Since 2008, Jonnie has been freelancing internationally, and in 2010 she embarked on a five-month tour with Alexandra Cousteau's Expedition Blue Planet. With the granddaughter of Jacques Yves Cousteau, and a crew of dedicated environmental filmmakers, she travelled across North America editing a series of documentaries on critical water issues. More recently she has been directing and editing branded and editorial content for VICE Australia and USA, as well as producing and directing Razzle Dazzle: The Hidden Story of Camouflage.
Nikos Papastergiadis is Professor at the School of Culture and Communication at the University of Melbourne. He studied at the University of Melbourne and University of Cambridge. Prior to returning to the University of Melbourne he was a lecturer at the University of Manchester. Throughout his career, Nikos has provided strategic consultancies for government agencies on issues relating to cultural identity and worked on collaborative projects with artists and theorists of international repute, such as John Berger, Jimmie Durham and Sonya Boyce. His current research focuses on the investigation of the historical transformation of contemporary art and cultural institutions by digital technology. His publications include Modernity as Exile (1993), Dialogues in the Diaspora (1998); The Turbulence of Migration (2000); Metaphor and Tension (2004); Spatial Aesthetics: Art Place and the Everyday (2006); Cosmopolitanism and Culture (2012) as well as being the author of numerous essays which have been translated into over a dozen languages and appeared in major catalogues such as the Sydney, Liverpool, Istanbul, Gwanju, Taipei, Lyon and Thessaloniki Biennales.
Tanya Peterson is a lecturer at the College of Fine Arts (COFA), University of New South Wales. Her practice encompasses writing, art making and criticism. Her exhibition profile spans over a decade and she publishes widely on contemporary art. She has a strong interest in the legacy of the Duchampian readymade, Conceptual Art and more generally in the production of failure. In loose connection to these themes she has recently, for example, curated In Advance, UTS gallery (2008); presented Fountains and Lakes: Duchamp and Stieglitz, Alfred Stieglitz symposium, AGNSW (2010); held a solo exhibition, Sunset, I.C.A.N., Sydney (2012), and published “Tim Silver”, We Used to Talk About Love – Balnaves Contemporary: Photomedia catalogue (edited by Natasha Bullock), AGNSW, Sydney (2013).
As a director of four major art centres in Australia - Artspace, The Institute of Modern Art, The Performance Space and The Casula Powerhouse, as well as being an independent curator and writer – Nicholas Tsoutas's main areas of interest and expertise are in the areas of conceptual and installation art, performance art, contemporary postmodern theory and criticism, with a particular emphasis on post-colonial critique in relation to globalisation, mobility, cultural exchange, hybridity and cultural diversity. His practice has been informed through the intertextual processes of interdisciplinary border crossing and intervention. His professional commitments have been defined through his privileging of and emphasis on the creative capacities of artists and an innovative approach to shaping the critical transaction of their ideas. Nicholas is the Zelda Stedman Lecturer in Visual Arts at Sydney College of the Arts, the University of Sydney.
Linda Tyler is Associate Professor & Director of Gus Fisher Gallery at the Centre for Art Research in the National Institute of Creative Arts and Industries at the University of Auckland. She qualified with a Master of Arts in Art History with First Class Honours at the University of Canterbury in 1987. In 2011 she won the Robert Lord Writers’ Fellowship, Dunedin. She is currently Associate Investigator on an $800,000 Marsden Fund Research Project “Pornography Perturbed”.
Ben Wadham is a sociologist in the field of critical military studies. He has undertaken research on white masculinities, brotherhood and imperialism, defence abuse, and crime and justice within the domestic military context. Ben uses the ideas developed through the camouflage movement to inform his research on the naturalisation of the military and state military relations. He is interested in the ways that militarism has become part of the dominant weave of Western liberal democracies through tropes of sacrifice, mateship and the 'ANZAC'. His particular focus is on the techniques and relations of naturalisation. Ben has worked with visual artist, Amy Hamilton, to exhibit on the theme of camouflage and the hegemony of militarism.