Notes from the Field: Tradition

Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsObiora UdechukwuObiora Udechukwu is an artist and poet. A founding member of the Odunke Community of Artists and the Aka Circle of Exhibiting Artists, he taught at the University of Nigeria, Nsukka, and is now the Charles A. Dana Professor of Art and Art History at St. Lawrence University, in the United States [Department of Art and Art History, St. Lawrence University, Canton, N.Y. 13617, oudechukwu@stlawu.edu].John BrewerJohn Brewer is Eli and Eyde Broad Professor of Humanities and Social Sciences at Caltech. His most recent book is The American Leonardo: A Tale of Obsession, Art and Money (Oxford University Press, 2009). He is currently working on Neapolitan spaces in the late eighteenth and early nineteenth centuries [Division of the Humanities and Social Sciences, HSS 101–40, 313 Dabney Hall, California Institute of Technology, Pasadena, Calif. 91125].Jay A. ClarkeJay A. Clarke is Manton Curator of Prints, Drawings, and Photographs, the Clark Art Institute, and lecturer in the Graduate Program, Williams College. She is author of Becoming Edvard Munch (2009) and editor of Innovation, Tradition, and Nostalgia (2012) and The Impressionist Line from Degas to Toulouse-Lautrec (2013) [Sterling and Francine Clark Art Institute, 225 South Street, Williamstown, Mass. 01267, jclarke@clarkart.edu].Tapati Guha-ThakurtaTapati Guha-Thakurta is professor of history and director of the Centre for Studies in Social Sciences, Calcutta. She has published The Making of a New “Indian” Art (1992) and Monuments, Objects, Histories (2004) and is completing In the Name of the Goddess: The Durga Pujas of Contemporary Calcutta [Centre for Studies in Social Sciences, R 1 Basihnabghata Patuli, Calcutta 700094, India, tapati@cssscal.org].Hans HaydenHans Hayden is J. A. Berg Professor in Art History at Stockholm University. His research focuses mainly on the historiography of art history, theory of interpretation, and the art and theories of modernity. These issues coincide in his treatise Modernismen som institution (2006), which currently is being translated into English [Department of Art History, Stockholm University, S-106 91 Stockholm, Sweden, hans.hayden@arthistory.su.se].Gregg M. HorowitzGregg M. Horowitz is professor of philosophy and chair of Social Science and Cultural Studies at Pratt Institute. His publications include Sustaining Loss: Art and Mournful Life (2001), “Absolute Bodies: The Video Puppets of Tony Oursler” (2010), and “A Made-to-Order Witness: Women's Knowledge in Vertigo,” in Vertigo: Philosophers on Film (2013) [Department of Social Science and Cultural Studies, Pratt Institute, 200 Willoughby Avenue, Brooklyn, N.Y. 11205, ghorowi2@pratt.edu].Thomas DaCosta KaufmannThomas DaCosta Kaufmann, Frederick Marquand Professor of Art and Archaeology, Princeton University, has published widely on historiography, geography of art, and art history from 1450 to 1800, most recently, Arcimboldo: Visual Jokes, Natural History, and Still-Life Painting. His latest projects concern global exchange in art and world art history [Department of Art and Archaeology, Princeton University, McCormick Hall, Princeton, N.J. 08544].Susanne KüchlerSusanne Küchler, professor of anthropology and material culture at University College London, has conducted ethnographic fieldwork in Papua New Guinea and Eastern Polynesia for twenty-five years. Her recent work focuses on social memory and material translation and on the epistemic nature of materials and their role in long-term social change [Department of Anthropology, University College London, Gower Street, London WC1E 6BT, s.kuechler@ucl.ac.uk].Maria H. LohMaria H. Loh is a Reader in the Department of History of Art at University College London and the Willis F. Doney Member at the Institute for Advanced Study, Princeton. She is the author of Titian Remade (2007) and Still Lives: Death, Desire, and the Portrait of the Old Master (forthcoming) [Department of History of Art, University College London, Gower Street, London WC1E 6BT, U.K., m.loh@ucl.ac.uk].Ruth B. PhillipsRuth B. Phillips holds a Canada Research Chair in Aboriginal Art and Culture and is professor of art history at Carleton University, Ottawa. Her research and publications address African and Native North American art and critical museology. Her most recent book is Museum Pieces: Toward the Indigenization of Canadian Museums [Institute for Comparative Studies in Literature, Art, and Culture, Carleton University, 1125 Colonel By Drive, Ottawa, Ont. K1S 5B6, Canada, Ruth.Phillips@carleton.ca].Regine PrangeRegine Prange is professor of art history in the Art History Department of Goethe-Universität, Frankfurt, Germany. Her areas of specialization include modern and contemporary art and art theory, the history and methodology of art history, and painting and cinematic space (especially in Jean-Luc Godard's oeuvre) [Kunstgeschichtliches Institut der Goethe-Universität Frankfurt am Main, Senckenberganlage 31, 60325 Frankfurt, Ger., r.prange@kunst.uni-frankfurt.de].Alessandra RussoAlessandra Russo, an art historian at Columbia University, is the author of El realismo circular (UNAM, 2005), L'image intraduisible/The Untranslatable Image (Les Presses du Réel/University of Texas Press, in press) and co-editor of Images Take Flight (forthcoming). This essay was written during a fellowship at the Wissenschaftskolleg zu Berlin [Department of Latin American and Iberian Cultures, Columbia University, Casa Hispánica, 612 West 116th Street, New York, N.Y. 10027, ar2701@columbia.edu].

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