Natalie Adamson
is Professor in the School of Art History, University of St Andrews, Scotland. Her research and teaching are focused on the art, politics and philosophy in France after 1940 and its international and transnational relations around the world; abstract art; surrealism; art criticism and its reception; the practice of painting; and the history and theory of photography. Her publications include the books Painting, Politics and the Struggle for the École de Paris, 1944–1964 (Ashgate 2009/Routledge 2016) and In Focus: Around the Blues 1957, 1962–3, by Sam Francis (Tate Research Publications, 2019), and the co-edited publications Academics, Pompiers, Official Artists and the Arrière-Garde: Defining Modern and Traditional in France, 1900–1960 (Cambridge Scholars Press, 2009) and Material Imagination: Postwar European Art, 1946–1971 (Wiley-Blackwell, 2017). Her research has been supported by major grants from the Leverhulme Trust, the Getty Research Institute and the AHRC. She served as Deputy Editor of the UK-based journal of record for the discipline, Art History, from 2012 to 2017. Forthcoming publications are A Companion to French Art, 1789 to the Present, co-edited with Richard Taws for Wiley Blackwell (2025), and a monograph on the abstract painting practice of French artist Pierre Soulages (1919–2022) for Yale University Press.
Imre József Balázs
is Associate Professor at Babes-Bolyai University, Cluj, Romania. His research focuses on post-WWII surrealist networks, a project regularly updated in his blog, https://szurrealizmus.wordpress.com/. Another major interest of his is minority literatures, particularly Transylvanian Hungarian literature, with a focus on transnational aspects. His publications include “Trees, Waves, Whirlpools: Nation, Region, and the Reterritorialization of Romania’s Hungarian Literature” in Mircea Martin, Christian Moraru, Andrei Terian, eds., Romanian Literature as World Literature, Bloomsbury, New York, 2017, 115–132; “A Postwar Surrealist network: Claude Serbanne’s networking activity in Cahiers du Sud”, Transylvanian Review 2016, Supplement no. 1, 187–198; “The Non-Oedipal Android: Towards a Surrealist Utopia in Postwar Romania”, in David Ayers, Benedikt Hjartarson, Tomi Huttunen, Harri Veivo, eds., Utopia: The Avant-Garde, Modernism and (Im)possible Life, De Gruyter, Berlin, 2015. 445–457.
Sascha Bru
is Professor at the Faculty of Arts of the University of Leuven, Belgium, where he teaches critical theory. Bru is the author of The European Avant-Gardes, 1905–1935: A Portable Guide (2018), and Democracy, Law, and the Modernist Avant-Gardes. Writing in the State of Exception (2009), both with Edinburgh University Press. He has (co-)edited over a dozen of volumes, including Historic Avant-Garde Art on Paper (Routledge, 2023), Futurism: A Microhistory (Legenda, 2017), and The Oxford Critical and Cultural History of Modernist Magazines, 3: Europe 1880–1940 (Oxford University Press, 2013). He is also a co-editor of Brill’s Avant-Garde Critical Studies book series.
Éva Forgács
is Adjunct Professor at Art History at Art Center College of Design in Pasadena, California, and Professor Emerita of the László Moholy-Nagy University,
Tomáš Glanc
is a professor at Zurich University, Switzerland. Topics of his research include Eastern European culture, modern Slavic art and literature, samizdat and unofficial media as well as performance art in Eastern Europe. He also researches Slavic ideology and contemporary Russian art and literature. His books include Autoren im Ausnahmezustand: die tschechische und russische Parallelkultur (Authors in extraordinary conditions: the Czech and Russian parallel cultures), Berlin, LIT Verlag, 2017; Lexikon ruských avantgard 20. Století, (Lexicon of the 20th century Russian Avant-Garde) Prague, Libri, 2005. He published a large number of articles, and worked on radio and television programs and podcasts. He organized conferences and exhibitions, including Poetry & Performance: The Eastern European Perspective (with Sabine Hänsgen, different versions in 9 European countries), curated exhibitions of contemporary Russian artists and collaborated on two large-scale exhibitions at the DOX art center in Prague. He worked as visiting professor at Humboldt University Berlin and Basel University; is a senior fellow at Bremen University; director of the Czech Cultural Center in Moscow; and director of the Institute of Slavic and East European Studies, Charles University, Prague.
Pia Gottschaller
is a Reader in Technical Art History at the Courtauld Institute of Art, London. Prior appointments include Senior Research Specialist at The Getty, Los Angeles; paintings conservator at the Tate, London, the Whitney Museum of American Art, New York, and The Menil Collection, Houston; and Associate Curator at Pinakothek der Moderne, Munich. She is the recipient of several research grants and scholarships, most recently from the Getty Foundation (2021). Her monographs, edited volumes and essays focus on postwar and contemporary painting practice.
is Associate Professor Emerita of Art and Design History at Northern Illinois University, DeKalb, Illinois, U.S.A. She earned her Ph.D. in Art History from the University of Chicago and holds two fine arts degrees from the School of the Art Institute of Chicago. Her work on the intersections of modern art and design history has appeared in many journals, anthologies, and exhibition catalogues. She is currently completing a book project that explores the impact of industrial design pedagogies (in widespread use in the United States in the early twentieth century) on the development of vernacular styles of modernism in American painting.
Anna Jozefacka
is an art historian and curator specializing in modern architecture and art of the United States and Europe. Her research spans several broad areas: urban history; interiors studies; and history of collecting. Among the essays, books, and exhibition catalogues that she authored and co-authored are Picasso: A Cubist Commission in Brooklyn (2024); “Private Rooms of the Cubist Still Life,” in Domestic Space in France and Belgium: Art, Literature and Design (1850–1920) (2022); “Reading Picasso in Munich and Prague in 1922” in Umění/Art (2022); “Cubism Goes East: A Case Study of Daniel-Henry Kahnweiler’s Central Eastern European Network of Agents and Collectors,” in Years of Disarray 1908–1928: Between Anxiety and Delight: The Birth of the Modern Central-European Citizen (2018); The Propaganda Front: Postcards from the Era of World Wars (2017); “The Matchbook and Its Transition from Commercial to Private Reminder” in The Journal of Decorative and Propaganda Arts (2015); and “Bringing the Public Home: venues of cultural activity in wartime Warsaw (Faire venir le public à maison: les lieux culturels dans Varsovie occupée)” in Villes et culture sous l’Occupation: expériences françaises et perspectives compares (2012). Jozefacka’s joint and solo curatorial practice includes Art Deco City: New York Postcards from the Leonard A. Lauder Collection at the Museum of the City of New York (2024–2025) and Picasso: A Cubist Commission in Brooklyn at The Metropolitan Museum of Art, New York (2023–2024). Jozefacka earned her doctorate from the Institute of Fine Arts, NYU, in 2011 with the dissertation Rebuilding Warsaw: Conflicting Visions of a Capital City, 1916–1956. Since 2008, she serves as associate curator of Leonard A. Lauder Collection. Among the institutions that supported her recent research projects are Leonard A. Lauder Research Center for Modern Art (2015–2017) and Czech Academy of Sciences (2019).
Marcin Lachowski
Dr hab. Marcin Lachowski (1975) (ORCID: 0000-0002-4429-1124) – professor at the Institute of Art History, University of Warsaw, also cooperates with the
Tyrus Miller
is Dean of the School of Humanities and Professor of Art History and English at the University of California, Irvine. He is author of Late Modernism: Politics, Fiction, and the Arts Between the World Wars (U of California P, 1999); Singular Examples: Artistic Politics and the Neo-Avant-Garde (Northwestern UP, 2009); Time Images: Alternative Temporalities in 20th-Century Theory, History, and Art (Cambridge Scholars Publishing, 2009); Modernism and the Frankfurt School (Edinburgh UP, 2014); and Georg Lukács and Critical Theory: Aesthetics, History, Utopia (Edinburgh UP, 2022). He is the editor of Given World and Time: Temporalities in Context (Central European UP, 2008) and A Cambridge Companion to Wyndham Lewis (Cambridge UP, 2016). He is the translator/editor of György Lukács, The Culture of People’s Democracy: Hungarian Essays on Literature, Art, and Democratic Transition (Brill, 2012) and series co-editor of Brill’s Lukács Library series.
Adele Nelson
is Assistant Professor of Art History and Associate Director of the Center for Latin American Visual Studies (CLAVIS) at the University of Texas at Austin. Nelson specializes in postwar and contemporary art of Latin America, with a focus on Brazil. Her research considers transnational exchange between artists, intellectuals, and institutions in Latin America, Europe, and the United States and involves close study of artworks, exhibitions, pedagogy, and theories of modernism. Her book, Forming Abstraction: Art and Institutions in Postwar Brazil in the Studies on Latin American series from University of California Press (2022), highlights the importance of exhibition- and pedagogical institutions in the development of abstract art in Brazil in the 1940s and 1950s and
Edit Sasvári
was Director of the Kassák Museum between 2010 and 2020. She studied Hungarian Language and Literature, History and History of Art in Hungary, and museum curator studies at the Institut für Kulturwissenschaften, University of Vienna (1994–1996). She has been working in the museum field since 1988. Her main areas of research are historical modernism, the avant-garde, and art-related cultural policy in the 1960s and 1970s. Under her leadership, the Kassák Museum has become a dynamic institution for researching and exhibiting avant-garde art, working to create new platforms for regional collaborative practices and research. It also engages in contemporary work focusing on questions of historical modernism and the avant-garde. Since the autumn of 2014, she has been leading a group of young researchers in the Kassák Museum. The group’s objective is to make a comprehensive study of Hungarian visual art of the 1960s and 1970s in the Central-Eastern European context.
Petra Skarupsky
is a Ph.D. candidate at the Institute of Art History, University of Warsaw, focusing on the exchange of art exhibitions between Poland and Czechoslovakia. Her MA thesis is about the exhibitions of art from Czechoslovakia in Warsaw, 1945–1989; now she is working on a dissertation entitled ‘Exhibitions of Polish Art in Czechoslovakia, 1945–1970’. She participated in the research project History of Exhibitions at the Zachęta – Central Bureau of Art Exhibitions, 1949–1970, led by her supervisor Dr. hab. Gabriela Świtek, funded by the National Programme for the Development of Humanities of Poland. Her conference presentations include ‘Making and Remaking Europe: The Czech and Slovak Contribution’ at the Munk School of Global Affairs and Public Policy, University of Toronto (2018), where she analysed the 1978 exhibition Poland – Czechoslovakia. Centuries of Neighbourhood and Friendship, published in Miejsce (2019). She took part in the College Art Association 109th Annual Conference 2021 (‘Democratic Art Par Excellence? The 1947 Polish–Czechoslovak Exchange of Modern Graphic Art Exhibitions’), and in a doctoral workshop organised by the Czechoslovak Studies Group at the Oxford Research Centre in the Humanities, University of Oxford (February–May 2022), where she discussed the case of ‘Bringing Nations Closer Together Through Art’: The 1970s Brno–Poznań Exhibition Exchange. In November 2022 she presented her research at the international conference ‘The Exhibition as Medium in the Bloc’ at the Academy of Fine Arts in Prague, titled ‘The Avant-Garde Bridge Between Artistic Generations: The 1970 Exhibition of Reliefs by Henryk Stażewski in Prague’. Her latest publication is ‘The
Isabel Wünsche
is Professor of Art and Art History at Constructor University Bremen. She studied art history and classical and Christian archaeology in Berlin, Moscow, Heidelberg, and Los Angeles and received her Ph.D. from Heidelberg University. Her research interests are European modernism and its global dissemination, the avant-garde movements, abstract art, and émigré networks. She has received numerous grants and research fellowships; her most recent book publications include The Organic School of the Russian Avant-Garde: Nature’s Creative Principles (Ashgate 2015, Routledge 2018), Marianne Werefkin and the Women Artists in Her Circle (co-edited with Tanja Malycheva, Brill 2016), Practices of Abstract Art: Between Anarchism and Appropriation (co-edited with Wiebke Gronemeyer, Cambridge Scholars 2016), The Routledge Companion to Expressionism in a Transnational Context (Routledge 2018), Bauhaus Diaspora and Beyond: Transforming Education through Art, Design and Architecture (co-edited with Philip Goad, Ann Stephen, Andrew McNamara, and Harriet Edquist, Melbourne University Publishing and Power Publications, 2019), and 100 Years On: Revisiting the First Russian Art Exhibition of 1922 (co-edited with Miriam Leimer, Böhlau 2022).