Notes on the Contributors
Nicola Barham
is Assistant Professor and Assistant Curator in Ancient Art at the University of Michigan. She has held research fellowships at the Ludwig-Maximilians-Universität München, the Art Institute of Chicago, and the American University of Beirut. She was previously Chester Dale Fellow at the Center for Advanced Study in the Visual Arts at the National Gallery of Art, Washington D.C. Her research reconstructs aesthetic categories that are emic to the ancient Roman world and applies these categories to the interrogation of Roman visual works in a wide range of media. Dr Barham holds an MA from the University of Oxford and received her PhD from the University of Chicago.
Sarah H. Blake
is Associate Professor in the Department of Humanities and the Program in Classical Studies at York University in Toronto, Canada. Her research focuses on representations of material culture in ancient literature, and particularly in Roman literature of the Imperial Period.
Anna Collar
is Lecturer in Roman Archaeology at the University of Southampton. She received her PhD from the University of Exeter in 2009, and is a founder of The Connected Past research network and conference series. Her research interests include epigraphy and material culture of religious practice; pilgrimage, sacred landscapes and the natural world; mobility and migration; emotion and experience; and interconnectivity, social networks and network analysis. She is co-director of the Taşeli ve Karaman Archaeological Project, an extensive survey of Rough Cilicia, Turkey. Her first book, Religious Networks in the Roman Empire: The Spread of New Ideas (CUP 2013), was a finalist in the American Academy of Religion’s Best New Book in the History of Religions 2014 award, and she is the co-editor of The Connected Past. Challenges to network studies in archaeology and history (OUP 2016), Pilgrimage and Economy in the Ancient Mediterranean (Brill, 2020), and Pilgrims in Place, Pilgrims in Motion (Aarhus University Press, 2021).
C.L. Cooper (Kate Cooper)
is a Classical archaeologist and museum curator with a background in Classical literature and history (BA Oxon, MA London, PhD London). Her research and publications focus on early Greek archaeology and pottery and on issues of museum collection and display. She is currently Greek & Roman Research Associate at the Royal Ontario Museum, Toronto, where she co-curated the exhibition Pompeii: in the shadow of the Volcano (2015–2016). Previously, she worked at the British Museum, and the Fitzwilliam Museum, Cambridge, curating Greek and Roman collections and displays. She has lectured in Classical history and archaeology at Birkbeck, London, the University of Cambridge, the University of Toronto, and York University, Toronto.
Jennifer Dyer
is an interdisciplinary scholar who studies philosophical aesthetics, cultural analysis, gender studies, and feminist and queer art history at Memorial University. She has worked closely with the interdisciplinary Humanities graduate programs at Memorial and is currently Head of the Department of Gender Studies. Her most recent research projects include a study of parent advocacy of gender diverse children in Canada, a study of light in Newfoundland painting as a metaphor of eco-ethics, and a co-edited volume on gender diversity in the ancient world. Jennifer Dyer lives in Newfoundland, Canada.
Julie Hruby
is Assistant Professor of Classics at Dartmouth College. She graduated from Duke University in 1996 and received her PhD in 2006 at the University of Cincinnati. Prior to her appointment at Dartmouth College, she taught at the University of Cincinnati, Wright State University, Antioch College, Grand Valley State University, and Berea College. She has published on Minoan seals, the materials from the pantries at the Palace of Nestor, Mycenaean culinary culture, emic ceramic typologies, the relationship between gender and labor among Mycenaean ceramicists, and on the use of ancient fingerprint impressions to address archaeological questions.
Jeff Maish
is Conservator of antiquities at the Getty Villa. He began at the Getty shortly after receiving his Master of Arts degree in conservation (1987) from the State University College at Buffalo. His current work includes the radiographic study of objects in the collection and monitoring and maintenance of museum microclimates. He has conducted technical research on a range of objects in the collection to better understand ancient production technologies as well as address questions of provenance and authenticity. His most recent ceramic research includes the microscopic imaging and identification of characteristic features of Attic line work.
Sarah Murray
is currently Assistant Professor of Classics (Greek History and Material Culture) at the University of Toronto. She received her BA in Classical Archaeology from Dartmouth College in 2004 and her PhD in Classics from Stanford University in 2013. Her research is primarily concerned with the history of society and institutions in Bronze and Early Iron Age Greece. She is currently the co-director of an archaeological project in eastern Attica (The Bays of East Attica Regional Survey). Her academic publications have appeared in the American Journal of Archaeology, Hesperia, and the Journal of Field Archaeology, and she is the author of a monograph, The Collapse of the Mycenaean Economy: Imports, Trade, and Institutions 1300–700 BCE, published by Cambridge University Press in 2017.
Dimitri Nakassis
is Professor of Classics at the University of Colorado Boulder. He graduated from the University of Michigan in 1997, and received his PhD in 2006 at the University of Texas at Austin. Prior to his appointment at Colorado, he taught at Trinity University, the Florida State University, and the University of Toronto. He is co-director of the Western Argolid Regional Project, a diachronic archaeological survey in southern Greece, and author of Individuals and Society in Mycenaean Pylos (Brill, 2013). In 2015, he was named a fellow of the MacArthur Foundation.
Magdalena Öhrman
(MA Gothenburg, PhD Lund) is Senior Lecturer in Classics at the University of Wales Trinity Saint David (UK). In 2016–2018, she was a Marie Sklodowska Curie research fellow at the Centre for Textile Research in Copenhagen, where her project Textile Reflections examined multi-sensory representations of textile crafts in Roman literary sources, especially poetry. She has published on various aspects of Latin poetry, including on elegy, particularly Ovid and epigram, but her most recent work is concerned with literary representations of the sensory landscape of textile production, their relationship to domestic space use and developments in textile technology.
Kevin Pluta
received his PhD from the University of Texas at Austin in 2011. His research interests include Mycenaean administration, literacy, and seal and sealing usage. He has taught at the College of Charleston, and most recently has served as Research Director of the Program in Aegean Scripts and Prehistory (PASP) at the University of Texas at Austin from 2013–2018.
Philip Sapirstein
is Assistant Professor of Art History at the University of Toronto. An art historian and archaeologist, his research interests are Greek architecture, ceramics, and the ancient Mediterranean economy. From his backgrounds in art studio and computer analysis, another significant aspect of Sapirstein’s research is the exploration of advanced digital technologies for the recording, reconstruction, and visualization of antiquity. Recent field projects include the 3D recording and architectural restudy of the Temple of Hera at Olympia, and the Heraion at Mon Repos, Corfu. He has published on topics including Archaic architecture, pottery production, and digital methodologies.
David Saunders
is Associate Curator of Antiquities at the J. Paul Getty Museum. Since joining the museum in 2008, he has curated eight exhibitions, most recently Underworld: Imagining the Afterlife (October 31, 2018–March 18, 2019). He obtained his doctorate in Classical Archaeology from Oxford University, and his research interests include Greek and South Italian vase-painting, ancient bronzes and the history of collecting and restoring antiquities. He is co-editor of The Restoration of Ancient Bronzes: Naples and Beyond (2013); Dangerous Perfection: Ancient Funerary Vases from Southern Italy (2016); and the conference volume Collecting and Collectors from Antiquity to Modernity (2018).
Karen Trentelman
is Senior Scientist at the Getty Conservation Institute where she leads the Technical Studies research group. Current areas of research include the application of non-invasive spectroscopic and imaging technologies to the study of paintings and illuminated manuscripts, reverse engineering ancient and historic artistic technologies, and the elucidation of pigment degradation pathways. She is also active in the education and training of scientists and conservators in the application of X-ray fluorescence spectroscopy to the study of works of art. She received a Ph.D. in Chemistry from Cornell University and carried out postdoctoral research at Northwestern University and the University of Illinois, Chicago. Before joining the GCI in 2004 she was a research scientist at the Detroit Institute of Arts.