Agnes Berecz received her B.A. and M.A. from ELTE University in Budapest and completed her Ph.D. at Université Paris I (Panthéon-Sorbonne). Berecz specializes in post-war and contemporary art with a particular focus on transnational modernism and the cultural politics of painting.
Her writings have appeared in Art Journal, Art in America, Artmargins and the Yale University Art Gallery Bulletin as well as in European and US exhibitions catalogues. Berecz is the author of the book, Contemporary Hungarian Painting (2001), and the New York correspondent of Műértő, a Budapest based art monthly.
Her most recent work includes the two volume monographic study, Simon Hantaï, and the essay, ‘Time to Knot’, published in the catalogue of Hantaï’s retrospective exhibition at the Musée National d’Art Moderne in Paris. She teaches at the Pratt Institute and lectures at The Museum of Modern Art in New York.
Julia Ostwald studied dance teaching (B.A. Fontys Dansacademie Tilburg, Netherlands / Escola Superior de Dança Lisbon, Portugal) and holds a master in dance studies (Free University Berlin, Germany / University of Antwerp, Belgium). For many years, she worked as an independent community dance practitioner. In 2016, she embarked on doctoral studies concerning the voice in dance, supervised by Nicole Haitzinger. Currently she is working as academic project assistant at the doctoral school gender_transcultural, University of Salzburg (AT).
Anja Foerschner is a Research Specialist at the Getty Research Institute (GRI), Los Angeles. Originally trained as a visual artist, she holds a Master’s degree in Art Pedagogy, Art History, and Philosophy (2008) and a PhD in art history from Ludwig-Maximilians-University in Munich (2011). Her research encompasses modern and contemporary art with special emphasis on performance art from Los Angeles and the Balkans, Feminist Art, the human body in contemporary art and culture, and the emotion of disgust in art. Her research has been published, among others, by Getty Research Journal, Afterimage—The Journal for Media Arts and Cultural Criticism, GENRE—International and Interdisciplinary Journal for Literature and the Arts, kunsttexte, and Performance Art Journal. She is a contributor to the recently published volume Food Art Discourses. Taste and Counterculture (eds. Silvia Bottinelli and Margherita D’Ayala Valva, University of Arkansas Press) and serves as a reviewer for the online journal sehepunkte.de Her curatorial projects encompass exhibitions such as WWI: War of Images, Images of War at the Getty Research Institute (2014), We are the Artists, Titon Gallery, Johnson City (2017) as well as Marta Jovanovic’s performances Motherhood and Ljubav (both Belgrade, 2016). She is currently heading a GRI research project on the documentation and archiving strategies of feminist performance artists from the 1960s to the present. In addition, she is working on a book manuscript on the development of female and feminist performance art in Belgrade, 1970-2017.
Dr. Nicola Foster is a retired Senior Lecturer who continues to supervises PhD research students at the UAL and several other Universities. She is currently also Research Associate in the history of art at the Open University. She is a member of the AHRC Peer Review College. Her academic background is in art history and continental philosophy. Her current research focuses on contemporary art and art institutions, especially in Asia. She has edited a book on Feminist Aesthetics, she was on the editorial board of Women's Philosophy Review and JAR. She published several book chapters and journal articles on contemporary art, aesthetics, and art institutions. She is currently working on a publications on Asian women artists, Chinese contemporary art and contemporary art institutions, including global Biennials.
Susan Lee received a Ph.D. in Japanese art history from the University of Michigan in Ann Arbor and currently teaches at Concordia College in Moorhead, Minnesota. Her research centers on early modern painting and prints of the Japanese Edo period and the paintings of the Korean Joseon Dynasty with a particular focus on images of women and the complex question of the cultivated courtesan’s artistic agency and power.