In: War and Art
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Jenna Ann Altomonte

is an Assistant Professor of Art History at Mississippi State University. She received her Master of Arts in Art History (2009) and Ph.D. in Interdisciplinary Arts (2017) from Ohio University. Her primary area of research centers on global contemporary art and digital performance studies with a specialization in political and social intervention practices. Her current research endeavors examine responses to contested, occupied, and conflicted spaces in the post-9/11 era. She is the author of “(Re) collecting the Postmemory Archive: Christian Boltanski’s Post-War Installations,” in Entangled Memories Remembering the Holocaust in a Global Age, eds. Marius Henderson and Julia Lange (Winter Verlag, 2017) and “Playing Killbox: Didactic Gaming and Drone Warfare,” in Video Games and the Global South, ed. Phillip Penix-Tadsen (Carnegie Mellon University ETC Press, 2019).

Till Ansgar Baumhauer

works and lives as fine artist, curator and researcher in Dresden, Germany. He holds an artistic PhD with a thesis and exhibition project on the visualization of long-term war experience in the Thirty Years War and in the contemporary conflict in Afghanistan (since 1979). From 2017 to 2018, he got a postdoc scholarship at the Bauhaus University Weimar with an artistic investigation on subversive artistic strategies in the Persian and Pakistani cultural area. In 2019, he was artist in residence of the Free Estate of Saxony in Hanoi, Vietnam. Baumhauer‘s artistic and research interests focus on possibilities and difficulties of transcultural dialogue supported by visual cultures and collective memories and on the transformation of collective trauma through artistic practice. Baumhauer exhibited his artwork in Europe, Asia and South America and has been teaching at several universities in Germany, Austria, Pakistan and Vietnam.

Sam Bowker

is the Senior Lecturer in Art History and Visual Culture for Charles Sturt University. His PhD thesis, “Their War and Mine,“ examined the implications of the use of self-portraiture by war artists, focusing on the collection of the Australian War Memorial. His subsequent research reviews the applications and limitations of biographies within art history, including anonymous objects which resist such interpretations (such as Khayamiya, or Egyptian tentmaker applique).

Emma Crott

is a Post-Doctoral Research Fellow at the iCinema Centre for Interactive Cinema Research at UNSW Art & Design. Her research interests include the politics of aesthetics, representations of war, photography theory, and the experience of time in contemporary art practices.

Miruna Cuzman

received her PhD degree in the History of Art from the University of Edinburgh, where she also tutors undergraduate students in the Art History and Architecture Department, while pursuing a career as an academic librarian. Her doctoral thesis focused on the painter of Irish extraction, William Orpen, investigating his artistic production during the First World War. Miruna completed her MA in the History of Victorian Art at the Courtauld Institute of Art, London, and was visiting lecturer with the Philosophy Department at the National University of Ireland, Galway – her series of lectures centered on the ethics of visually representing First World War atrocities. Miruna’s research focuses on late nineteenth-century European art, Victorian Aestheticism and British art of the First World War. She has published peer-reviewed articles and reviews in both German and English in Das Schopenhauer Jahrbuch, The Art Book and Art History.

Erika Dupont

is about to finish her PhD in history of contemporary art at the University of Lille, France. Her current research focuses on the presence and reception of English artists in Paris during the inter-war period and on the Franco-British artistic relations of the early 20th century. With funding from the Paul Mellon Centre for Studies in British Art, she had the opportunity to conduct a research session in London at the end of 2018. She teaches history of contemporary art and the decorative arts in the contemporary era at the University of Lille.

Maria Frick

is a PhD candidate in art history at the University Pablo de Olavide, Spain. She holds a graduate degree in Political Science from Universidad de la República, Uruguay, a postgraduate degree in theory of communication design at Universidad de Buenos Aires, Argentina, and a master´s degree in Latin American Studies at Universidad de Montevideo, Uruguay. Professor (G.2) at Universidad de la República and researcher of the National Researcher System (SNI), Uruguay. For the past twenty years she has worked as international consultant, collaborating with organizations such as the United Nations Education, Science and Culture Organization – UNESCO.

Paul Grace

is a UK based academic who currently teaches art history and theory in the School of Art and Society at University Centre Blackburn in the north-west of England. His research into the representation of social trauma formed the basis of recently completed doctoral scholarship research at Teesside University. This work – The Counter-Archive – investigates the strategies used, by artists, writers and curators, to amplify the potency of images of social trauma and conflict. This work brings together aesthetic, political and ethical concerns which have underpinned his teaching of critical aspects of Fine Art, Photography and Media, at various UK institutions including Norwich University of the Arts – where he led the MA Photographic Studies Course, and London College of Communication.

Frank Jacob

is Professor of Global History at Nord University, Norway. His main research fields are military history and modern Japanese history. He is interested in the cultural impact of war and does also research related to genocide and mass violence in Asia. His recent publications include the edited volumes Genocide and Mass Violence in Asia: An Introductory Reader (De Gruyter Oldenbourg, 2019) and War and the Humanities: The Cultural Impact of the First World War (co-ed. with Jeffrey Shaw and Timothy Demy, Schöningh/Brill, 2018).

Liza Kaaring

is a curator and researcher at Fulgsang Kunstmuseum and holds a PhD in art history, having presented her dissertation “Mennesket i tiden. Menneskeskildrerne i dansk grafik i 1950ernes anden halvdel” in 2015. Also in 2015, she curated the exhibition ”Rising from Darkness” at the National Gallery of Denmark. From 2016 to 2018 she researched postwar Danish art as seen from an international perspective in the project “The Geometry of Fear” funded by the Ministry of Culture Denmark (Kulturministeriets Forskningspulje). The chapter included in this book is part of that project. Kaaring is the author of a range of research articles and contributions to exhibition catalogues and research journals. Most recently, in 2019, she curated the exhibition “Munch and Goldstein. Ardent Lines” (Fulgsang Kunstmuseum and Ribe Kunstmuseum) and edited the book with the same title (Aarhus University Press).

Iwona Luba

works and lives as researcher in Warsaw, Poland. She is associate professor, Head of the Department of Modern Art and Culture History in the Institute of Art History, University of Warsaw. She wrote her habilitation thesis entitled: The Spirit of Romanticism and Modernisation: Official Art of the Second Republic(2012). Earlier, she had received a PhD with a thesis on the dialogue between modernity and tradition in Polish painting of the interwar period. Her research interests include 20th-century Polish and European art, specifically avant-garde in Poland and Russia and relationships between art and politics. She researches, among others, the works of Władysław Strzemiński and Kazimir Malevich, as well as the art and culture of the thaw in Poland in an international context.

Anne Marno

is an art historian, medical historian and licensed physician. From 2005 to 2009 she was a research associate in the DFG-project The Construction of a Moral Authority of Nature in Naturopathy at the Institute for the History of Medicine at the Heinrich Heine University (HHU) in Düsseldorf. She graduated with an interdisciplinary doctorate in art and medical history on Otto Dix’ etching cycle The War (1924) at the Institute of Art History (HHU). To date she has been working as a lecturer at the Institute of Art History and at the University of Applied Sciences Düsseldorf in the field Culture, Aesthetics, Media – Fine Art. Currently she is finalizing her doctoral studies (Dr. med.) in the department of Medical Psychology, Neuropsychology and Gender Studies at the University of Cologne.

Mor Presiado, PhD,

is a lecturer in the Department of Jewish Art at Bar-Ilan University in Israel. She teaches modern and contemporary art, feminist art, and war and trauma art. Presiado’s publications address Holocaust and post-Holocaust art, created by women artists in Europe, Israel and United-States. Since 2018, she has served as deputy chairperson of the Association of Women’s Art and Gender Research in Israel, which is affiliated with the Faculty of the Arts at Tel Aviv University. In 2019, she launched the massive open online course (MOOC) “Fixing the World: Feminist Art and Jewish Identity”, which tells the story of Jewish feminist artists in Israel and the United States and their struggle for equality and justice in and outside of the art world.

Renata Dias Ferraretto Moura Rocco

obtained her PhD in 2018 at University of São Paulo at the Post-Graduation Interunits Program in Aesthetics and Art History (FAPESP scholarship). She is author of many articles and book chapters focussing on Brazilian and Italian modern artists, and since 2017 Rocco is a researcher at the private Collection Ivani and Jorge Yunes in São Paulo, Brazil.

Christine Vial-Kayser

currently works as an Art historian in Paris teaching at ICP and researching with Paris Sorbonne (CREOPS). She is the President of Association Asie-Sorbonne, a research group related to Creops.

Ewa Paulina Wawer

is a psychologist and coach, wh collaborates with universities and lives in Warsaw, Poland. She is author of various research papers and texts for people working in education. She planned and implemented many development projects for different organizations in the field of education, business and NGO. Currently, she is working at the Warsaw Centre for Social and Educational Innovations and Trainings. She is interested in biographical learning – both personal and that of others as well as in resilience processes. Her latest works include the coauthored book Władysław Strzemiński – Avant-Garde: Unknown Biography, a Reconstruction (1893-1917) and the poetry book Co?Ach!Ing… for which media patronage was taken by the Coaching magazine.

Jennifer Way

is a professor of art history at the University of North Texas. Her book The politics of Vietnamese craft: American diplomacy and domestication (Bloomsbury, 2019) explores American diplomatic interventions using design and craft in South Vietnam during the Cold War. Other current projects examine relationships of craft and war, and gender and cultural diplomacy, respectively. During spring 2020 she will serve as Dorothy Kayser Hohenberg Chair of Excellence in Art History at the University of Memphis.

War and Art

The Portrayal of Destruction and Mass Violence



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