About the speakers

  

 

(their original sessions noted in parentheses)


Svetlana Alpers (V)
Svetlana Alpers is Professor Emerita of the History of Art, University of California, Berkeley and Visiting Research Professor, Department of Fine Arts, New York University. Her books include The Art of Describing: Dutch Art in the Seventeeth Century; Rembrandt's Enterprise: The Studio and the Market; and The Making of Rubens.

William Bailey (IV)
William Bailey, Professor Emeritus of Painting at Yale is a renowned realist artist, specializing in still life compositions, with works in the permanent collections of museums ranging from the Museum of Modern Art to the Boston Museum of Fine Arts, the Art Institute of Chicago, and the Hirshhorn in Washington, D.C..

Leonard Barkan (V)
Leonard Barkan, former director of the New York Institute for the Humanities, is currently the a Professor of Comparative Literature at Princeton university. His many books include The Gods Made Flesh: Metamorphosis and the Pursuit of Paganism and Unearthing the Past, about the rediscovery of ancient sculpture during the Renaissance.

Keith Christiansen (I)
Keith Christensen is curator of Italian paintings at the Metropolitan Museum of Art. He has published widely on topics ranging from Sienese painting of the fifteenth century to Tiepolo in eighteenth-century Venice. His 1986 article on Caravaggio's practice of painting from the model, based on a direct examination of the artist's work in the exhibition 'The Age of Caravaggio,' was awarded the Arthur Kingsley Porter prize.

Chuck Close (IV)
Chuck Close, famous for large, modulated paintings of faces which seem to explore the border between photorealism and abstraction, has been the subject of major retrospectives all over the world, including one at the Museum of Modern Art in 1998.

Jonathan Crary (I)
Jonathan Crary is Professor of Art History at Columbia University. A founding editor of Zone Books, he is author of Techniques of the Observer and Suspensions of Perception.

Samuel Edgerton (I)
Samuel Edgerton is the Amos Lawrence Professor of Art History at Williams College. His books include The Renaissance Rediscovery of Linear Perspective (1975) and The Heritage of Giotto's Geometry: Art and Science on the Eve of the Scientific Revolution (1994) which explores the idea that Renaissance linear perspective in art played an important role in the unique rise of modern science in Western Europe.

James Elkins (V)
James Elkins is a Professor in the Department of Art History, Theory and Criticism at the School of the Art Institute of Chicago. His books include The Object Stares Back: on the Nature of Seeing; What Painting Is; How to Use Your Eyes; The Poetics of Perspective; Why Are Our Pictures Puzzles?: On the Modern Origins of Pictorial Complexity; and, most recently, of Pictures and Tears: A History of People Who Have Cried in Front of Paintings.

Charles Falco (Opening and Closing)
Charles Falco is a Professor of Optical Sciences at the University of Arizona where he holds the UA Chair of Condensed Matter Physics. He is a Fellow of both the American Physical Society and the Optical Society of America, has published more tham 250 scientific articles (including one in 'Optics and Photonics News' with David Hockney), coedited two books, and has seven U.S. Patents. In addition to his scientific research, in 1998 he shared an award from the AICA for his curatorial work on the Solomon R. Guggenheim Museum's 'The Art of the Motorcycle.'

Michael Freid (V)
Michael Fried is the J.R. Herbert Boone Professor of Humanities at Johns Hopkins University in Baltimore. His books include Absorption and Theatricality: Painting and Beholder in the Age of Diderot; Manet's Modernism, or The Face of Painting in the 1860s; and Art and Objecthood: Essays and Reviews. In spring 2002 he will be the Andrew R. Mellon Lecturer in the Fine Arts at the National Gallery of Art.

Anthony Grafton (I)
Anthony Grafton teaches the intellectual and cultural history of Europe at Princeton University and is a regular contributor to the New York Review of Books. His own books include Forgers and Critics (1990), The Footnote: A Curious History (1997), and Leon Battista Alberti (2000).

Nica Gutman (III)
Nica Gutman, an Assistant Conservator of Paintings at the Philadelphia Museum of Art, was a principal scholar in an extensive program of research on Thomas Eakins resulting in the publication of two essays -- "Photographs and the Making of Paintings" and "The Pursuit of 'True Tones'" -- in the catalog of the Thomas Eakins retrospective organized by the museum in 2001.

David Hockney (Opening and Closing)
Born in Bradford, England in 1937 and educated at the Royal College of Art in London, David Hockney has been based in Southern California for the past several decades. A master draftsman and painter, his work has also included forays into operatic set design as well as extended photographic passions. Subject of numerous retrospectives around the world (including one at the Metropolitan and the Tate in 1988 , and another currently at the Louisiana Museum in Humlebaek, Denmark), he is also the author of David Hockney by David Hockney; That's the Way I See It; and now, Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters.
This is all his fault.

Martin Kemp (II)
Martin Kemp is currently a Professor of the History of Art at the University of Oxford. Increasingly his research has concerned issues of visualization, modelling and representation in science and art. He has published Leonardo da Vinci: The Marvelous Works of Nature and Man and The Science of Art: The Optial Themes in Western Art from Brunelleschi to Seurat. The first two years of his columns for Nature magazine have been collected in Visualizations: The Nature Book of Science and Art.

Rosalind Krauss (V)
Rosalind Krauss is the Meyer Schapiro Professor of Modern Art and Theory at Columbia University. A specialist in 20th century art, she has published The Originality of the Avant-Garde and Other Modern Myths, Cindy Sherman, and The Optical Unconscious. One of the founding editors of ArtForum magazine, she also helped launch the journal October, dedicated to the relationship between contemporary concerns and scholarship.

Walter Liedtke (III)
Walter Liedtke is curator of European Paintings at the Metropolitan Museum of Art in New York and is the Museum's specialist for Dutch and Flemish paintings. His publications include A View of Delft: Vermeer and His Contemporaries (2000), and the exhibition catalogues Rembrandt / Not Rembrandt at the Metropolitan Museum of Art (1995) and Vermeer and the Delft School at the Metropolitan (2001). He is currently completing the catalogue of 240 Dutch paintings in the Museum's collection.

James Marrow (III)
James H. Marrow is Professor Emeritus of Art History as Princeton University, where he has taught since 1991. Since retiring from full-time teaching, he has held positions as Acting Keeper of Manuscripts and Rare Books at The Fitzwilliam Museum, Cambridge(1999-2000) and as a Visiting Fellow at Corpus Christi College, Cambridge(1998-1999).

Abelardo Morell (IV)
Abelardo Morell is a Havana-born photographer, who often deploys cameras obscura in his work. A retrospective of his work entitled 'Abelardo Morell and the Camera Eye,' organized by the San Diego Museum of Photgraphic Arts, has traveled to seven cities in the United States in the last two years. His publications include A Camera in a Room, and A Book of Books, to be published in 2002.

Linda Nochlin (I)
Linda Nochlin, the Lila Acheson Wallace Professor of Modern Art at the Institute of Fine Arts, New York University, specializes in the art of the 19th and 20th centuries, focusing on the work of Gustave Courbet, the Impressionists, and issues concerning the representation and work of women artists. Among her numerous publications are Realism (1971), Courbet Reconsidered (1988) with Sarah Faunce, and Representing Women (1999)

Philip Pearlstein (IV)
Philip Pearlstein is a figurative artist known for his contribution to the sharp-focus realist movement; he was a major figure in the revival of figure painting in the 1960s. His works are known for their non-traditional vantages of the nude figure.

Gilles Peress (IV)
Gilles Peress is a French photographer associated with Magnum Photos whose powerful coverage of tumultuous events in regions as varied as Rwanda, Bosnia, Northern Ireland, Iran and Germany – and most recently the World Trade Center disaster -- has graced magazines throughout the world. His work has been collected in such volumes as Telex. Iran; The Silence; and Farewell to Bosnia.

Sidney Perkowitz (II)
Sidney Perkowitz is the Charles Howard Candler Professor of Physics at Emory University. He writes and lectures about the intersections of science, technology, and culture. His books include Empire of Light (1996), about science, art and light; and Universal Foam, about the science and culture of foam.

Susan Sontag (I)
Susan Sontag has written novels, stories, essays and plays; written and directed movies; and worked as a theater director in the United States and Europe. Her most recent novel, In America, won the 2000 National Book Award for fiction. A new collection of essays, Where Stress Falls, was published in October. Earlier this year she was awarded the Jerusalem prize for the body of her work.

John Spike (III)
John T. Spike is an internationally respected critic and historian of art. Among his numerous advisory positions, Dr. Spike was a member of the Comitato Scentifico for the Caravaggio exhibition at the Prado Museum in Madrid in 1999. Author of more than twenty books, Spike has recently published major monographs on Masaccio (1996) and Fra Angelico (1997), and a catalogue raisonn– of the paintings of Caravaggio (2001).

Philip Steadman (III)
Philip Steadman is Professor of Urban and Built Form Studies at University College, London. He trained as an architect and, in addition to teaching at Cambridge University and the Open University, has published several books on geometry in architecture. His book Vermeer's Camera (2001) is the product of twenty years' fascination with the Dutch Painter.

David Stork (II)
Dr. David Stork is Chief Scientist of Ricoh Innovations and Consulting Associate Professor of both Electrical Engineering and Computer Science at Stanford University. He has taught 'The Physics of Aesthetics and Perception,' and his five books include Seeing the Light: Optics in Nature, Photography, Color, Vision, and Holography,(1985) the leading textbook on optics in the visual arts. He edited HAL's Legacy: 2001Õs Computer Dream as Reality and is currently working on a book which explores modern mathematical and philosophical perspectives on the principle known as 'Occam's razor.'

Diana Thater (IV)
Diana Thater is an artist who lives and works in Los Angeles, California. She has been the subject of solo exhibitions at the Vienna Secession, the Walker Art Center, Minneapolis, the Museum of Modern Art, New York, the Basel Kunsthalle and the MAK Center in Los Angeles. A solo exhibition of her newest work, 'Knots and Surfaces,' is currently on view at the Dia Center for the Arts (through February, 2002).

Gary Tinterow (III)
Currently the Engelhard Curator of European Paintings at the Metropolitan Museum of Art, Gary Tinterow has curated numerous exhibitions including 'Degas' (1998) and 'From Delacroix to Matisse' (1988). He also co-organized the exhibition The Private Collection for Edgar Degas held at the Met in 1997. Most recently he organized 'Portraits of Ingres: Image of an Epoch' at the Met, which traveled to London's National Gallery and the National Gallery of Art in Washington.

Christopher Tyler (II)
Christopher Tyler, Associate Director of the Smith-Kettlewell Eye Research Institute in San Francisco has focused his research on visual neuroscience and computational vision. His art interests include portraiture and general principles of composition, and the interface between art and perceptual science. His current studies include the structure of pictorial space throughout the history of art, and particularly the dramatic emergence of geometric perspective in the fifteenth century.

John Walsh (III)
John Walsh is Director Emeritus of the J. Paul Getty Museum, where he served as Director from 1983 until October 2000, and also as Vice President of the J. Paul Getty Trust from 1998 on. He did curatorial work at the Frick Collection, the Metropolitan Museum of Art, and the Museum of Fine Arts Boston, and taught art history at Columbia and Harvard. He is the author of many articles and catalogues in his field of specialization, Dutch Paintings of the seventeenth century, and two recent books, Jan Steen, The Drawing Lesson, and The J. Paul Getty Museum and Its Collections: A Museum for the New Century.

LawrenceWeschler (Introduction and IV)
Lawrence Weschler is currently the director of the New York Institute for the Humanities. He has been a staff writer with the New Yorker since the early eighties, where his work has shuttled between political tragedies and cultural comedies. His "Passions and Wonders" series currently comprises Seeing is Forgetting the Name of The Thing One Sees: A Life of Contemporary Artist Robert Irwin (1982); David Hockney's Camerworks (1984); Mr. Wilson's Cabinet of Wonder (1985); A Wanderer in the Perfect City (1999) and Boggs: A comedy of Values (1999). He has taught at both Columbia and Sarah Lawrence.

Ellen Winner (II)
Ellen Winner, a developmental psychologist, is a Professor of Psychology at Boston College, and a Senior Research Associate at Project Zero, Harvard Graduate School of Education. She is author of Invented Worlds: The Psychology of the Arts (1982), The Point of Words: Children's Understanding of Metaphor and Irony (1988), and Gifted Children: Myths and Realities (1996).

Richard Wollheim (V)
Richard Wollheim has taught philosophy for over 30 years at University College London, and since 1985 has been a visiting professor at the University of California, Berkeley. His philosophical interests lie in the philosophy of mind, including the philosophy of art. He is the author of Art and its Objects; The Thread of Life, and Painting as an Art; as well as two volumes of essays, entitled On Art and the Mind, and The Mind and its Depths.

  
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