Katherine Alcauskas is the Collection Specialist in the Department of Drawings and Prints at the Museum of Modern Art, where she oversees the Abby Aldrich Rockefeller Drawings and Prints Study Center. She previously served as the Selden Senior Curatorial Fellow in the Department of Prints, Drawings, and Photographs at the Yale University Art Gallery. She earned her Master’s degree from Williams College, where she was awarded the Judith M. Lenett Fellowship, and her Bachelor’s from Wellesley College, where she was awarded the Pamela Daniels Fellowship.
Bridget Alsdorf is Assistant Professor at Princeton University. She is the author of Fellow Men: Fantin-Latour and the Problem of the Group in Nineteenth-Century French Painting (Princeton University Press, 2012), as well as articles on Poussin, Cézanne, Degas, Manet, and Vallotton. Her current book project, under contract with Princeton University Press, focuses on representations (across multiple media) of theatrical audiences and crowds in fin-de-siècle France, with particular interest in art’s engagement with emerging fields of social psychology. She is also completing a translation of Philippe Lacoue-Labarthe’s Écrits sur l’art, in collaboration with Todd Cronan, forthcoming from Fordham University Press.
Fleur Roos Rosa de Carvalho discovered the specific appeal of 19th-century works on paper from 2007 to 2010 as the Assistant Curator of the Van Gogh Museum Amsterdam. Her love and knowledge of printmaking took flight when she was appointed as the Researcher of the fin-de-siècle print collection of the museum in 2010. As the new Curator of Prints & Drawings she will make sure that she will present the most beautiful prints of the period and more innovative approaches to printmaking to the public. In the fall of 2015, an experimental and interactive website will showcase the museum’s collection and in 2017, an ambitious exhibition (more than 200 works) will take place under the working title Private to Public: Prints in Paris (1890-1905). Her research has been generously supported by the Vincent van Gogh Foundation and a grant from the Institut national d’histoire de l’art (INHA) in Paris.
Alison Chang holds a B.A. from Wellesley College, and an M.A. and Ph.D. from the University of Pennsylvania. She is currently the Andrew W. Mellon Curatorial Fellow at the RISD Museum in Providence, Rhode Island. She recently curated an exhibition entitled Circus, on view at the RISD Museum until February 2015. A forthcoming publication, which draws from one of the chapters of Alison’s dissertation, will be published by Ashgate in early 2015. Her essay, “Staging Ethnicity: Edvard Munch’s Images of Sultan Abdul Karim” will be featured in the anthology entitled Blacks and Blackness in European Art of the Long Nineteenth Century.
Jay A. Clarke is Manton Curator of Prints, Drawings, and Photographs at the Clark and a Lecturer in the Graduate Program in the History of Art at Williams College. Jay received her Ph.D. from Brown University in 1999 and served as a curator at the Art Institute of Chicago from 1997 through 2009. Her publications include Becoming Edvard Munch: Influence, Anxiety, and Myth (2009) and articles on the critical reception of Käthe Kollwitz and Max Beckmann, Julius Meier-Graefe as an art dealer, Munch’s use of repetition, and Munch’s reputation in Germany, among others. She was editor of Tradition, Innovation, and Nostalgia: The Manton Collection of British Art (2012), The Impressionist Line from Degas to Toulouse-Lautrec (2013), and co-editor of The Spiritual Landscapes of Adrienne Farb, 1980-2006 (2006). Clarke taught graduate seminars at the School of the Art Institute of Chicago from 2001 through 2008.
Lisa Conte is an Assistant Paper Conservator at The Metropolitan Museum of Art. Lisa first joined the museum as a Graduate Intern in 2010 and was then appointed Andrew W. Mellon Fellow from 2011-13. The focus of her fellowship research was late-nineteenth-century printmaking in France, particularly André Marty’s l’Estampe originale. Lisa previously was a Project Conservator at the Whitney Museum of American Art where she contributed to the museum’s Collection Documentation Initiative, the first collection survey of the museum’s works on paper. Lisa graduated from the Conservation Center, Institute of Fine Arts, New York University in 2011 with an M.A. in the History of Art and an Advanced Certificate in the Conservation of Historic and Artistic Works.
Elizabeth DeRose is a PhD Candidate in Art History at the Graduate Center in New York. Her areas of specialization include Modern and Contemporary Latin American Art and 20th-century printmaking. She is currently working on her dissertation Defying Graphic Tradition: Printmaking Strategies of Latin American Conceptualists (1963 – 1984). Prior to coming to the Graduate Center, Ms. DeRose was the Florence B. Selden Assistant Curator in the Department of Prints, Drawings, and Photographs at the Yale University Art Gallery. While there she curated two exhibitions: Jasper Johns: From Plate to Print and Making a Mark: Four Contemporary Artists in Print.
Ruth E. Iskin’s new book, The Poster: Art, Advertising, Design, and Collecting, 1860s-1900s was published by Dartmouth Press, UPNE in 2014. Her first book, Modern Women and Parisian Consumer Culture in Impressionist Painting was published by Cambridge University Press in 2007, in paperback 2014 and in Chinese in 2010. Her articles have appeared in Art Bulletin, Discourse, Nineteenth-Century Contexts, Visual Resources, and Nineteenth-Century Art World Wide, and in anthologies. Teaching modern art and visual culture, museum and exhibition history, she has been a member of the faculty of the Department of the Arts, Ben-Gurion University of the Negev until 2014 and currently lectures and teaches in Israel and abroad.
Marsha Morton is Professor of Art History at Pratt Institute in Brooklyn. Her books include Max Klinger and Wilhelmine Culture: On the Threshold of German Modernism (Ashgate 2014), the co-edited anthology The Arts Entwined: Music and Painting in the Nineteenth-Century (2000), and Pratt and Its Gallery: The Arts & Crafts Years (1999). She has published numerous essays on German and Austrian art from Neoclassicism through Symbolism, many with a focus on interdisciplinary topics (cultural history, Darwinism, music, and psychology) and artists and critics such as Alois Riegl, Gustav Klimt, Klinger, Alfred Kubin, Max Beckmann, and Max Liebermann.
Sarah C. Schaefer is a lecturer in the Department of Art History and Archaeology at Columbia University. She received her Ph.D. from Columbia in May 2014, after defending her dissertation, From Sacred to Spectacular: Gustave Doré’s Biblical Imagery. She has received numerous awards, including a yearlong fellowship at the Metropolitan Museum of Art in the Department of Drawings and Prints. Her writings have been published in Material Religion, and 19th-Century Art Worldwide, and she has presented lectures at the Metropolitan Museum of Art, the Musée d’Orsay, and the College Art Association Annual Conference.
Susan Tallman is an art historian who has written extensively on the history and culture of the print, as well as on issues of authenticity, reproduction and multiplicity. She is Editor-in-Chief of the international journal and website Art in Print, and her writing has appeared in Art in America, Parkett, Public Art Review, Art on Paper, Print Quarterly, Arts Magazine and many other publications. Her books include The Contemporary Print: from Pre-Pop to Postmodern (Thames and Hudson), The Collections of Barbara Bloom (Steidl), and numerous museum catalogues. She has lived and worked in New York, Amsterdam and Berlin, and currently teaches in the Departments of Printmedia and Art History, Theory and Criticism at the School of the Art Institute of Chicago.
Shannon Vittoria is a PhD Candidate in Art History at the Graduate Center, CUNY. She specializes in nineteenth-century American art, with a focus on women artists, landscape painting, and printmaking. She currently holds a Henry Luce Foundation/ACLS Dissertation Fellowship in American Art to complete her doctoral thesis Nature and Nostalgia in the Etchings of Mary Nimmo Moran (1842-1899). In the past, she held Andrew W. Mellon Curatorial Fellowships at the Metropolitan Museum of Art and the Morgan Library & Museum, and she has worked as a curatorial research assistant at the New-York Historical Society and the Frick Collection.
Christina Weyl is a PhD candidate in Art History at Rutgers University. Her dissertation focuses on women artists who explored abstraction at Atelier 17, the avant-garde printmaking workshop located in New York City between 1940 and 1955. She has given several papers about Louise Nevelson’s Atelier 17 prints and has an article about them in a forthcoming anthology. In 2012-2013, she was the Jane and Morgan Whitney Fellow at the Metropolitan Museum. Prior to graduate studies, she worked for an art gallery representing the publications of the Los Angeles-based artists’ workshop, Gemini G.E.L. She earned her BA from Georgetown University.
Allison Rudnick is a PhD student in Art History at the Graduate Center of the City University of New York. Her research focuses on the prints, multiples and artist’s books of German Pop artists working in the 1960s and ‘70s. She is a research assistant in the Department of Drawings and Prints at the Metropolitan Museum of Art and has previously worked at the Whitney Museum and the New York-based print shop and publisher Harlan & Weaver. She is a frequent contributor to Art in Print.
Britany Salsbury is a PhD candidate in Art History at the Graduate Center of the City University of New York and a Research Assistant in the Department of Drawings and Prints at the Metropolitan Museum of Art, where she was the Andrew W. Mellon Curatorial Fellow from 2012-13. Her dissertation deals with the marketing, reception, and social role of print portfolios in fin-de-siècle Paris, and has been supported by fellowships from the Getty Research Institute and the Andrew W. Mellon Foundation. Britany has been a researcher in the print departments of the Art Institute of Chicago and the Morgan Library & Museum. She regularly contributes criticism to publications including Art in Print, Artforum, and the Burlington Magazine.