CoNtriButorS
Brook Andrew is a Melbourne-based
multimedia and installation artist. His work
examines dominant Western narratives,
particularly colonialism, placing Australia at
the center of a global inquisition. Drawing
inspiration from vernacular objects and the
archive, Andrew works in neon, photo-media,
performance, and video. He has recently
exhibited at the Museo Nacional Centro de
Arte Reina Sofia (Madrid) and Tate Britain
(London).
Jessica Gerschultz teaches in the Depart-
ment of African and African-American
Studies at the University of Kansas. She has
published articles in Critical Interventions:
Journal of African Art History and Visual
Culture and The International Journal
of Islamic Architecture. She is writing a
book, Decorative Arts of the Tunisian École,
with support from the American Council
of Learned Societies, the American
Philosophical Society, the Forum
Trans regionale Studien of the Max
Weber Foundation, and the University
of Kansas.
Ksenya Gurshtein is an academic and
curator whose research focuses on unofficial
art and culture in postwar Eastern Europe.
She is a 2015–16 NEH fellow and has held
positions as a lecturer at the University of
Virginia and a Mellon Curatorial Fellow at
the National Gallery of Art in Washington,
DC, where she co-curated the 2014 film
series Artists, Amateurs, Alternative Spaces:
Experimental Cinema in Eastern Europe,
1960–1990. She recently coedited a special
issue of Studies in Eastern European
Cinema on experimental cinema in Eastern
Europe (2016).
Camila Maroja teaches in the Department
of History of Art and Architecture at Brown
University. She received a PhD in art history
from Duke in 2015 and specializes in modern
and contemporary art with an emphasis on
Latin America. Her current book project,
Framing Latin American Art, investigates how
artists, curators, and institutions constructed
strategies and a corpus they would define as
Latin American art.
Elizabeth Miller teaches at Whitman
College in Walla Walla, Washington.
Previously a member of the Department of
Art History, Theory, and Criticism at the
Maryland Institute College of Art, she holds a
DPhil from the University of Oxford. In 2014,
she curated the exhibition Classicism and
Exile: The Life and Work of Marcel Salinas
(1913–2010) at the Queensborough
Community College Art Gallery.
Sarah-Neel Smith teaches in the Art
History Department at the Maryland
Institute College of Art. She has published
art criticism in Frieze and Bidoun and is
book reviews editor for the Association for
Modern and Contemporary Art of the Arab
World, Iran, and Turkey. Her research inter-
ests include Turkish and Middle East art
history; globalization and contemporary
art; Orientalism and visual culture; and
histories of museums, exhibitions, and
display.
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