Contributors

Contributors Benjamin H.D. Buchloh is an art historian and critic and the Andrew W. Mellon Professor of Modern and Contemporary Art at Harvard University. In addition to many articles and catalogue essays, he is the author of Neo-Avant-Garde and Culture Industry: Essays on European and American Art from 1955 to 1975 (MIT Press, 2000). In 1984 he edited Allan Sekula’s collected writings, Photography against the Grain , and his essay on Sekula and extensive interview with the artist appeared, respectively, in Sekula’s Fish Story and in Sekula’s Performance under Working Conditions . Tamar Garb is Durning Lawrence Professor in Art History, University College London. Her work ranges from studies on sexuality, gender, and visuality in late nineteenth-century France to art and politics in post-apartheid South Africa. Publications include The Painted Face: Portraits of Women in France, 1814- 1914 (Yale University Press, 2008) and Figures and Fictions: Contemporary South African Photography (V&A/Steidl, 2011). Carles Guerra is an artist, critic, and independent curator based in Barcelona. He is Associate Professor at the Universitat Pompeu Fabra and has held positions as Director of La Virreina Centre de la Imatge and Chief Curator at Museu d’Art Contemporani de Barcelona (MACBA). He curated Antiphotojournalism with Thomas Keenan (2010), 1979: A Monument to Radical Instants (2011), and Ahlam Shibli: Phantom Home (2013). He directed the film N for Negri (2000) and is author of Allan Sekula Speaks with Carles Guerra (La Fa ́brica/Fundacio ́n Telefo ́nica, 2005). Thomas Keenan teaches media theory and human rights at Bard College, where he directs the Human Rights Project. He is the author of Fables of Responsibility (Stanford University Press, 1997) and, with Eyal Weizman, Mengele’s Skull (Sternberg, 2012). He is coeditor, with Wendy Chun, of New Media, Old Media (Routledge, 2006), and, with Tirdad Zolghadr, of The Human Snapshot (Luma/Sternberg/Bard Center for Curatorial Studies, 2013). He curated Antiphotojournalism, with Carles Guerra (2010), and Aid and Abet (2011). 4 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/GREY_x_00147 by guest on 26 September 2021 Marie Muracciole is an art critic, curator, and Director of the Beirut Art Center. Her recent exhibitions include Mécaniques des Fluides (2013), Allan Sekula: Disassembled Movies, 1972–2012 (2012), and Yto Barrada: Riffs (2011). In addition to numerous exhibition catalogues, she also contributes to Texte zur Kunst and Les cahiers du Musée d’art moderne . She is the editor and trans - lator of Allan Sekula, Écrits sur la photographie 1974–1986 (Beaux-Arts de Paris, 2013) and is preparing a retrospective exhi - bition of his work. Allan Sekula (1951–2013) was an artist, photographer, historian, critic, and filmmaker. His many books include Photography against the Grain: Essays and Photo Works 1973–1983 (Nova Scotia College of Art and Design, 1984), Fish Story (Witte de With/Richter Verlag, 1995), Geography Lesson: Canadian Notes (MIT Press, 1997), Dismal Science: Photo Works 1972–1996 (Illinois State University, 1999), Performance under Working Conditions (Generali Foundation/Hatje Cantz Verlag, 2003), TITANIC’s wake (Le Point du Jour Éditeurs, 2003), and Polonia and Other Fables (The Renaissance Society at The University of Chicago/Zach e˛ta National Gallery of Art, 2009). His film The Forgotten Space (2010), codirected with Noël Burch, won the Orizzonte Special Jury Prize at the Venice Film Festival. He taught in the Program in Photography and Media at the California Institute of the Arts since 1985. Hilde Van Gelder is Associate Professor of Modern and Contem- porary Art History at the University of Leuven, where she directs the Lieven Gevaert Research Centre for Photography. She is editor of Image [&] Narrative and of the Lieven Gevaert Series, for which she edited Constantin Meunier: A Dialogue with Allan Sekula (Leuven University Press, 2005) and, with Jan Baetens, Critical Realism in Contemporary Art: Around Allan Sekula’s Photography (Leuven University Press, 2006). With Helen Westgeest, she wrote Photography Theory in Historical Perspective (Wiley-Blackwell, 2011), which was recently translated into Chinese. Benjamin J. Young is completing a dissertation on the photo-works of Allan Sekula in the Department of Rhetoric at the University of California, Berkeley. He teaches at The New School and is managing editor of Grey Room . 5 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/GREY_x_00147 by guest on 26 September 2021.

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