University of Rochester helped facilitate our writing retreat in the summer of 2019, and funds from the Dean’s Office helped offset the cost of the index. And Cat’s colleagues in the School for Photographic Arts and Sciences at the Rochester Institute of Technology (most especially Therese Mulligan) made it possible for her to start a new book project and a new job at the same time and still feel on top of things.
Most of all, we want to thank our loved ones. Joan would like to thank Steve, Finn, and Wilson Brauer for their love and support—and for being mostly quiet when she was skyping with her co‐editors. Aubrey thanks Marc Furstenau for his sage editing advice, companionship, and humor during the process of pulling this book together. Cat is inspired every day by her two favorite people in the world: Daniel Worden and sweet Clementine.
Notes on Contributors
Kate Palmer Albers is associate professor of art history at Whittier College in Los Angeles. Her research interests include the role of ephemerality in photographic experience; narrative, biography, and archive in relation to visual art; mapping and landscape; and emerging technologies of computer vision and machine learning. Albers is the author of Uncertain Histories: Accumulation, Inaccessibility, and Doubt in Contemporary Photography (2015) and co‐editor, with Jordan Bear, of The Night Albums: Visibility and the Ephemeral Photograph (forthcoming, 2021).
Aubrey Anable is associate professor of film studies in the School for Studies in Art and Culture at Carleton University in Ottawa. She is the author of Playing with Feelings: Video Games and Affect, published by the University of Minnesota Press in 2018. Her research on digital media history and aesthetics, video games, and theories of affect has appeared in the journals Feminist Media Histories, Afterimage, Television & New Media, Ada, and various edited collections.
Ross Barrett is associate professor of art history at Boston University. He is the author of Rendering Violence: Riots, Strikes, and Upheaval in Nineteenth‐Century American Art (2014), and co‐editor, with Daniel Worden, of Oil Culture (2014). His current book project examines five American artists who painted and speculated on real estate during the nineteenth century.
Jane Blocker is professor of art history at the University of Minnesota. Her most recent book is Becoming Past: History in Contemporary Art (2015). She has published articles in Performance Research, Grey Room, Art Journal, Camera Obscura, Cultural Studies, Visual Resources, and Performing Arts Journal and contributed essays to anthologies including Perform, Repeat, Record: Live Art in History; The Aesthetics of Risk; After Criticism: New Responses to Art and Performance; and The Ends of Performance.
Eugenie Brinkema is associate professor of contemporary literature and media at the Massachusetts Institute of Technology. Her first book, The Forms of the Affects, was published in 2014, and her articles have appeared in numerous journals such as Angelaki, Camera Obscura, Criticism, differences, Discourse, Journal of Speculative Philosophy, Journal of Visual Culture, LIT, Polygraph, qui parle, and World Picture.
Margot Bouman is assistant professor of visual culture at the New School. Her research addresses the interplay between the neo‐avant‐garde and broadcast television, as well as sampling in contemporary art. Her monograph, Cut, Shift, Paste: Recursive Systems in Contemporary Art is under contract with Bloomsbury Publishing. It addresses sampling’s structural affinities with knowledge production systems such as serialism, the grid, and online information distribution. Bouman’s work has appeared in Parachute, Etc. and the Journal of Curatorial Studies.
Joel Burges is associate professor of English and director of the Graduate Program in Visual and Cultural Studies at the University of Rochester, where he is also faculty in Film and Media Studies and Digital Media Studies. He is the author of Out of Sync & Out of Work: History and the Obsolescence of Labor in Contemporary Culture (Rutgers UP, 2018) and co‐editor, with Amy J. Elias, of Time: A Vocabulary of the Present (NYU Press, 2016). He is at work on two books. The first is Television and the Work of Writing, which focuses on the figure of the television writer from Carl Reiner and Rod Serling to Issa Rae and Michaela Coel; the second is Late Bourgeois Unities: Class Morbidity and Racial Informality in the 21st Century World. He also recently co‐edited “Black Studies Now and the Countercurrents of Hazel Carby” with Alisa V. Prince and Jeffrey Allen Tucker for InVisible Culture.
Lisa Cartwright is professor of visual arts, communication and science studies at the University of California at San Diego, where she heads the Program in Speculative Design. She is the author of Screening the Body: Tracing Medicine’s Visual Culture (1995) and Moral Spectatorship: Technologies of Voice and Affect in Postwar Representations of the Child (2008), and co‐author, with Marita Sturken, of Practices of Looking: An Introduction to Visual Culture (3rd edn. 2018). She works at the intersection of art and media studies and feminist science and technology studies.
Irene Cheng is an architectural historian and theorist and associate professor of architecture at the California College of the Arts. She co‐edited, with Bernard Tschumi, The State of Architecture at the Beginning of the 21st Century (2003) and, with Charles L. Davis II and Mabel O. Wilson, Race and Modern Architecture: A Critical History from the Enlightenment to the Present (2020).
Laurie Beth Clark is an artist, scholar of trauma tourism, and professor of art at the University of Wisconsin‐Madison. Together with Michael Peterson, she co‐founded the arts collaborative Spatuala&Barcode (www.spatulaandbarcode.net), which has produced social practice participatory projects around the world. The two of them have published in diverse journals and collections and co‐edited a special issue of Performance Research titled “On Generosity.”
Douglas Crimp was an art critic and the Fanny Knapp Professor of Art History at the University of Rochester. He was the author or editor of numerous books, including Pictures, AIDS: Cultural Analysis/Cultural Activism, On the Museum’s Ruins, “Our Kind of Movie”: The Films of Andy Warhol, Before Pictures, and the forthcoming Dance Dance Film.
Jon Davies is a PhD candidate in art history at Stanford University. He has a background in film and queer studies, and worked as a contemporary art curator in Toronto for several years. His writing has been published widely, including in C Magazine, Canadian Art, Criticism, Fillip, Frieze, GLQ, and Master Drawings; he also co‐edited issue #5 of Little Joe magazine with Sam Ashby. He wrote a book about Andy Warhol and Paul Morrissey’s film Trash (Arsenal Pulp Press, 2009), and his edited anthology More Voice‐Over: Colin Campbell Writings is forthcoming from Concordia University Press. His dissertation research focuses on the intertwining of artistic and sexual experimentation and queer pedagogy in San Francisco from 1945–1995.
T. J. Demos is a cultural critic, professor of visual culture at University of California, Santa Cruz, and director of its Center for Creative Ecologies. He is the author of numerous books, including Against the Anthropocene: Visual Culture and Environment Today (2017), Decolonizing Nature: Contemporary Art and the Politics of Ecology (2016), and most recently, Beyond the World’s End: Arts of Living at the Crossing (2020).
Chad Elias teaches at Dartmouth College and publishes on contemporary art. In his research he looks expansively across geographies and media to engage with debates about archival knowledge, the epistemological status of images, the political claims of contemporary visual cultures, and speculative and conceptual futures. Through an attention directed not only to
