Brad Buckley: Artist, urbanist and Professor of Contemporary Art and Culture, and is the Associate Dean (Research) at Sydney College of the Arts, University of Sydney; editor, with John Conomos, of Republics of Ideas (2001) and Rethinking the Contemporary Art School: The Artist, the PhD, and the Academy (2009); has also developed and chaired (with Conomos) a number of conference sessions for the College Art Association, including 'The Erasure of Contemporary Memory' (New York 2011); his artwork has been included in the 3rd International Biennial, Ljubljana, 4th Construction in Process, Artists' Museum, Lodz, Poland; 9th Biennale of Sydney; Franklin Furnace, New York, Kunstlerhaus Bethanien, Berlin, PS1 Institute for Contemporary Art, New York, Dalhousie Art Gallery, Halifax, Canada and Tsukuba Art Gallery, Japan; a visiting professor, Nova Scotia College of Art and Design University and at the Royal Danish Academy of Fine Arts; in October 2009 was a Visiting Scholar at Parsons The New School for Design, New York

 

John Clark: Professor of Asian Art History, University of Sydney and an Australian Research Council Professorial Fellow working on a new position of 'The Asian Modern'; among his books is Modern Asian Art (Honolulu, University of Hawai'i Press, 1998), Modernities of Chinese Art (Leiden: Brill, 2010) and Asian Modernities: Chinese and Thai Art in the 1980s and 1990s (Sydney: Power Publications, 2010)

 

John Conomos: Artist, critic, and writer; Associate Professor, Sydney College of the Arts, University of Sydney; has extensively exhibited both locally and internationally across a variety of different media—video art, new media, photo-performance, installations and radiophonic art; a prolific contributor to art, film and media journals and a frequent keynote speaker and participant in conferences, forums and seminars; published Mutant Media, Artspace/Power Publications 2008 and in 2009 co-edited with Brad Buckley Rethinking the Contemporary Art School: The Artist, the PhD and the Academy, The University Press of Nova Scotia Art and Design College; during 2009 his video Lake George (After Mark Rothko) was screened at the Tate Modern, London; currently working on an anthology with Brad Buckley on the culture of erasure; working on an alphabetical essay memoir Milkbar, a study of the Belgian surreal filmmaker Henri Storck and a single-channel video on Alfred Hitchcock's cameo appearances in his own films

 

Amelia Douglas: Melbourne-based curator and contemporary art historian with research focus on time-based contemporary art; art history PhD on Pierre Huyghe from University of Melbourne, 2008; curator of Killing Time: Christopher Koller Video Retrospective, 2010; co-curator of The Sound Playground, 2010; manager red gallery contemporary art space 2009-10; curator and board member Bus Projects 2009-10; co-curator Found Sound: The Experimental Instrument Project, 2009; Assistant Curator, Australian Centre for the Moving Image 2008-09; lecturer and tutor, contemporary art history and curatorship, University of Melbourne 2005-09; founding co-editor of emaj: electronic melbourne art journal; member of un Magazine editorial committee; currently Senior Research Fellow in the Spatial Aesthetics program, University of Melbourne and recipient of the Venice Biennale Emerging Curators Award 2011

 

Farid Farid: Sydney based writer and a final year doctoral candidate at the University of Western Sydney; has been published in Le Monde Diplomatique, Australian Literary Review, Artlink & Realtime

 

Blair French:Executive Director, Artspace Visual Arts Centre, Sydney; Convener, Curatorial Group, SCAPE 6: Christchurch Biennial of Art in Public Space; recent curatorial projects include solo exhibitions with Paul Saint (2010) and Ho Tzu Nyen (2011) and forthcoming Mischa Kuball: Platon's Mirror and Nothing Like Performance (both 2011); author of Out of Time: Essays Between Photography and Art (2006) and with Daniel Palmer Twelve Australian Photo Artists (2009); contributed major essay to the book accompanying Shaun Gladwell's project for the Australian Pavilion at the 2009 Venice Biennale; editor of many catalogues and monographs plus book Photo Files: An Australian Photography Reader (1999); co-founding editor of the periodical Column

 

Anthony Gardner: Andrew Mellon Postdoctoral Fellow, Courtauld Institute of Art, London (2010-11); PhD in Art History, University of New South Wales (2009); worked at the University of Melbourne, Monash University, RMIT and City University London; International Fellow, New Europe College, Bucharest (2011) and the "Global Art and the Museum" project, ZKM, Karlsruhe (2009); recipient of an Australian Academy of the Humanities scholarship (2009) and residencies in Paris and Brisbane; in 2011, will begin an ARC-funded project with Charles Green, examining the history of biennialisation after 1950; publications include: essays in The Cambridge Companion to Australian Art (Jaynie Anderson, ed., Cambridge UP, 2011), Contemporary Art and the Global Age (Hans Belting and Andrea Buddensieg, eds., Hatje Cantz, 2011) and Vernon Ah Kee: Born In This Skin (Robert Leonard, ed., IMA, 2009), as well as Third Text, Postcolonial Studies, Artforum and Australian and New Zealand Journal of Art

 

Alex Gawronski: Sydney based artist and writer; recent art projects involve participation in the two-part exhibition Between Site and Space a collaboration between Tokyo Wonder Site, Shibuya, Tokyo and Artspace, Sydney incorporating a six-week residency at Tokyo Wonder Site (2008); co-founder/director of The Institute of Modern Art Newtown (ICAN), Sydney, 2007-, Loose Projects, Sydney, 2006-07 and Blaugrau, Sydney, 2000-01; writes for Broadsheet and Column (Artspace, Sydney); currently teaches at the Sydney College of the Arts

 

Adam Geczy: Sydney based artist and writer; lectures at Sydney College of the Arts; editor of Postwest, written for
The Australian; co-editor (with Benjamin Genocchio) of What is Installation? (Sydney, Power Publications, 2001), and co-author (with Michael Carter) of Reframing Art, (Sydney, NSW Press/Oxford, Berg, 2006)

 

Adam Hill: Self-taught artist based on Dharug land (Sydney) who's visual art practice is one that has developed primarily on its own accord, supported by a unique few he considers his mentors; he hopes that within his lifetime he will witness equality and uniform for all practicing artists and not a continued 'lottery' for the chosen few

 

Helen Hughes: PhD candidate in art history at the University of Melbourne; Assistant Curator, Utopian Slumps; Editor of the contemporary art journal Discipline (issue 1 forthcoming July, 2011); Sub-Editor, un Magazine Vol 4 (2010); research assistant for the exhibition and book Cubism and Australian Art, Heide Museum of Modern Art, Melbourne (2009–10); contributor to Art & Australia, Eyeline, un Magazine and Artlink

 

Kit Messham-Muir: Newcastle-based art theorist and museologist; lecturer in art history at the University of Newcastle; research specialty in the role of affect and emotion in the interpretation of war in art and museography; currently on a research sabbatical in London, where he is collaborating with Shaun Gladwell on an artist-theorist book about Gladwell's work for the Australian War Memorial, due for publication in 2012; has lectured at College of Fine Arts, UNSW, University of Western Sydney, University of Sydney and University of Hong Kong

 

Jacqueline Millner: Until recently lecturer in art history and visual culture, School of Humanities and Languages, University of Western Sydney; a collection of her writings on Australian contemporary art Conceptual Beauty was published by Artspace Visual Arts Centre, Sydney 2009

 

Catriona Moore: Senior Lecturer, Art History & Film Studies Department, University of Sydney; Acting Director: Power Institute of Contemporary Visual Culture; Management Board, Design and Art of Australia Online (DAAO); writes broadly on Australian modernism and contemporary international art

 

Christopher Moore: Until recently based in Shanghai writing on international contemporary art, specialising in Chinese and European contemporary art; has written for Leap magazine, Randian (online journal) as Editor-in-Chief, the leading international art website, Saatchi Online and http://www.mooreandmooreart.co.uk; currently writing a novel as well as a monograph on Chinese artist, Shi Jing

 

Anne Sanders: Awarded a PhD from the Australian National University in 2010 for her thesis on the Mildura Sculpture Triennials; has worked within private and public visual art institutions in Australia for more than 20 years, and writes regularly for a number of art journals; currently curatorial researcher at the National Portrait Gallery, Canberra

 

Pamela Zeplin: Portfolio Leader of Research Education in Art, Architecture & Design, University of South Australia; as a widely published author, artist and educator, her research and teaching practice specialises in contemporary non-indigenous and indigenous visual culture in Australia and the Asia-Pacific region