Pep Avilés is a historian, and architect pursuing his doctoral degree at Princeton University. Based currently in New York City, he is an Adjunct Associate Professor at Columbia University where he teaches the introductory seminar to the Master in Advanced Architecture at the Graduate School of Architecture, Planning and Preservation. Previously he taught at Princeton University, Universitat Politècnica de Catalunya, Columbia University, and Barcelona Institute of Architecture where he was appointed Head of Graduate Studies to design and coordinate the Master’s curriculum. He holds a design degree from the School of Architecture in Barcelona (E.T.S.A.B.) and a Masters in history and theory of art and architecture from the same institution. He studied in residence at the Kungliga Tekniska Högskolan in Stockholm and as Visiting Scholar at Columbia University. In addition to numerous travel awards he recently received the Collection Research Grant at the Canadian Center for Architecture in Montreal and the 2012-13 Harold W. Dodds Fellowship. His dissertation, The Rhetoric Countenance: Industry, History, Ornament (1947-1961), explores the relation between material production and discourse in professional practice. At the intersection between technology, history, and language, his research focuses on the specific environmental form that ornament took after the Second World War within modern architecture. His work has been published in journals such as Footprint, Abitare, Volume, Quaderns d’Architectura i Urbanisme and Circo among others, and he presented at conferences at the Institute of Fine Arts in New York, at EAHN-FAUS in Sao Paolo and the Research Chair on Contemporary Practices of the Université de Montréal.

Djurdja Bartlett is Senior Research Fellow at the London College of Fashion, University of the Arts London. She has published widely on the theme of fashion during socialism and post-socialism, embedding her research in the field of Fashion Studies, and drawing on a wider range of disciplines, such as Gender Studies, Media Studies, Design Studies and History. Bartlett is author of FashionEast: the Spectre That Haunted Socialism (MIT Press, 2010). Based on original empirical research in six countries (the Soviet Union, Czechoslovakia, East Germany, Hungary, Poland and former Yugoslavia), the book FashionEast was the first to comparatively examine dress codes in Eastern Europe throughout the socialist period from the perspective of socialist concerns with fashion. Bartlett was editor of ‘East Europe, Russia and the Caucasus’, volume 9 of the Berg Encyclopedia of World Dress and Fashion (10 volumes, 2010). In her editorial role, Bartlett expanded on the prevalent associations between East Europe and ethnic dress, to interrogate the phenomenon of fashion in twenty-six countries of the region over the last two centuries.  Bartlett’s current research, Translating Fashion: East Europe West Europe, 1910-2010, funded by the Arts and Humanities Research Council UK, explores the relationship between East European and Western fashion throughout the 20th and 21st centuries up to the present day.  Bartlett is also coordinator of the Fashion Media and Imagery Research Hub at the London College of Fashion, in which capacity she co-organized a conference Fashion Media: Yesterday Today Tomorrow (October 2010), from which an edited selection of essays will be published later this year (Bartlett, D., S. Cole and A. Rocamora (eds.) Fashion Media: Past and Present, London: Bloomsbury, 2013).

Vadim Bass is an Associate Professor of Department of Art History, European University at St Petersburg. Candidate of Sciences (Art history, The State Russian Museum, 2006). The topic of his thesis: “Topicalization of the Classics in St. Petersburg architectural competitions of the 1900–1910s”. He has taught a wide range of courses related to theory and history of architecture at EUSP, St. Petersburg State University. Vadim is the author of St. Petersburg Neoclassical Architecture of the 1900s to 1910s as Reflected in the Mirror of Architectural Competitions: Word and Form (St. Petersburg, 2010, in Russian); also, he published multiple historical and critical essays. He hosts a radio program on architecture “4 Walls and the Roof”. His current interests are focused on interrelations between professional and social values in architecture. Research interests also include: classical tradition in architecture, architectural competitions, theory and rhetoric of architecture and architectural discourse, professional thought in architecture of the 20th century.

Fabien Bellat  is Doctor in Art history of Paris X University. His researches (led among others with the Moscow Institute of Architecture) and publications center essentially on the study of Soviet architecture. From 2005 till 2008 he taught in France at the Nantes University and in 2011 in Canada at the Quebec Outaouais University. He presented his work at  Sorbonne University, Liverpool Hope University, Savannah College of Art and Design, Quebec University in Montreal, and Moscow State University. Recently, Bellat was appointed Associate researcher at the Versailles School of Architecture (as an expert on Stalinist gardens); he is working now on the Le Nôtre exhibition to be held in 2013 at the Castle of Versailles. 

Daria Bocharnikova is a lecturer at the Faculty of Liberal Arts and Sciences, Saint Petersburg State University, and a PHD candidate at the European University Institute in Florence. Her dissertation, “Reconstructing Socialism: A History of the Architectural Profession in the USSR (1954-1971),” investigates the return of modernism in the professional practice after Khrushchev’s intervention in 1954. It questions both if it was a return and if it was modernism. In particular, she is interested in the renovated project of modernity as embodied in the new visionary projects of the Khrushchev era. She looks at the design of the Novye Cheriomushki neighborhood and the NER urban scheme as two major visions of Soviet modernity of the 1950s-1960s. She seeks to reconstruct how Soviet architects conceived of Socialist urbanity and what this tells us about the political horizons and engagement of the architectural profession in the USSR (and more broadly, the political imagination of the Soviet intelligentsia) in the 1950s-1960s. In her research and teaching she aims to come to an understanding of the transformation of the Soviet project after 1953, the mutation of the ideology of high modernism throughout the 20th century and the transnational history of architectural modernism.  Together with Steven Harris, she has recently launched a new scholarly project, “Second World Urbanity: Between Capitalist and Communist Utopias.”  This project aims to bring together scholars of socialist cities to explore the evolution of the socialist cityscape over the course of the 20th century to the present.

Anya Bokov is a doctoral student at the Yale School of Architecture. She received her B.Arch. from Syracuse University and her M.Arch. from the Harvard Graduate School of Design. Prior to commencing her studies at Yale, Anya taught at the Moscow Architectural Institute and at Northeastern University School of Architecture in Boston. Anya was an editor of the Project Russia magazine, a leading architectural periodical in Russia. She has worked as an architect and urban designer with NBBJ in Moscow and Columbus, Ohio; City of Somerville/Office of Strategic Planning and Community Development in Somerville, Massachusetts; Office for Metropolitan Architecture in Rotterdam; as well as at Gluckman Mayner Architects and Polshek Partnership/Ennead in New York. Anya’s research centers on mapping and interpreting the connections between early modernist design education and constructivist design practice in the Soviet Union through the lens of the VKhUTEMAS school, active in Moscow from 1920 to 1930. She is focusing on the architectural methodology developed by Nikolay Ladovsky and his circle, who pioneered the creative design process through introducing model-making, incorporating psychology and perception theories, and aligning architecture and urban design with new technologies and methods of industrial production.

Yve-Alain Bois (Institute for Advanced Study, Princeton) is recognized as an expert on a wide range of artists, from Henri Matisse and Pablo Picasso to Piet Mondrian, Barnett Newman, and Ellsworth Kelly. He has curated and co-curated a number of influential exhibitions, including Piet Mondrian, A Retrospective (1994); L’informe, mode d’emploi (1996); Matisse and Picasso: A Gentle Rivalry (1999); and Picasso Harlequin 1917–1937 (2008). His books include Painting as Model (1990); Formless: A User’s Guide (with Rosalind Krauss, 1997); Matisse and Picasso (1998); and Art Since 1900 (with Benjamin Buchloh, Hal Foster, and Rosalind Krauss, 2004). Bois is currently working on several long-term projects, including a study of Barnett Newman’s paintings, the catalogue raisonné of Ellsworth Kelly’s paintings and sculptures, and the modern history of axonometric projection.

Ellen Chances is a Professor of Russian literature and culture at Princeton University. She is the author of the books, Conformity’s Children: An Approach to the Superfluous Man in Russian Literature (Slavica Publishers), a study of the nineteenth and twentieth-century novel; and Andrei Bitov. The Ecology of Inspiration (Cambridge University Press); Russian translation, Ekologiia vdokhnoveniia [St.Petersburg: Akademicheskii proekt]), the first book in the world about Bitov’s writings. She was guest editor of the “Special Issue in Honour of Andrei Bitov’s Seventieth Birthday,” in the journal, Russian Literature (Netherlands), 2007. Chances’ publications are wide-ranging, from studies on individual authors such as Bitov, Dostoevsky, Chekhov, and the Russian absurdist Kharms, to interdisciplinary investigations of the psychology of culture, and the interplay between literature and other arts. Her special interests are the nineteenth, twentieth, and twenty-first-century Russian novel; contemporary Russian literature and culture; literature in its historical context; literature and ideas; literature and values; literature and cinema; and journalism, from the nineteenth century to the present. She is currently at work on a second book on Bitov’s works. She was Artistic Consultant for a Broadway production (Roundabout Theater) of Chekhov’s “Three Sisters;” Literature and Culture Consultant for McCarter Theater productions of Chekhov’s Cherry Orchard and Uncle Vanya. She has discussed Russian films on the CUNY TV program, “City Cinémathèque.”  Ellen Chances also writes essays, cultural commentary, fiction, poetry, and memoirs.

David Crowley (School of Humanities at the Royal College of Art, London) is a Professor in the School of Humanities at the Royal College of Art, London, where he runs the Critical Writing in Art & Design MA. He has a specialist interest in the art and design histories of Eastern Europe under communist rule. He is the author of various books including National Style and Nation-State. Design in Poland (1992), Warsaw (2003) and editor – with Susan Reid – of three edited volumes: Socialism and Style. Material Culture in Post-war Eastern Europe (2000); Socialist Spaces. Sites of Everyday Life in the Eastern Bloc (2003); and Pleasures in Socialism: Leisure and Luxury in the Eastern Bloc (2010). He writes regularly for the art and design press. Crowley also curates exhibitions (including Cold War Modern at the Victoria and Albert Museum in 2008–9; The Power of Fantasy. Modern and Contemporary Art from Poland at BOZAR, Brussels, 2011;  and Sounding the Body Electric. Experimental Art and Music in Eastern Europe at Muzeum Sztuki, Łódź, 2012).

Tom Cubbin  is a design historian and PhD student at the University of Sheffield. He is interested in the development of the industrial design profession in the Soviet sixties and seventies, with a particular focus on experimental studio practices. In 2012 he completed an MA in the History of Design and Material Culture at the Royal College of Art in London, where he examined the impact of western avant-garde architecture and information theory on futurological research into socialist domestic interior. In 2012, Tom co-organised the conference Designing Socialist Modernity at the Royal College of Art and has written articles for Estonian Art and the forthcoming exhibition catalogue Our Metamorphic Futures: Design, technical aesthetics and experimental architecture in the Soviet Union 1960–1980. Tom is also contributes to The Calvert Journal, a guide to creative Russia.

Tina Di Carlo s a Ph.D Fellow in Place and Displacement: Exhibiting Architecture, funded through the Norwegian Research Council 2011-14 at the Oslo Centre for Critical Architectural Studies (OCCAS), Oslo School of Architecture. Her dissertation focuses on the 1988 “Deconstructivist Architecture” exhibition at the Museum of Modern Art. She holds a Master in Architecture from Harvard’s Graduate School of Design, and Masters in Art History and Visual Cultures from the Courtauld Institute, London and Goldsmiths College, University of London, respectively. From 2000-07, Di Carlo was a curator of architecture and design at MoMA. There she was instrumental in building the collection of contemporary architecture and curated and assisted with numerous exhibitions. In 2010 she founded ASAP, an archive dedicated to collecting architecture and art as part of a broader political, social and aesthetic discourse. In spring 2013 she was a Visiting Tutor at the Architectural Association, London in Histories and Critical Thinking. In addition to her academic activities, Di Carlo is a contributing editor to LOG for which, in 2010 she served as consulting editor for LOG 20, the first compendium on curating architecture. She is also the author of the forthcoming book Exhibitionism (Sternberg Press) for which she was awarded a Graham Foundation for Advanced Studies in Fine Arts grant. She has been a guest critic at Harvard, Princeton, Columbia, UCLA, the Architectural Association, and a guest Professor at the Berlage Institute, where she led a research studio on nascent economies in northeast Brasil. Di Carlo writes and speaks internationally and has published in, among others, LOG, Artforum, Abitare, mono.kultur, OASE and Harper’s.

Esther da Costa Meyer is a Professor of Art and Archeology at Princeton University in the area of modern and contemporary architecture, with an emphasis on colonialism and globalization. She has just completed a book on urban change and social history in nineteenth-century Paris. Recent publications include “The City Within” (Space and Psyche, 2013); “Counter Currents: Modernism Interpellated,” (Simon Starling/Reprotypes, Triangulations and Road Tests, 2012); “The Place of Place in Memory”  (Spatial Recall: Memory in Architecture and Landscape, 2009);  a catalogue of the drawings of Frank Gehry (2008), articles on the politics of the Gesamtkunstwerk (Tate Liverpool, 2008) and Peter Eisenman’s Holocaust Memorial in Berlin (“Speak, Memory,” Artforum, 2006); “Schoenberg’s Echo: the Composer as Painter,” in Schoenberg, Kandinsky and the Blue Rider, Esther da Costa Meyer and Fred Wasserman eds. (2003); “Simulated Domesticities: Charlotte Perriand before Le Corbusier” (Charlotte Perriand, Mary McLeod ed. (2003).

Caryl Emerson is A. Watson Armour III University Professor of Slavic Languages and Literatures at Princeton University, where she chairs the Slavic Department with a co-appointment in Comparative Literature. A translator and critic of Mikhail Bakhtin, she has also published widely on nineteenth-century Russian literature (Pushkin, Dostoevsky, Tolstoy), on the history and relevance of literary criticism (here and in the Slavic world), and on Russian opera and vocal music.  Recent publications include The Cambridge Introduction to Russian Literature (2008) and, coauthored with Chester Dunning, The Uncensored Boris Godunov (2006). Current research interests center around archival reconstructions of dramatic productions destined for (but disappeared from) the Moscow stage in the 1930s: Boris Godunov, Evgenii Onegin, and Egyptian Nights, all with Prokofiev’s incidental music.

Devin Fore received his PhD in German from Columbia University in 2005, and joined the faculty at Princeton after a year teaching as a Mellon postdoctoral fellow at Cornell University’s Society for the Humanities. He has been awarded grants from the Social Science Research Council, the Fulbright, Humboldt and Whiting Foundations, and was the Anna Maria Kellen Fellow at the American Academy in Berlin in 2008-2009. His first book, Realism After Modernism: The Rehumanization of Art and Literature (MIT/October Books, 2012) examines the returns of mimetic realism in German cultural production from the late 1920s into the Popular Front era with chapters on Laszlo Moholy-Nagy, Carl Einstein, Bertolt Brecht, John Heartfield, Ernst Jünger and the industrial novel (Erik Reger, Franz Jung and Brecht). His forthcoming book All the Graphs: Soviet Factography and the Emergence of Avant-Garde Documentary, situates the work of the operative writer Sergei Tret’iakov within the material culture of early the Soviet period. He is also editing and writing an introduction for the English translation of Oskar Negt and Alexander Kluge’s History and Obstinacy (forthcoming from Zone Books in 2013). Fore has published articles in the journals New German Critique, October, Configurations and Grey Room, and has also translated a number of texts from both German and Russian.

Eva Forgacs (Art Center College of Design, Pasadena). Her fields of interest are the avant-gardes and modernisms in the triangle Central Europe – Russia – Germany.  History and the frequently changing political environment of this area have made it clear that art history cannot be studied without considering its deep roots in the cultural environment that, in its turn, is embedded in the historical context. Forgacs has researched the Bauhaus for many years and published The Bauhaus Idea and Bauhaus Politics (1991/1995).  The avant-garde scene of the 1920s had a strong Russian component that was important to study even during the cold war era. Forgacs is interested in the process of the rediscovery of the Russian avant-garde in the West after World War II. Her essay “How the New Left Invented East European Art” (2003) is concerned with this particular topic. Presently, Forgacs works on a book project on the nature of cultural transfer, the history of  the Russian avant-garde’s reception in the West.

Hal Foster is Townsend Martin Class of 1917 Professor of Art and Archaeology at Princeton. He teaches lecture and seminar courses in modernist and contemporary art and theory; he also directs the graduate proseminar in methodology. In addition, Foster is a faculty member of the School of Architecture and an associate member of the Department of German; he also works with the programs of Media and Modernity and European Cultural Studies. Recent books include Art Since 1900 (2005), a co-authored textbook on 20th-century art; Prosthetic Gods (2004), concerning the relation between modernism and psychoanalysis; and Design and Crime (2002), on problems in contemporary art, architecture, and design. In fall 2011 two new volumes were published: The Art-Architecture Complex (Verso) and The First Pop Age: Painting and Subjectivity in the Art of Hamilton, Lichtenstein, Warhol, Richter, and Ruscha (Princeton University Press). He is presently at work on a theory of modernism as a way (in the words of Walter Benjamin) “to outlive culture, if need be.” A member of the American Academy of Arts and Sciences, Foster continues to write regularly for October (which he co-edits), Artforum, and The London Review of Books.

Irena Grudzinska Gross is Associate Research Scholar, Department of Slavic Languages and Literatures, Princeton. Her main scholarly interests are modern European intellectual history and literature. Her first book,The Scar of Revolution,dealt with the 19th century French authors Alexis de Tocqueville and Astolphe de Custine and, in the enlarged version, the Polish Romantic Adam Mickiewicz; the book was concerned with their visions of Russia and the United States. Her second book was also comparative in nature as it analyzed the recent East European and American cultural history on the basis of friendship between Czeslaw Milosz and Joseph Brodsky. In 2012, she collaborated with Jan T. Gross on Golden Harvest, the book about some aspects of post-Holocaust history in Poland. She also published in that year the collection of essays Honor, Horror, and the Classics.

Steven E. Harris is an Associate Professor of History at the University of Mary Washington, where he teaches courses in modern Russian and European history. His research focuses on social and cultural life in the Khrushchev era of Soviet history. In recent years, this period of the Soviet experiment has drawn intense scholarly interest among historians seeking to understand how state and society under Khrushchev attempted to remake and rejuvenate the Soviet system after Stalin and forge ahead with the construction of communism. His own contribution to this literature has concentrated on Khrushchev’s mass housing campaign, which permitted millions of ordinary Soviet citizens to experience and shape the “thaw” by moving out of overcrowded communal apartments and into their own single-family, separate apartments. His book, Communism on Tomorrow Street: Mass Housing and Everyday Life after Stalin, was recently published in February 2013 by the Woodrow Wilson Center Press and the Johns Hopkins University Press. For more about the book and its research, see the blog Communism on Tomorrow Street. Harris has also written about the role of architecture and mass housing in the evolution of the Cold War in his long article, Two Lessons in Modernism: What the Architectural Review and America’s Mass Media Taught Soviet Architects about the West, Trondheim Studies on East European Cultures and Societies 31 (Trondheim: Norges Teknisk-Naturvitenskapelige Universitet, 2010). At present, Harris is working on two new projects. The first is an “entangled history” of Aeroflot and Pan Am that examines how these two airlines’ rivalry and business partnership revolutionized modern travel in the jet age and shaped the final stages of the Cold War. The second is a collaborative project with the historian Daria Bocharnikova, “Second World Urbanity: Between Capitalist and Communist Utopias.” This project aims to bring together scholars of socialist cities to explore the evolution of the socialist cityscape in a global context over the course of the 20th century to the present. A conference based on this project will be held June 21-24, 2013 at the Centre for the History and Culture of East Central Europe in Leipzig, Germany.

Yulia Karpova  is a PhD candidate at the Department of History at Central European University, Budapest. The subject of her doctoral research is the formation of a new discourse on design aesthetics in post-Stalinist Russia. Invoking “Designers’ Socialism,” she considers post-war Soviet design an unfulfilled alternative project of socialism, which implied simple and available pleasures, plain forms, the flexible and creative relationship with objects (commodity-as-comrade), truth to materials and functions, cheerful labor thanks to beautiful and ergonomic tools, and, above all, convenience. The “aesthetic turn” refers not to yet another turn in historiography, but to the change, or shift, in the official Soviet attitude toward the problems of aesthetics and the organization of material environment. Using a variety of sources, Karpova traces the development of new aesthetic categories within Soviet design theory in the 1950s and the 1960s. She argues that post-war Soviet design reform was not completely imposed from above, but was partly initiated by professionals (one may call them experts), many of whom had first-hand knowledge of design theories and practices both of Soviet avant-garde of the 1920s and of the contemporary Western Europe and the U.S.  Parts of Karpova’s research were presented at several conferences, the latest being “East-West Cultural Exchanges and the Cold War” (International conference at the University of Jyväskylä, Finland, 14-16 June 2012). She will be presenting a paper on “The Organic: Another Facet of Soviet Modernism?” at the BASEES | ICCEES European Congress “Europe: Crisis and Renewal” (April 5-8, 2013, Cambridge, UK). Her article “Refrigerator with Ornament: On the Problem of ‘National Form’ in Soviet Applied Art and Industrial Design in Post-Stalin Period” was published in Russian in the interdisciplinary journal NZ: Debates on Politics and Culture (No. 78, 2011). Her next publication, “Accommodating ‘Design’: Introducing the Western Concept into Soviet Art Theory in the 1950s -1960s” is forthcoming in the December issue of European Review of History: Revue europeenne d’histoire.

Kim Lane Scheppele is the Laurance S. Rockefeller Professor of Sociology and International Affairs in the Woodrow Wilson School and the University Center for Human Values as well as Director of the Program in Law and Public Affairs at Princeton University.   She joined the Princeton faculty in 2005 after nearly a decade on the faculty of the University of Pennsylvania School of Law, where she was the John J. O’Brien Professor of Comparative Law.   Scheppele’s work focuses on the intersection of constitutional and international law, particularly in constitutional systems under stress.   After 1989, Scheppele studied the emergence of constitutional law in Hungary and Russia, living in both places for extended periods.  After 9/11, Scheppele has researched the effects of the international “war on terror” on constitutional protections around the world.   Her many publications on both post-1989 constitutional transitions and on post-9/11 constitutional challenges have appeared in law reviews, social science journals and in multiple languages (including Russian, Hungarian and French).    In the last two years, she has been deeply immersed in the new constitutional transformation of Hungary, which is moving rather faster than anyone thought possible from a robust constitutional democracy into a party-state. 

Alexandra Köhring  is a Ph.D. candidate at the University of Hamburg Germany. Trained as an art historian, she is particularly interested in Russian and Soviet visual culture, urban history and architecture in the 19th and 20th, science studies, material culture and the cultural history of the Cold War. In her Ph.D. (to be finished in April 2013) she explores the role materials and techniques of painting played in the formation of Russian Avant-Garde concepts of perception and cognition. Furthermore, she has examined the building project of the stadium in Moscow-Luzhniki (opened in 1956) in the context of transnational exchanges in the fields of building techniques and aesthetics as well as in relationship to local urban culture. Her paper on the faktura in postwar architecture will tie these two fields of interest together.

Maria Kokkori is a research fellow at the Art Institute of Chicago. She received her PhD from the Courtauld Institute of Art in London in 2008 where her doctoral thesis focused on the examination of works by Kazimir Malevich, Ivan Kliun and Liubov Popova c.1905-1925. She then completed a postdoctoral fellowship at the Courtauld Institute with a focus on Russian constructivist works by Aleksandr Rodchenko. During 2009-2011 she was a postdoctoral research fellow of the Malevich Society in New York. Her project investigated Kazimir Malevich’s teaching at the Vitebsk Art School in Belarus between 1919 and 1923.  Her research interests and publications focus on making and meaning of the Russian avant-garde art, cultural exchanges between Russia and the West, technology, science and the arts in Russia of the 1920s, and Russian avant-garde museology. Author and co-editor of Utopia: Russian art and culture 1900-1989 (2013), Maria is currently working on a book publication on Malevich and the Unovis group.  She is a member of Cambridge Courtauld Russian Art Centre (CCRAC) advisory board.

Joshua Kotin is an Assistant Professor of English at Princeton University. His research and teaching focus on poetry and poetics, modernism (especially American, British, Russian), nineteenth- and twentieth-century American literature, and literary theory.  He is currently completing a book on the efficacy of utopian and quixotic literary projects, with chapters on Henry David Thoreau, Osip and Nadezhda Mandel’shtam, Anna Akhmatova, Wallace Stevens, Ezra Pound, and J.H. Prynne.  He is also beginning a second book, tentatively titled, Coteries and Manifestos, which examines the formation and dissolution of literary communities in the twentieth century.  He received his PhD from the Department of English Language and Literature at the University of Chicago in 2011.  From 2005 to 2008, he was editor of Chicago Review.

Inessa Kouteinikova is a free lance researcher and curator and is living between Moscow and Amsterdam. She carried out her Masters at the Columbia University and Cornell University (architecture and art history), postgraduate research at the Jan van Eyck Academy in Maastricht (department of theory), and has completed her PhD at the Architectural Association in London and the Delft University in the Netherlands (department history/theory). She taught in Australia, the United States, England, Russia and the Netherlands and worked as a curator in Australian National Gallery, the Kimbell Art Museum, Victoria and Albert Museum, Groningermuseum and many Russian museums. She is a recipient of several research awards: the Getty Research Fellowships, UNESCO, the Prince Bernard Fonds, Willhemina Jansen Stichting. Her work has appeared in a wide range of journals, including Art Bulletin, the on-line 19thC art journal, TOPOS, The AA Files, JVE uitgeverij, the Tretiakov Gallery journal, the Fine Arts Connoisseurs, Pinakotheke, Art Journal, SNOB, the Bulletin of the NSW Gallery, etc. She is a regular contributor to the conferences of the AAI, Institute of the Oriental Studies (Russia, Italy, UK, Armenia), the Latvian National Art Museum (Riga), the Uzbek Art Institute. She is an author of the Russia’s Unknown Orient: the orientalist paintings 1850-1920, published by the NAi (2010) and is currently working on the manuscript about Turkestan artistic culture under the Russian rule.

Masha Kowell holds a Ph.D. in The History of Art from the University of Pennsylvania. She has recently defended her dissertation titled Agit-plakat: The Destalinization of Soviet Posters (1956-1966). Based on the archival research and interviews with the artists, her research delves into the formal, semiotic, and iconographic shifts that took place during the first and highly unstable decade of de-stalinization. In particular, she looks at various paths that the younger generation of official artists took in attempt to separate the official political posters from the influence of academic painting. She has recently curated an exhibition titled Laughing Matters: Soviet Propaganda in Khrushchev’s Thaw that opened at the University of Pennsylvania and travelled to two additional venues. She has published on film and the Soviet Cold War propaganda and has recently been a recipient of the Provost Award on Interdisciplinary Innovation from the University of Pennsylvania and The Caroline and Erwin Swann Foundation for Caricature and Cartoon from the Library of Congress, Washington, D.C.

Sergey Kropotov is the rector of the Ekaterinburg Academy of Contemporary Art (Ekaterinburg, Russian Federation). He earned his Doctor of Science degree in Philosophy in 1999. His is the author of The Economy of Text in Non-Classical Philosophy Art: Nietzche, Bataille, Foucault, Derrida (Ekaterinburg, 1999) and of more than 80 journal articles on twentieth-century philosophy of art, contemporary art and modern urban developments. His recent publications include “Aesthetics of Camouflage in Industrial Culture: From St. Simeon of Verkhoturie to Street-Art,” in Catalogue of Second Ural Industrial Biennial (Ekaterinburg: TATLIN, 2013); “Russian Bear from a Bear Land: Interferences of Traditional Zoo-Symbolism and Personal Qualities in Representation of the First President of Russian Federation,” in Russian Bear: History, Semiotics, Policy (Moscow: NLO, 2012); “Allegory in the Epoch of Economimesis: On the Origins of Non-Panoptical Iconography of Street-Art” in Cultural Geography: International Journal of Cultural Studies, no 4 (2011); “Restructuring of the Soviet Urban Environment: from Factory Sloboda to City of Entertainment,” in Soviet Past and the Culture of the Present (Ekaterinburg: 2009).

Ilia V. Kukulin  is a literary scolar and sociologist of culture. He teaches in the Department of Cultural Studies at the National Research University – Higher School of Economics in Moscow, and at the Moscow City Teacher-Training University. His interests includes history of Russian literature of the 20th century, history and aesthetics of political representations in modern Russian culture, representation of historical traumas in contemporary Russian culture, contemporary Russian literature, gender aspects of contemporary Russian culture, and history of Soviet children’s literature. He is co-editor of several volumes of essays, including There, Within: Internal Colonization Practices in the Cultural History of Russia (with Alexander Etkind and Dirk Uffelmann) (Moscow: New Literary Observer, 2012); Noncanonical Classic: Dmitrii Aleksandrovich Prigov (1940-2007) (with Evgeny Dobrenko, Mark Lipovetsky and Maria Maiofis) (Moscow: New Literary Observer, 2010); and Funny Little Guys: The Cultural Heroes of Soviet Childhood (with Mark Lipovetsky and Maria Maiofis) (Moscow: New Literary Observer, 2008).

Vladimir Kulić  holds a Ph.D. in architectural history from the University of Texas in Austin (2009) and teaches architectural history and design at Florida Atlantic University.  He writes on architecture in socialist Yugoslavia, as well as contemporary architectural criticism.  Together with Maroje Mrduljaš he authored and directed the international research project Unfinished Modernisations-Between Utopia and Pragmatism: Architecture and Urban Planning in the Former Yugoslavia and the Successor States (2010-12). He is the author of Modernism In-Between: The Mediatory Architectures of Socialist Yugoslavia (with Wolfgang Thaler and Maroje Mrduljaš, Berlin: Jovis, 2012) and editor of the forthcoming book Sanctioning  Modernism: Architecture and the Making of Postwar Identities (with Monica Penick and Timothy Parker, Austin: University of Texas Press, forthcoming 2013).  He is the winner of the Bruno Zevi Award for a Critical/Historical Essay in Architecture (2009), Trustees Merit Citation from the Graham Foundation (2007), and the ACLS/SSRC/NEH International and Area Studies Fellowship (2013-14).

Mari Laanemets is an art historian, currently senior researcher at the Estonian Academy of Arts (Institute of Art History). She studied art history in Estonian Academy of Arts (1994-2001) and wrote her Ph.D. at the Institute of Art History at the Humboldt University Berlin, where she examined the mutual impact of Western Modernism and Soviet Avantgarde on the unofficial practices of art in Soviet Estonia (Between Western Modernism and Soviet Avantgarde: Artistic Practice in Eastern Europe. A case study on Estonia, 1969-1977). Her current research looks at the convergence of practices of art, architecture and design of the Soviet Union in the late 1960s and 1970s. At the moment she is working on the publication Our Metamorphic Futures: Design, Technical Aesthetics and Experimental Architecture in the Soviet Union 1960–1980 (with Andres Kurg, to be published in summer 2013). Her recent projects include the exhibition and publication Environment, Projects, Concepts. Architects of the Tallinn School 1972-1985 at the Estonian Museum of Architecture (2008), the exhibition Provisorisches Yoga at Grazer Kunstverein (2009), the exhibition Our Metamorphic Futures: Design, Technical Aesthetics and Experimental Architecture in the Soviet Union 1960–1980 at the 
National Gallery of Art in Vilnius (2011) and the book Zwischen westlicher Moderne und sowjetischer Avantgarde. Inoffizielle Kunst in Estland 1969-1978 (Gebr. Mann, 2011).

Daniil Leiderman is a PhD candidate, working on a dissertation entitled: Moscow Conceptualism and “Shimmering”: Authority, Anarchism, and Space. The project investigates the circle of experimental artists and writers that emerged in Moscow’s unofficial artistic scene in the early 1970s in the context of nonconformism, tracing their development of the critical metaposition called “shimmering” and its relationship to artistic resistance. Last year, Daniil conducted and recorded a series of interviews with artists who participated in Moscow Conceptualism, he is in the process of translating and transcribing these conversations. In 2011, Daniil helped research and write for the Brooklyn Museum exhibition Russian Modern. Daniil received his B.A. from New York University in 2008.

John Kenneth MacKay  is Professor of Slavic Languages and Literatures and Film Studies and Chair of the Film Studies Program at Yale University. He is the author of Inscription and Modernity: From Wordsworth to Mandelstam (Indiana University Press, 2006), Four Russian Serf Narratives (University of Wisconsin Press, 2009), True Songs of Freedom: Uncle Tom’s Cabin in Russian Culture and Society (University of Wisconsin Press, 2013), and articles on Soviet film, film theory, animation, propaganda, and biography. His book Dziga Vertov: Life and Work will be published by Indiana University Press.

Virág Molnár is currently Assistant Professor of Sociology at the New School for Social Research. She received her Ph.D. in Sociology from Princeton University Her research explores the intersection of culture, politics, social change and knowledge production with special focus on urban culture and transformations of the built environment.
She has written about the relationship between architecture and state formation in socialist and postsocialist Eastern Europe, the post-1989 reconstruction of Berlin, and the new housing landscape of postsocialist cities. Her book, Building the State: Architecture, Politics and State Formation in Postwar Central Europe, has just been published by Routledge. Her work has also appeared in the American Sociological Review, Annual Review of Sociology, International Journal of Urban and Regional Research, and Urban Studies. She has been a visiting fellow at the Minda de Gunzburg Center for European Studies and the Department of Sociology at Harvard University and at the Humboldt University in Berlin. Her research has been supported by the National Science Foundation, the Alexander von Humboldt Foundation, and by a Marie Curie Intra-European Fellowship from the European Commission. She is presently examining the impact of new communications technologies on the urban public sphere and the politics of urban rodent control.

Pablo Mueller is a Fulbright Visiting Research Scholar at the City University of New York. He received a diploma in Fine Arts from University of Art and Design Zurich, Switzerland, and a Master degree in Art History from the University of Bern, Switzerland. His art critical writings have been published in newspapers and magazines in Switzerland and Germany including Kunstbulletin, jungle world and WOZ Die Wochenzeitung. Since 2012 he is a Fulbright Visiting Research Scholar at the Graduate Center of City University of New York and in preparation of a dissertation on the art journal October and its role within the methodological shift in art history discipline after 1970.

Michał Murawski is an anthropologist of architecture, completing his PhD thesis at the University of Cambridge. His thesis (to be submitted in May 2013) focuses on the aesthetic, social, ideological and political-economic relations between the Palace of Culture and Science – a 231-metre Stalinist skyscraper in central Warsaw – and the contemporary city. During his fieldwork in Warsaw in 2008-2010, he conducted participant observation as an intern in the Administration Board of the Palace of Culture, organised public ‘Palaceological interventions’ (at which he collected Varsovians’ responses to his ethnographic ‘hypotheses’), and gathered survey data from over 5,000 respondents in an in-depth online questionnaire. His research on Warsaw has resulted in numerous academic and non-academic book, journal and magazine publications in English and Polish, including texts on Warsaw and the Palace after the Smoleńsk disaster; on why big buildings are more than just ‘iconic’; on Warsaw’s 1950s modernist architecture; on the ideological content of Warsaw’s rebuilt Old Town; and on Anish Kapoor’s London Orbit Tower. Since 2010, he has taught urban anthropology and social theory at Cambridge and in 2011-2012 he co-convened (In)Flexible Cities, a weekly seminar at the Cambridge Centre for Research in the Arts, Humanities and Social Sciences.

Serguei Alex. Oushakine is Associate Professor of Anthropology and Slavic Languages and Literatures at Princeton University. He has conducted fieldwork in the Siberian part of Russia, as well as in Belarus and Kyrgyzstan. His research is concerned with transitional processes and situations: from the formation of newly independent national cultures after the collapse of the Soviet Union to post-traumatic identities and hybrid cultural forms. His first book The Patriotism of Despair: Loss, Nation, and War in Russia focused on communities of loss and exchanges of sacrifices in provincial post-communist Russia. His current project explores Eurasian postcoloniality as a means of affective reformatting of the past and as a form of retroactive victimhood. Oushakine’s Russian-language publications include edited volumes on trauma, family, gender and masculinity. Prof. Oushakine is Director of the Program in Russian and Eurasian Studies at Princeton.

Richard Pare is a photographer with a particular affinity for architecture. His works have been exhibited widely and are held in many major public collections of photography. His most recent project is an ongoing study of the architecture of Le Corbusier. He was the founding curator of the photography collection of the Canadian Centre for Architecture at its inception, in 1974, and has been a consultant to the collection since 1989. Among his exhibitions and publications are Court House: A Photographic Document (1978), Photography and Architecture: 1839–1939 (1982), Tadao Ando: The Colours of Light (1996), and The Lost Vanguard: Russian Modernist Architecture, 1922–32 (2007).

Petre Petrov is an Assistant Professor of Russian at Princeton University, where he teaches courses in twentieth-century Russian literature and culture, Russian and East-European cinema, and Polish language. His research focuses on Stalinist culture in the historical context of modernity and the intellectual context of Western and Russian modernism. He has published journal and encyclopedia articles on socialist realism, Thaw film, and Russian formalism. He is working on a book project provisionally entitled The Future Is What Follows: Stalinism and the Traffic of Essences.

Kevin M.F. Platt  is Edmund J. and Louise W. Kahn Term Professor in the Humanities, Professor of Slavic Languages and Literatures and Graduate Chair of the Comparative Literature Program. He works on representations of Russian history, Russian historiography, history and memory in Russia, Russian lyric poetry, and global post-Soviet Russian culture. Platt received his B.A. from Amherst College and his Ph.D. from Stanford University and taught at Pomona College before joining the Penn faculty in 2002. He is the author of Terror and Greatness: Ivan and Peter as Russian Myths (Cornell UP, 2011) and History in a Grotesque Key: Russian Literature and the Idea of Revolution (Stanford, 1997; Russian edition 2006), and the co-editor (with David Brandenberger) of Epic Revisionism: Russian History and Literature as Stalinist Propaganda (Wisconsin UP, 2006). He also edited and contributed translations to Modernist Archaist: Selected Poems by Osip Mandelstam (Whale and Star, 2008) and edited Intimations: Selected Poetry by Anna Akhmatova, translated by James Falen (Whale and Star, 2010). His current projects include a critical historiography of Russia, a study of contemporary Russian culture in Latvia and a number of translation projects.

Kristin Romberg is a Visiting Assistant Professor at the College of Wooster. She completed her Ph.D. at Columbia University in 2010 and will be taking up a position in the fall as Assistant Professor of Modern and Contemporary Art History at the University of Illinois, Urbana-Champaign. She is currently working on a book manuscript provisionally titled Radical Constructivism: Aleksei Gan’s Grass-Roots Modernism, which re-examines Russian constructivism through Gan’s work as a political organizer and maker of mass-media objects. In 2005, she was the curator, along with Richard Anderson, of the exhibition Architecture in Print: Design and Debate in the Soviet Union, 1919-1935 at Columbia University’s Wallach Art Gallery.

Irina Sandomirskaja is Professor of Cultural Studies, Centre for Baltic and East European Studies, Södertörn University (Sweden). Books: Ia tak khochu nazvat’ kino: Naivnoe pis’mo – opyt lingvo-sotsiologicheskogo chteniia (in co-autsorship,Moscow 1996), Kniga o Rodine: Opyt analiza diskursivnykh praktik (Vienna 2001), Blokada v slove: ocherki kriticheskoi teorii i  biopolitki iazyka (Moscow 2013). Teaches various subjects in East European cultures, Russian/Soviet theory of language and culture, and philosophy of language. Fields of interest: continental philosophy, culture theory, avant-garde literature and documentary film, Soviet body and biopolitics; Soviet writing and European critical theory.

Iuliia Skubytska is a PhD student in the Department of History at the University of Pennsylvania. She had finished aspirantura at the National University of Kyiv-Mohyla Academy (Kyiv, Ukraine). Her dissertation project in Ukraine was dealing with Constructivist heritage in Kharkiv, the capital of Soviet Ukraine from 1917-1934. In that project she explored the reception of Constructivist theory by Kharkiv architectural community and functioning of Constructivist heritage in in the changing urban environment. Her new dissertation project at the University of Pennsylvania is dealing with Soviet all-union pioneer camps in the Brezhnev’s period.

Jane Sharp is Associate Professor in the Department of Art History at Rutgers, The State University of New Jersey, and acts as Research Curator of the Dodge Collection at the Zimmerli Art Museum. In addition to teaching she has engaged students in curating and writing for exhibitions that explored abstract painting and Moscow conceptualist art in the Dodge Collection. While at Rutgers she has curated over ten exhibitions drawing from the Dodge Collection and recently curated the reinstallation of the Dodge Collection (2012). She is currently engaged in research for a book on abstract painting in Russia during and after the Thaw (1956-1991).Her book,
Russian Modernism Between East and West: Natalia Goncharova and the Moscow Avant-Garde, 1905-1914.  (Cambridge University Press, 2006) was awarded the Robert Motherwell Prize from the Dedalus Foundation. Dr. Sharp has served as editor of the Zimmerli Journal, volumes 1, and 5 (2008, 2003), part 1 (Soviet Nonconformist and Russian Art). She has published extensively on the prerevolutionary Russian avant-garde, and Soviet unofficial art.

Elise Thorsen  is a PhD candidate in Slavic Languages & Literatures at the University of Pittsburgh. Her dissertation, “Empire and Territory in Early Soviet Poetry,” deals with the treatment of the imperial trace in interwar articulation of the relationship between Soviet subject and Soviet territory. Recent relevant conference participation includes “Boundaries in Soviet Lyric Geographies: Literalization of the Romantic Desert in Early Soviet Poetry” (ASEEES 2012) and “Aleksei Surkov and Territorial Consciousness in the Soviet Interwar Period” (AATSEEL 2013). Additional research interests include Russian and Soviet poetry beyond the twenties and thirties, including Nekrasov, the New Peasant School, and contemporary poetry; silent and Stalinist film; and potentials for computational analysis in humanities research.

John A Tyson is a PhD candidate at Emory University; he holds an MA from Tufts University. Focusing on modern and contemporary art history, John is presently working on a dissertation on the artwork of Hans Haacke (Hans Haacke: Beyond Systems Aesthetics). In 2008 he was teaching fellow at Harvard University. Since 2011 he has taught the history of African art, twentieth century art, and the survey of art history at St. John’s University (Queens, NY). During the 2011-2012 academic year he was a Helena Rubinstein Fellow of Critical Studies at the Whitney Museum of American Art’s Independent Study Program. At the symposium marking the culmination of the Whitney program John gave the paper, “The Author as Producer as Pedagogue,” which proposed that Haacke’s work in the 1980s undertook an updated reading of Walter Benjamin’s famous analysis of Sergei Tretiakov and Bertolt Brecht, in some sense operating at the intersection of Benjamin’s understanding of their respective practices. John is interested in exploring the marriage of art, technology, and systems theory as well as art as pedagogy and the possibilities of circulating artworks in the space of text. The conference paper presented at “Afterlives of Soviet Constructivism” will form the nucleus of one of his dissertation chapters. The section in question attempts to historicize Haacke’s early works, setting them into a field of avant-garde projects that explore the potential of art and technology collaborations. Many of these kinds of tech-works were dubbed Constructivist, understood to form part of a genealogy that included the art of of Gabo, Moholy-Nagy, Mondrian, and assorted members of the Soviet avant-garde. In addition, John passed minor field exams in African art history and, as is evinced by his teaching, continues to be interested the field. Quite recently he published an article on the work of the South African artist Anton Kannemeyer.

Iliana Veinberga is an art historian. Currently she is a PhD student at Art Academy of Latvia and a collection keeper of Riga Porcelain museum. Her academic interests include design history of late 20th century and various aspects of culture and industry of Soviet Latvia (lately expanding geographical margins to the scope of the s.c. Baltic states). She has participated in research projects, most notably Documenting and preservation of the non-conformist heritage of the Soviet Period for the archive of the Contemporary Art Museum carried out by the Latvian Centre for Contemporary Art (2010) and consulted Architekturzentrum Wien on the occasion of Soviet Modernisms 1955 – 1991. Unknown stories project (2012). In 2011 in collaboration with Lolita Jablonskiene (LT) and Kai Lobjakas (EE) she co-curated the exhibition Modernization. Baltic Art, Architecture and Design in the 1960s-1970s at National Gallery of Art, Vilnius. In 2012 the exhibition was brought to the Estonian Museum of Applied Art and Design.  Apart from academic duties she enjoys engaging in various cross disciplinary collaborations in art sphere, especially those focusing on issues of memory, entropy and history writing. Her recent exhibition projects include: In the Penal Colony: Corporeal Writing (2010. LV, 2011, UK); So the Last Shall Be First (2011, 2012, LV), Slow Revolution (2012, LV), The City that Wasn’t There (2012, LV, TR), Unceasing (2013, LV) and the upcoming Uprising of Things: the Porcelain Riot (2013, LV).

Xenia Vytuleva is an architecture historian and curator. She holds a Ph.D. in art history from Moscow State University, where she was teaching experimental practices in architecture and theory of historic preservation. Her current course at the Graduate School of Architecture, Planning and Preservation, Columbia University “Soviet Avant-Garde Architecture. How to Preserve an Experiment?” explores the dynamics between architecture, art and politics. Dr. Vytuleva has curated a number of exhibitions including: IMMaterial Box of Innovative ideas and materials (Schusev State Museum of Architecture, Moscow), Moscow Planetarium ’99 (Moscow), Oscillations (Moscow Exhibition Hall Manege) in collaboration with NASA, Stuttgart IL, AA (London), Music on Bones (MAXXI, Rome) and ZATO Soviet Secret Cities during the Cold War (Harriman Institute, Columbia University), New York. She is a recipient of various architectural grants and awards, including recently the Graham Foundation grant for the project on the Cold War urban phenomenon. A senior researcher at the Institute of the Theory and History of Architecture (NIITIAG) at the Russian Academy of Science, Moscow, Vytuleva is working on a book Aesthetics of Uncertainty in Experimental Practices of the 20th Century. Dr. Vytuleva serves as an expert historian for the reconstruction project of The New Holland Island in St. Petersburg (awarded AIA NY in 2013). She is an active member of the program Preserving the Architectural Heritage in Moscow.


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