Contributors
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Contributors Silvia Bottinelli is a full-time lecturer at the School of the Museum of Fine Arts / Tufts University. She received her PhD from the University of Pisa,Italy,in 2008.Bottinelli has previously published two books that explore the relationship between art, institutions, and the public in post-Fascist Italy: seleARTE: Una Finestra Sul Mondo (An Open Window to the World),2010; and Un Premio Dimenticato.La Collezione del Fiorino alla Galleria d’arte moderna di Palazzo Pitti (A Forgotten Award: The Fiorino Collection at the Gallery of Modern Art, Palazzo Pitti),2007. She has contributed chapters and essays to a number of volumes and exhibition catalogues.Her writing has appeared in many journals,among them Food Studies:An Interdisciplinary Journal; Art Journal; Modernism/Modernity; Art Papers; Sculpture Magazine; Artribune; Predella; Ricerche di Storia dell’Arte; and Annali di Critica d’Arte.Bottinelli received an award for excellence in scholarship from the Food Studies Research Network in 2016. Jody B. Cutler (PhD, 2001, State University of New York at Stony Brook) writes about diverse contemporary art, artists, and art issues. Her scholarly articles have focused on American painter Robert Colescott (1925–2009) and Japanese multimedia artist Yayoi Kusama (b. 1929), and she has contributed exhibition reviews regularly to the International Review of African American Art and Afterimage: The Journal of Media Arts and Cultural Criticism. She has been affiliated with a number of universities and colleges around the country over the past decade, and currently teaches art history courses at St. John’s University. Margherita d’Ayala Valva is assistant professor at Scuola Normale Superiore di Pisa (Italy), where she earned her PhD. Her monograph La collezione Sforni (2005) delves with the reception of French art in Italy.Other books,such as Bernasconi, Pensieri ai Pittori (2008),analyze artists’writings and aphorisms.She currently contributes to the interdisciplinary research project Futurahma, examining problems of painting conservation in the 1910s and 1920s from the 294 Contributors point of view of art technological sources. Her recent research and publications focus on artists (in particular Umberto Boccioni and Gino Severini) as readers of ancient treatises and writers of their own copybooks and handbooks of technical recipes on painting in the early twentieth century. These studies of technical art treatises and artists’ notebooks are intertwined with her research on gastronomic treatises and artists’ gastronomic diaries. Her study of food examines aestheticism, ethnography, and national celebration in the context of the 1911 Italian World’s Fair; her study of Carl Friedrich von Rumohr discusses his 1822 Geist der Kockunst. Rachel Federman is assistant curator of modern and contemporary drawings at the Morgan Library & Museum. She received her PhD in art history from the Institute of Fine Arts, New York University, where she wrote her dissertation on West Coast installation art. As assistant curator of painting and sculpture at the San Francisco Museum of Modern Art, she helped curate a major retrospective of the work of Bruce Conner (2016).She has published essays on Conner, Paul McCarthy, and Andy Warhol, among others. Anja Foerschner is a research specialist at the Getty Research Institute, Los Angeles. Originally trained as a visual artist, she holds a master’s degree in art pedagogy, art history, and philosophy (2008) and a PhD in art history from Ludwig-Maximilians-University in Munich (2011).Her research encompasses modern and contemporary art with special emphasis on performance art from Los Angeles and the Balkans, feminist art, the human body in contemporary art and culture,and the emotion of disgust in art.Her research has been published , among others, by the Getty Research Journal,Afterimage—The Journal for Media Arts and Cultural Criticism, GENRE—International and Interdisciplinary Journal for Literature and the Arts,kunsttexte,and Performance Art Journal. She co-curated the exhibition WWI: War of Images, Images of War at the Getty Research Institute in 2014 and served as a curator to Marta Jovanovic’s performances Motherhood and Ljubav (both Belgrade,2016).She is currently conducting an international research project on the documentation and archiving strategies of feminist performance artists from the 1960s to the present. Contributors 295 Sharon Hecker specializes in modern and contemporary Italian art. Her essays on Medardo Rosso, Lucio Fontana, and Luciano Fabro appeared in Oxford Art Journal and the Burlington Magazine, as well as edited volumes, such as Ephemeral Bodies: Wax Sculpture and the Human Figure (2008), Patrioti si diventa: Linguaggi di pedagogia patriottica nell’Italia postunitaria (2010), and Plaster Casts: Making, Collecting and Displaying from Classical...