In lieu of an abstract, here is a brief excerpt of the content:

  • Introducing the LR Panelists

Mark A. Cheetham is a professor of art history at the University of Toronto. His focus is art theory and art history from the 18th century to the present and in contemporary art. He is the author or co-editor of six books: Kant, Art, and Art History: Moments of Discipline (Cambridge Univ. Press, 2001); The Subjects of Art History: Historical Objects in Contemporary Perspective, co-edited with Michael Ann Holly and Keith Moxey (Cambridge Univ. Press, 1998); Alex Colville: The Observer Observed (Toronto: ECW Press, 1994) (2nd Ed., 1995); The Rhetoric of Purity: Essentialist Theory and the Advent of Abstract Painting (Cambridge Univ. Press, 1991); Remembering Postmodernism: Trends in Recent Canadian Art (Oxford and Toronto: Oxford Univ. Press, 1991); and Theory between the Disciplines: Authority\Vision\Politics, coedited with Martin Kreiswirth (Ann Arbor, MI: University of Michigan Press, 1990). He also has curated two national exhibitions: Disturbing Abstraction: Christian Eckart, London: ArtLab, November 1996–1998, and Memory Works: Postmodern Impulses in Canadian Art, London Regional Art & Historical Museums, 1990–1991.

Cheetham’s awards include a John Simon Guggenheim Memorial Fellowship, a Sterling & Francine Clark Art Institute Fellowship, at Williamstown, MA (in collaboration with Elizabeth D. Harvey), and the Edward G. Pleva Award for Excellence in Teaching, University of Western Ontario. E-mail: <mark.cheetham@utoronto.ca>.

Patricia Pisters is assistant professor at the Department of Film and Television Studies of the University of Amsterdam. She has published Micropolitics of Media [End Page 260] Culture: Reading the Rhizomes of Deleuze and Guattari (Amsterdam: Amsterdam Univ. Press, 2001) and The Matrix of Visual Culture (Stanford Univ. Press, 2003).

Cynthia Bickley-Green holds an MA in painting from the University of Maryland (1967), an MA in education and human development from George Washington University (1981), and a Ph.D. in art from the University of Georgia (1990). Her artwork has been exhibited in the National Museum of American Art, the Corcoran Gallery of Art, the Philadelphia Museum of Art, the Goethe Institut of Atlanta, GA, and many regional, national and international group exhibits. Bickley-Green was an active third-generation Washington Color School artist in the Washington, D.C., area in the 1960s and 1970s. Her dissertation, “Afterimage in Painting,” explored connections between afterimages and form and color in the paintings of Eugene Delacroix, Robert Henri and Helen Frankenthaler. Bickley-Green is an assistant professor of art education in the School of Art at East Carolina University, Greenville, NC. She has published in Studies in Art Education, Principal Magazine, Art Education: The Journal of the National Art Education Association, Journal of Visual Arts Research, Journal of Social Theory in Art Education and Art Papers. Her funded research projects include the exploration of relations between mathematics and art, interdisciplinary art education, and character development and art education. Bickley-Green has conducted art curriculum research in Italy and Belize. She received a National Endowment for the Humanities Seminar Grant to study color in Roman Painting 1480–1550.

E-mail: <bickleygreenc@mail.ecu.edu>. [End Page 261]

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Additional Information

ISSN
1530-9282
Print ISSN
0024-094X
Pages
pp. 260-261
Launched on MUSE
2004-06-24
Open Access
No
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