Contributors

Anna Bentkowska (anna.bentkowska@courtauld.ac.uk)

Anna Bentkowska's research and publications have been mainly on early modern visual culture in Western Europe, with special interest in cosmological and anthropomorphic representations of nature; as well as the use of digital imaging in iconographical analysis and interpretation of paintings. She is currently working on digitisation of images for the Corpus of Romanesque Sculpture in Britain and Ireland (www.crsbi.ac.uk). She has an MA in the History of Art (Warsaw), MA in Computing Applications to the History of Art (London) and PhD in Digital Media Studies (Southampton).

Gina Cavallo Collins (Gina@sccarts.org)

Gina Cavallo Collins has been the Associate Curator of Exhibitions at the Scottsdale Museum of Contemporary Art in Scottsdale, Arizona, since 1998. Prior to SMoCA, she worked for eight years at the Heard Museum, recognized for its Native American art collection and exhibitions. She is also a graduate student in art history at Arizona State University, now working on her thesis in the area of contemporary art. She has curated fifteen exhibitions, served as project manager on several others, and has been active in the arts community for over twelve years.

Polly Elkin

Polly Elkin completed her M.A. in Computer Applications for the History of Art at Birkbeck College, London, in October 1996. Since then, she has worked as a Curatorial Assistant in the Department of Records and Collections Services at the Victoria and Albert Museum, specialising in collections management documentation and associated digital photography. She has also been Acting Assistant Curator of the Wellington Museum, Apsley House on a part-time basis and working towards Associateship of the Museums Association.

Charlie Gere (c.gere@bbk.ac.uk)

Charlie Gere is the course director of the MA Digital Art History, Birkbeck College, London. His interests are in digital culture and the relationships between technology and art. Among his recent publications are 'The Work of Art in the Age of the General Intellect', published in the catalogue for the Intelligence 2000 show at Tate Britain; 'John Cage's Early Warning System', published in the journal COIL, and the book 'Digital Culture' (Polity Press, forthcoming). His recent on-line activities include a dialogue about the meaning of the avant garde with artist Nat Goodden on the Eyestorm site, and curating a selection of net art sites for low-fi project, as part of the Exchange 2000 exhibition in Bristol.

Michael Greenhalgh (Michael.Greenhalgh@anu.edu.au)

Michael Greenhalgh is The Sir William Dobell professor of Art History at the Australian National University, Canberra; and Fowler Hamilton Research Fellow, Christ Church, Oxford. His books include The Classical Tradition in Art, Donatello and His Sources, The Survival of Roman Antiquities in the Middle Ages, and with Paul Duro Essential Art History. Server: (ArtServe) http://rubens.anu.edu.au

Debbie Kent (Debbie@vads.ahds.ac.uk)

Debbie Kent is User Services Officer of the Visual Arts Data Service at the Surrey Institute of Art and Design, and is responsible for the co-ordination of the PICTIVA project. This is her first professional post since graduating with an MA in Information and Library Management from the University of Northumbria in 1999.

Kalliopi S. Koundouri (Lautremon@mailcity.com)

Kallipopi S. Koundouri is the Smithsonian 2001 Pre-Doctoral Fellow. She completed her B.A in Archaeology and History of Art at the University of Athens in 1992, and has an M.Phil. in the History of Art from the University of Glasgow, 1996. She has been a Ph.D. Candidate in the History of Art, University of the Aegean, since 1999. She is a founder and co-editor of artzine, an e-journal on art and technology.

Matt Landrus (Matthew.landrus@wolfson.oxford.ac.uk)

Matt Landrus currently conducts DPhil research at the University of Oxford on Leonardo da Vinci's early interests in proportion theory. He specializes in the history of western visual culture in northern Italy from the fourteenth through to seventeenth century. While studying for a BA and MA in Art History at the University of Louisville, he worked part-time as an IT consultant.

Patrick McNaughton (Mcnaught@indiana.edu)

Patrick McNaughton is Professor of African art at Indiana University, responsible for African Studies. His major research area is Mande West Africa, where he has been working closely with three leading artists: Sedu Traore, Seydou Camara, and Sidi Ballo. His particular interests include the social roles of art, the qualifications, training and expertise of artists, and the involvement of aesthetics to every arena of life. In addition to the CD-ROM just completed, he is now finishing writing a book on Sidi Ballo and social and aesthetic power of bird masquerade performance.

Tessa Meijer (Tessa.Meijer@tate.org.uk)

Tessa Meijer is Imaging Assistant for the TATE ACTION (ACcess To Images ON-Line) project, supporting all areas of the imaging workflow, with particular responsibility for care of collections. Tessa comes to this project from the Tate Paper Conservation section. She has a degree in Art History and is partway to completing her MA in Computers and the History of Art, Birkbeck College, London.

Mike Pringle (Mike.Pringle@rchme.co.uk)

Mike Pringle previously from the Department of Informatics and Simulation at the Royal Military College of Science, Shrivenham, joined English Heritage to design and develop a prototype, virtual reality interface. He is a council member of the Association of Archaeological Illustrators and Surveyors, and his PhD is in the field of Computing Information Systems Engineering.

John Sunderland (john.sunderland@courtauld.ac.uk)

John Sunderland is the Witt Librarian at the Courtauld Institute of Art. He has researched in 18th and early 19th century British art and has published in that area, including a monograph and catalogue on the artist John Hamilton Mortimer which was published by the Walpole Society in 1986. He is a longstanding member of the CHArt committee and the managing editor of its journal, 'Computers and the History of Art'.

Oliver Vicars-Harris (Oliver.Vicars-Harris@tate.org.uk)

Oliver Vicars-Harris is Project Manager for TATE ACTION (ACcess To Images ON-Line) with an overall responsibility for project development and delivery. He is new media consultant who has spent the last ten years working for the museum sector on projects aiming at enhancing access to collections through the use of new technologies. He has a degree in Literature and Art History.

Karen Wallis (Karen.Wallis@uwe.ac.uk)

Karen Wallis is an artist with a long established career, currently nearing completion of a practice-based PhD: A Phenomenological Study of the Body and its Representations in Painting, at the University of the West of England, Bristol. Her position within the Digital Media Research Centre has provided an opportunity to explore the relationship of the new technology and art and has also contributed to her own research on exhibition methods.

Reinhold Weinmann (Reinhold.Weinmann@villa-bosch.de)

Reinhold Weinmann has been Research Associate at the European Media Laboratory, Heidelberg since June 1999. He is responsible for authoring and the presentation of multimedia information for an information system for the city of Heidelberg, including the virtual reconstruction of historic buildings of Heidelberg. He completed his MA in Geography at the University of Heidelberg in 1999.

John Wyver (john@illumin.co.uk)

John Wyver is a writer and producer, and co-founder (in 1982) and Chairman of The Illuminations Group, a close association of three independent production companies specializing in television, film, multimedia and convergent media. He has written and lectured extensively about television and new media technologies, and is the author of The Moving Image: An International History of Film, Television and Video (Blackwell/BFI Publishing, 1990). In 1999 he was appointed Visiting Professor in the School of History of Art, Film and Visual Media at Birkbeck College, University of London.