Daniel Steinberg, Treasurer
Isobel Whitelegg, Secretary
BF Magazine Contributors
BF in Venice
Elena Filipovic – Director Kunsthalle Basel, Curator of the 5th edition of Berlin Biennial (2008), Co-editor of The Biennial Reader (2010);
Caroline A. Jones – Professor in the History, Theory, and Criticism section of the Department of Architecture at the Massachusetts Institute of Technology;
Terry Smith – Andrew W. Mellon Professor of Contemporary Art History and Theory in the Department of the History of Art and Architecture at the University of Pittsburgh, and Professor in the Division of Philosophy, Art and Critical Thought at the European Graduate School;
Manca Bajec is an artist and scholar whose multidisciplinary work is situated in the field of space/time, memory and sociopolitical studies. After earning BA from the Academy of Fine Art in Venice, she continued her studies in Ljubljana while working in theatres as stage designer and performer. In 2010 she earned MA in Curating from University of the Arts in London, focusing on memory and monument building. She was nominated for the emerging artist ESSL Award in 2010 and was an Ashley Family Foundation Fellow in 2011. Bajec has spoken at conferences worldwide and was Visiting Tutor at Goldsmiths and the Royal College of Art. She has exhibited and published her work internationally with Eros Press, Mnemoscape among others. She is currently a PhD candidate at the Royal College of Art conducting research on destruction of monuments. Bajec who grew up in the Middle East presently lives and works in London.
Currently based in Dubai, Elizabeth Derderian is a cultural anthropologist and PhD candidate at Northwestern University. She holds an MA in Near Eastern and Museum Studies from NYU, and received a Fulbright to conduct research for her PhD dissertation on the development of arts and cultural initiatives in the UAE.
Caroline A. Jones studies modern and contemporary art, with a particular focus on its technological modes of production, distribution, and reception. Trained in visual studies and art history at Harvard, she did graduate work at the Institute of Fine Arts in New York before completing her PhD at Stanford University in 1992. Previous to completing her art history degree, she worked in museum administration and exhibition curation, holding positions at The Museum of Modern Art in New York (1977-83) and the Harvard University Art Museums (1983-85) while she completed two documentary films. In addition to these institutions, her exhibitions and/or films have been shown at the San Francisco Museum of Modern Art, the Hirshhorn Museum and Sculpture Garden in Washington DC, the Hara Museum Tokyo, the Boston University Art Gallery, and MIT’s List Visual Art Center, among other venues. She is the recipient of fellowships from the National Endowment for the Humanities and the John Simon Guggenheim Foundation (among others), and has been honored by fellowships at the Radcliffe Institute for Advanced Studies (2013-14), the Newhouse Center for the Humanities at Wellesley College (2009-10), Institute national d’histoire de l’art in Paris (2006-07), the Wissenschaftskolleg zu Berlin and the Max Planck Institüt (2001-02), the Institute for Advanced Studies in Princeton (1994-95), and the Stanford Humanities Center (1986-87). Her books include Eyesight Alone: Clement Greenberg’s Modernism and the Bureaucratization of the Senses (2005), Machine in the Studio: Constructing the Postwar American Artist (1996/98); Bay Area Figurative Art, 1950-1965 (1990); and Modern Art at Harvard (1985). She edited Sensorium: Embodied experience, technology, and contemporary art (2006) and co-edited Picturing Science, Producing Art (1998) and Experience: Culture, Cognition, and the Common Sense (2016). She has published on subjects ranging from Francis Picabia to John Cage to new media art to biennial culture, in journals such as Artforum, Critical Inquiry, Res, Science in Context, CAA reviews online, Texte zur Kunst, and Cahiers du Musée national d’art moderne. Jones’s ongoing research interests include globalism, the agency of the artist, and new media art, the focus of her latest book The Global Work of Art (2016).
Rose Lejeune is a curator based in London. Through projects with public museums and private individuals she helps commission and acquire artworks for collections with a focus on context-based, performative and ephemeral practices. Researching immateriality in the art market, Rose is a doctoral candidate in Curating at Goldsmiths College, University of London.
Rafal Niemojewski is a cultural producer and scholar of contemporary art and its institutions. He graduated in History of Art and Curatorial Studies from La Sorbonne and earned his doctorate degree from the Royal College of Art in London for his thesis on the proliferation of the contemporary biennial. More recently, his research interests have expanded to include history of exhibitions and institutions in relation to the changing ecology of the expanded artistic field. Niemojewski has lectured extensively on the topic of biennials and his writings appeared in numerous journals and books, including The Manifesta Decade (MIT Press, 2006), Biennial Reader (Hatje Cantz, 2010) and The New Curator (Laurence King, 2016). He worked in capacity of Assistant and Associate Professor at Central Saint Martins, Sotheby’s Institute, Royal Institute of Art (Stockholm), and Course Director at Chelsea College of Art and Design in London. Outside academia, Niemojewski has led projects for the Serpentine Gallery, Bergen Kunsthall, Manifesta and dOCUMENTA(13), and worked as Curator of Programs at the Hayward Gallery, Southbank Centre and Director of Programs and Education at the Neuberger Museum of Art. In 2103, he was appointed as accredited Expert at the Education, Culture and Audiovisual Executive Agency (EACEA) at the European Commission. He has been collaborating with Biennial Foundation since 2009 and became its director in 2015.
Terry Smith is the Andrew W. Mellon Professor of Contemporary Art History and Theory in the Department of the History of Art and Architecture at the University of Pittsburgh, and Professor in the Division of Philosophy, Art and Critical Theory at the European Graduate School. In 2010 he received the Franklin Jewett Mather Award for Art Criticism conferred by the College Art Association (USA) and the Australia Council Visual Arts Laureate Award (Commonwealth of Australia). From 1994-2001 he was Power Professor of Contemporary Art and Director of the Power Institute, Foundation for Art and Visual Culture, University of Sydney. He was a member of the Art & Language group (New York) and a founder of Union Media Services (Sydney). He is the author of many books, most recently Thinking Contemporary Curating (New York: ICI, 2012), Contemporary Art: World Currents (Laurence King and Pearson/Prentice Hall, 2011), and What is Contemporary Art? (University of Chicago Press, 2009). A foundation Board member of the Museum of Contemporary Art, Sydney, he is currently a Board member of the Andy Warhol Museum, Pittsburgh.
Daniel Steinberg studied graphic design and digital media at Drexel University in Philadelphia and earned his Master’s in Information Systems from the same institution. With a particular appreciation for modern architecture, environmental design and wayfinding, and information graphics, he brings over a decade of graphic and user interface design experience to the Board, advising in technical matters. Daniel lives just outside of Seattle and works for a California-based technology company.
John L Tran is an artist and writer. He studied Intellectual History & French at Sussex University 1983-87. He received an MA in Photography at the London College of Printing in 2001 and a PhD from Chelsea College of Art and Design, investigating nostalgia in Japanese landscape photography. He was Assistant Professor at Institute of Art and Design, Tsukuba University, Japan 2006-2010. Currently a part-time lecturer at Nihon University and a regular contributor to the Japan Times.
Andrew Stefan Weiner is Assistant Professor of Art Theory and Criticism in the Department of Art and Art Professions at NYU–Steinhardt. He writes regularly on contemporary art, and is a member of the editorial collective of ARTMargins.