Jheni Arboine is a graduate of Chelsea College of Arts, including BA Fine Art in 2014 and MA Fine Art in 2015. Her studio practice of abstract geometric painting and concrete poetry is underpinned by ideas around semiotics, or the theory of signs. She is a Senior Lecturer at the University of the Arts London and is part of a team of UAL Leads in the Academic Enhancement Model (AEM) which supports necessary change to the curriculum and teaching practice. She also works with Fine Art courses at Camberwell, Chelsea and Wimbledon, including teaching on some of the Fine Art undergraduate courses. During lockdown, Jheni’s south London home became her studio, office and library.
Katriona Beales is an internationally exhibited artist whose work responds to the social implications of new technologies and affective experiences in post-digital culture. Katriona’s interdisciplinary project Are We All Addicts Now? supported by The Wellcome Trust and ACE, was shown at Furtherfield (2017). Recent work includes new commissions for: the Victoria and Albert Museum and Science Gallery London (both 2018); IMPAKT Netherlands and a participatory green-screen installation at Autograph (both 2020). Recent exhibitions include the group shows at Camberwell Space, London; Estacion Terrena, Bogota; ArsSpace, Seoul and the Ludwig Museum, Budapest; (all 2022). Katriona has an MA from Chelsea College of Arts supported by a Stanley Picker Bursary and an artist profile on Rhizome.org. In 2022 she undertook an experimental online residency with Anna Bunting-Branch, at the NHS’ only Centre treating Gaming Disorders, supported by an ACE project grant and in 2023 is working on developing some new work thanks to an ACE DYCP grant. She is one of the 3 founding members of Artists’ Union England.
Dave Beech was born into a working-class community in Warrington in the mid-1960s. He was the first member of his family to attend university. Beech is an artist, writer, lecturer, and researcher. Between 2004 and 2018, he worked in the collective Freee (with Andy Hewitt and Mel Jordan). He studied painting for his BA at Leicester Polytechnic and completed an MA in Cultural Studies at the Royal College of Art, where he wrote a thesis on philistinism. This research led to a book co-authored with John Roberts for Verso, titled The Philistine Controversy. He is also the author of Art and Labour (2020), Art and Postcapitalism (2019), and Art and Value (2015), the latter of which was shortlisted for the Deutscher Memorial Prize. His artworks have been exhibited at the Venice Biennale, the Liverpool Biennial, and the Istanbul Biennial, as well as in galleries and museums in cities such as Amsterdam, Beirut, Bologna, New York, Graz, Edinburgh, Vitoria, Guangzhou, Porto, Cambridge, Milton Keynes, Birmingham, Wolverhampton, New Orleans, Vienna, Exeter, and London. Beech completed his PhD at the University of the Arts London on the economics of art. He was Professor of Art at Valand Academy, University of Gothenburg (2015–19), and is currently Reader in Art and Marxism at Chelsea College of Arts.
Matt Browning (American, b. 1984) lives and works in New York. His work is currently on view in Hard Ground at MoMA PS1, New York, and the 15th Baltic Triennial at CAC, Vilnius, Lithuania. He has had recent solo exhibitions at Sant’Andrea De Scaphis, Rome (2024); Essex Street, New York (2023); and Gandt, Queens (2022). Browning’s work was included in the 2017 Whitney Biennial, as well as exhibitions at Kunsthalle Zürich; Kunstverein Nürnberg; the Vancouver Art Gallery; Portland Museum of Art, Portland, ME; Frye Art Museum, Seattle, WA; Emalin, London; and Galerie Buchholz, Cologne, among others. Browning participated in the Whitney Independent Study Program, is currently a PhD Candidate at University of British Columbia, Vancouver, BC, and is a sessional instructor at Parsons School of Design, New York.
Rose Brander is an artist and Project Coordinator of PARSE, an international platform for artistic research and publication, as well as a biennial conference based within the Artistic Faculty at the University of Gothenburg. Brander is invested in creating spaces, discussions and events, often working collaboratively. Common research threads within her own work include our relationship to the environment and climate, the more than human, critical pedagogies and how we organize ourselves and each other by attending to storytelling, listening and subjectivities.
Martha Buskirk is Professor of art history and criticism at Montserrat College of Art. Her most recent book, Is It Ours? Art, Copyright, and Public Interest (University of California Press, 2021), examines the interplay between artistic authorship and legal definitions of intellectual property. Other publications include The Contingent Object of Contemporary Art (MIT Press, 2003), Creative Enterprise: Contemporary Art between Museum and Marketplace (Bloomsbury, 2012), as well as many articles, anthology contributions, and catalogue essays. Fellowships and awards include a 2015 Guggenheim, a 2016 Clark Art Institute Fellowship, and the 2019 Advanced Visual Studies /Judd-Hume Prize, accompanied by an early 2020 writing residency in Edinburgh.
Danielle Child is Lecturer in Creative and Cultural Industries at the University of Manchester. She is co-Lead on the AHRC-funded Mapping Creative Labour in Contemporary Art network, author of Working Aesthetics: Labour, Art and Capitalism (Bloomsbury, 2019) and currently working, as editor, on The Routledge Companion to Art and Capitalism.
Laura Harris is a cultural sociologist interested in the intersection of contemporary art and social inquiry, often to be found working in collaboration with galleries or artists. Currently, she holds a postdoctoral fellowship at the University of Southampton. She convenes the British Sociological Association’s Sociology of the Arts Study Group and is book reviews editor at Cultural Sociology. Her work has published in The American Journal of Cultural Sociology, Sociological Research Online, and Art Monthly, among other books, journals, and magazines.
Dylan A.T. Miner, PhD, is an artist, activist, scholar, and transformational leader. In autumn 2023, Miner began his new role as Professor and Senior Associate Dean of Research, Creative Practice, and Graduate Education at the Penny W. Stamps School of Art & Design, University of Michigan. He was previously Dean and Professor at the Residential College in the Arts and Humanities (RCAH) at Michigan State University. Miner is also a founding member of the Justseeds artist collective.
Annie Ochmanek is a Ph.D. candidate in art history at Columbia University. Her writings on Minimal sculpture’s relations of production and afterlives of Conceptual art have appeared in exhibition catalogues for The Museum of Modern Art, New York; Z33 Hasselt, Belgium; Albright-Knox Art Gallery, Buffalo, NY; and Artists Space, New York; among other venues. A former Curatorial Assistant at MoMA, and former Associate Editor of Artforum, Ochmanek was co-editor of the 2021 October Files volume on Donald Judd (The MIT Press).
Friederike Sigler is a researcher and lecturer at the Hochschule für Bildende Künste, Dresden. She is the author of Work/Strike.
Dr. Gregory Sholette is a New York-based artist, writer, activist and teacher, as well as a co-founder of the art collectives Political Art Documentation/Distribution (PAD/D: 1980-1988), REPOhistory (1989-2000), and Gulf Labor Coalition (2010-). Sholette’s books include The Art of Activism and the Activism of Art, Dark Matter: Art and Politics in the Age of Enterprise Culture, and Delirium and Resistance: Art Activism and the Crisis of Capitalism. He is a co-director with Chloë Bass of Social Practice City University of New York (SPCUNY) and Affiliated Faculty with the Earth and Environmental Sciences Program at the CUNY Graduate Centre.
Nizan Shaked is author of Museums and Wealth: The Politics of Contemporary Art Collections (Bloomsbury, 2022) and The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art (Manchester University Press, 2017, winner of the 2019 Smithsonian Eldredge Award). Her article “Museums After Value-Form Theory,” is forthcoming in the Routledge Companion to Marxism in Art History. Select articles include: “American Monument: Race and Class” (Oxford Art Journal), “Getting to a Baseline on Identity Politics: the Marxist Debate,” (Routledge Companion to African American Art History), and “Propositions to Politics: Adrian Piper’s Conceptual Artwork,” in Adrian Piper: A Reader(New York: The Museum of Modern Art). She is a professor of contemporary art history, museum and curatorial studies, at California State University Long Beach.
Kuba Szreder is a researcher, lecturer and independent curator, working as an associate professor at the department for art theory of the Academy of Fine Arts in Warsaw. He has co-curated many interdisciplinary projects hybridizing art with critical reflection and social experiments. He actively cooperates with artistic unions, consortia of post-artistic practitioners, clusters of art-researchers, art collectives and artistic institutions in Poland, the UK, and other European countries. In 2009 he initiated the Free / Slow University of Warsaw, and in 2018 he established the Centre for Plausible Economies in London, a research cluster investigating artistic economies. He is currently working on an English edition of his book The ABC of Projectariat (2016), a critique of the political economy of artistic circulation.
