Jean Robertson is Chancellor’s Professor of Art History Emeritus at Indiana University Indianapolis, Herron School of Art and Design, where she received three Indiana University awards for excellence in teaching. She specializes in art history and theory after 1980, viewed in a global context. She served as founding co-director of the Southern Ohio Museum and associate curator of the Columbus (Ohio) Museum of Art. Among her publications are Themes of Contemporary Art: Visual Art after 1980; Spellbound: Rethinking the Alphabet; and Painting as a Language: Material, Technique, Form, Content, all co-authored with Craig McDaniel.
Dr. Robertson wrote chapters on European and North American art from the Romantic period to the present. She was primary author on Chapter 74, “Art of the Global Contemporary,” and coordinated contributions from co-authors who are experts on other regions. Along with Deborah Hutton, she is also the textbook’s co-lead author, and assisted with editing all of the chapters, co-authoring the Part Openers, and coordinating vocabulary throughout.
Deborah Hutton is Professor of Art History in the Department of Art and Art Education at The College of New Jersey. Her research explores art made for the Muslim courts of South Asia between the sixteenth and early twentieth centuries. Her book Art of the Court of Bijapur won the American Institute of Indian Studies Edward Cameron Dimock Jr. Prize in the Indian Humanities. She co-authored (with Deepali Dewan) Raja Deen Dayal: Artist-Photographer in 19th-century India and co-edited (with Rebecca Brown) Asian Art: An Anthology; Blackwell Companion to Asian Art; and Rethinking Place in South Asian and Islamic Art, 1500–Present. She also co-authored (with De-nin Lee) The History of Asian Art: A Global View.
Dr. Hutton wrote chapters on the art of South and Southeast Asia from the earliest periods to the present, and on Islamic art in North Africa, West Asia, and Central Asia from the seventh century to the present. In collaboration with De-nin Lee, she co-authored the Introduction. Along with Jean Robertson, she is also the textbook’s co-lead author, and assisted with editing all of the chapters, co-authoring the Part Openers, and coordinating vocabulary throughout.
Cynthia S. Colburn is Blanche E. Seaver Chair of Fine Arts and Professor of Art History at Pepperdine University where she has received two awards for excellence in teaching. Her research focuses on the art and archaeology of the ancient Mediterranean, especially the role of dress and performance in identity construction, transcultural interaction, and global art history. Her publications include Gender Violence, Art, and the Viewer: An Intervention (co-edited with Ellen Caldwell and Ella Gonzalez), and Reading a Dynamic Canvas: Adornment in the Ancient Mediterranean World (co-edited with Maura K. Heyn). She has also conducted archaeological fieldwork in Italy, Greece, and Turkey.
Dr. Colburn authored ten chapters on Cycladic and Minoan art; Villanovan and Etruscan art; and Greek and Roman art.
Ömür Harmansah is Director of the School of Art & Art History and Associate Professor of Art History at the University of Illinois at Chicago.As an archaeologist and an architectural historian, Dr. Harmansah specializes in the art, architecture, and material culture of ancient West Asia. He is the author of Cities and the Shaping of Memory in the Ancient Near East and Place, Memory, and Healing: An Archaeology of Anatolian Rock Monuments.
Dr. Harmansah authored chapters on the art of Mesopotamia, ancient West Asia and West Asian Empires, and ancient Egypt from the Predynastic Nile Valley through the Late Period. He was primary author on Chapter 1, “The Beginnings of Art,” and coordinated contributions from co-authors who are experts on other regions.
Eric Kjellgren is a leading scholar of the arts of Oceania. Formerly the curator of Oceanic Art at the Metropolitan Museum of Art in New York, director of the American Museum of Asmat Art (AMAA), and a member of the Art History faculty at the University of St. Thomas in Minnesota, he has worked extensively with contemporary First Nations Australian artists and conducted research in Vanuatu. Dr. Kjellgren has written more than 40 articles and 2 books on the arts of Oceania (How To Read Oceanic Art and Oceania: Art of the Pacific Islands in the Metropolitan Museum of Art); curated numerous exhibitions at the Metropolitan and the AMAA; and had curatorial responsibility for the 2007 redesign and reinstallation of the Metropolitan’s permanent galleries for Oceanic Art.
Dr. Kjellgren wrote chapters on the arts of Oceania from the earliest period to the present, including the section on Oceanic art in Chapter 7.
