Karla Cavarra Britton, Lecturer at the Yale School of Architecture and the Institute of Sacred Music, is a historian of twentieth and twenty-first-century architecture and urbanism. Trained both in comparative literature and as a cultural historian, Britton earned her master’s degree at Columbia University and her doctoral degree at Harvard University. A specialist in the modernist French architectural tradition, especially the work of Auguste Perret and Le Corbusier, her research addresses how modernization has shaped concepts of history, tradition, and the public sphere. Her work also focuses on the multiple conceptual patterns of religious architecture and sacred space. An author, teacher, and scholar, she has also convened a number of interdisciplinary conferences at Yale on topics ranging from the architecture of the 1930s, to contemporary sacred architecture, and religious architecture in the Middle East. Her most significant books are Auguste Perret (published by Phaidon in both English and French, 2001) and the interdisciplinary Constructing the Ineffable: Contemporary Sacred Architecture (Yale School of Architecture, 2010). At Yale she is a fellow of Saybrook College.
Prior to joining the English faculty at Yale in July 2012, Ardis Butterfield was Professor of English at UCL, a Leverhulme Senior Research Fellow (2008–11), and a Visiting Fellow at All Souls College, Oxford (2010–11). She received her MA and PhD in English from Trinity College, Cambridge, and an additional MA in medieval English from the University of Bristol. With a focus on Chaucer, the literatures of France and England from the thirteenth to the fifteenth century, and medieval music, she is particularly interested in issues of nationhood, as well as in theories and histories of language, form, lyric, and genre, manuscript studies, city writing, bilingualism, and medieval linguistic identities. Her most recent book, The Familiar Enemy: Chaucer, Language and Nation in the Hundred Years War (Oxford, 2009) won the 2010 R. H. Gapper prize for French Studies. Co-founder of the Medieval Song Network, she currently co-hosts the Yale–based group Medieval Song Lab, and an annual colloquium on Anglophone Histories, which she also co-founded at Yale. She is currently engaged in three projects: a biography, Chaucer: A London Life; a new edition of medieval English lyrics for Norton; and a book on lyric form in the middle ages, titled Living Form: The Origins of Medieval Song. Before coming to Yale, she broadcasted regularly on radio and television in the UK and continues to write reviews for BBC History magazine and the London Review of Books.
Edward S. Cooke Jr. has published extensively on both historical and contemporary furniture. His Making Furniture in Pre-industrial America: The Social Economy of Newtown and Woodbury, Connecticut explores the artisanal world of colonial and early national America, while some of his work on modern craft has historicized and explicated more recent forms of production. This can be seen in his work as co-curator and publication author of five different exhibitions: New American Furniture (Museum of Fine Arts, 1989); Inspiring Reform: Boston’s Arts and Crafts Movement (Davis Museum, Wellesley College, 1997); Wood Turning in North America Since 1930 (Yale University Art Gallery, 2001); The Maker’s Hand: American Studio Furniture, 1940–1990 (Museum of Fine Arts, Boston, 2003); and Inspired by China: Contemporary Furnituremakers Explore Chinese Traditions (Peabody Essex Museum, 2006). Interest in the field of modern craft has also led to an important lead essay in American Art as well as a role as one of the three founding editors of The Journal of Modern Craft. More recently, Cooke has explored the broader global context of material culture and exchange with work on India and Australia; he has also developed a unique course on global decorative arts. He is currently working on a book on the self-invention of Boston within the Atlantic world in the period of 1680 to 1720.
Lloyd de Beer has specific responsibility for the late medieval European collections at the British Museum. He is currently focused on the museum’s collection of English alabaster sculpture, including the context for their production and fate after the English Reformation. He is interested in the early collecting history of medieval antiquities, specifically the culture and context that resulted in the formation of a national collection at the British Museum.
Lisa L. Ford is Assistant Director of Research at the Yale Center for British Art. She received her PhD from the University of St. Andrews for a dissertation on politics and administration during the reign of Henry VII. Her publications include “A World of Uses: Philadelphia Contributions to Useful Knowledge in François-André Michaux’s North American Sylva,” in the book Knowing Nature: Art and Science in Philadelphia, 1740–1840 (2012), and “A Body in Motion: The Afterlives of the Tomb of Henry Howard, Earl of Northampton,” which appeared in Material Culture Review (Spring 2012) and Revue de la culture matérielle (Spring 2013). Ford was part of the team for the AHRC/EPSRC-funded project Representing Re-Formation: Reconstructing Renaissance Monuments, a study of the sixteenth- and seventeenth-century tombs of the Howard Dukes of Norfolk, where she focused on the tomb of Henry Howard, Earl of Surrey, in her essay “The Surrey Tomb at Framlingham: the Visual Resurrection of a Reputation,” published in The Howards and the Tudors: Studies in Science and Heritage (2015). Ford is currently working on other publications from her tombs project research and a book on the visual and material use of the insignia of the Order of the Garter. She oversees the Yale in London study abroad program and has taught seminar courses on “queenship” from the Tudors to the modern age, early modern propaganda, and fictionalizing history.
Sheila Fox, Adjunct Professor of Theatre at Grinnell College’s Grinnell in London program, holds a Master’s and PhD in Comparative Literature from Manchester University. Her first degree, in Russian and English, was from Trinity College, Dublin. She has extensive experience both working in the theater and teaching theater studies to American students. She has worked for the BBC as a radio producer/director with such actors as William Hurt, Timothy West, Brian Cox, and Patricia Hodge. She has also worked as a theater critic for The Guardian and City Limits. She writes for television and film, her screenplay Deptford Graffiti being nominated by the Writers Guild for Best TV play/film. She is currently working on a feature film set in Northern Ireland.
Bryan Fuermann has taught eighteenth- to twentieth-century English and American literature and eighteenth- and nineteenth-century British art history, including the history of landscape painting and of landscape architecture, at the University of Illinois, Urbana; the New School; Northwestern University; Columbia College; the Newberry Library; and the University of Illinois, Chicago. Since 2001, he has taught the history of European landscape architecture from antiquity to the present at Yale University.
John Guy is a Fellow of Clare College, University of Cambridge. He studied history at Cambridge and has held several academic positions in Britain and the United States throughout his career, specializing in the Tudor period. His books include the bestselling Tudor England; The Tudors: A Very Short Introduction; A Daughter’s Love: Thomas and Margaret More; and ‘My Heart is My Own’: the Life of Mary Queen of Scots, which won the Whitbread Biography Award and was a finalist for the National Book Critics’ Circle (USA) Biography/Autobiography of the Year Award. He appears regularly on BBC radio and has presented five documentaries for BBC2 television. He also writes and reviews for national newspapers and magazines, including The Sunday Times and The Literary Review.
Mark Hallett was appointed Director of Studies at the Paul Mellon Centre for Studies in British Art in October 2012. He had previously worked for many years at the University of York, where he was Head of the History of Art department between 2007 and 2012. His published research, focusing on British art between 1650 and 1850, includes The Spectacle of Difference: Graphic Satire in the Age of Hogarth (1999); Hogarth (2000); Eighteenth-Century York: Culture, Space and Society (coeditor, 2003); Hogarth (coauthor, 2006); William Etty: Art and Controversy (coeditor, 2011); Faces in a Library: Sir Joshua Reynolds’s ‘Streatham Worthies’ (2011, 2012); Living with the Royal Academy: Artistic Ideals and Experiences in England, 1768–1848 (2013); and Reynolds: Portraiture in Action (2014). Hallett has been involved in curating numerous exhibitions, including Hogarth at Tate Britain in 2007, and will co-curate an exhibition on Joshua Reynolds’s paintings at the Wallace Collection in 2015. He was the principal investigator on the major AHRC-supported research project Court, Country, City: British Art 1660–1735, which ran from 2009 to 2012.
Langdon Hammer received his BA and PhD from Yale and joined the English Department faculty in 1987. A literary scholar, biographer, and critic who studies modern and contemporary poetry and poetics, he is especially interested in the relationship between authors’ lives and their works, the history of biography, and the special difficulty of portraying people in verbal and visual form. His most recent book, James Merrill: Life and Art, is a critically acclaimed biography, published by Knopf in April 2015. His other books include Hart Crane and Allen Tate: Janus-Faced Modernism, and he has edited the following publications for the Library of America: The Collected Poems of May Swenson (2013) and Hart Crane: Complete Poetry and Selected Letters (2006). As a former Guggenheim fellow, he has written about poetry for the Los Angeles Times, the New York Times Book Review, and the American Scholar, where he is the poetry editor. With J. D. McClatchy and Stephen Yenser, he is editing The Selected Letters of James Merrill; and he has just begun work on a critical biography of Elizabeth Bishop.
Martin Postle joined the Paul Mellon Centre for Studies in British Art as Assistant Director for Academic Activities in March 2007. Postle trained at the University of Nottingham (BA), the Courtauld Institute of Art (MA), and Birkbeck College, University of London (PhD). From 1992 to 1998 he was Director of the London Centre of the University of Delaware and Associate Professor of Art History. In 1998 he joined the Tate Gallery as Senior Curator and later became Head of British Art to 1900. He has published extensively on eighteenth- and nineteenth-century British art. Recent publications include essays on Joshua Reynolds, Samuel Palmer, and Stanley Spencer and the English garden. In 2014, he was a co-curator for Richard Wilson and the Transformation of European Landscape Painting, an exhibition co-organized by the Yale Center for British Art and Amgueddfa Cymru–National Museum Wales.
Marc Robinson is Professor of Theater Studies and English at Yale University and Professor Adjunct of Dramaturgy and Dramatic Criticism at the Yale School of Drama. He is also Chair of the Theater Studies program. His books include The American Play: 1787–2000 and The Other American Drama. In addition, he is the editor of three books: The Theater of Maria Irene Fornes; Altogether Elsewhere: Writers on Exile; and The Myopia and Other Plays by David Greenspan. For The American Play, he was awarded the George Jean Nathan Award and the George Freedley Special Jury Prize. His essays and reviews have appeared in such periodicals as The Drama Review, Theater, Performing Arts Journal, Modern Drama, The Yale Review, The New Republic, and The Village Voice. He holds a D.F.A. (1992) in Dramaturgy and Dramatic Criticism from the Yale School of Drama.
Professor Emeritus Michael Rosenthal took early retirement from the University of Warwick, UK, in 2010, where his research had centered on British art and architecture from the late seventeenth through the mid-nineteenth centuries. He has published extensively, including his two best-known books, Constable: the Painter and his Landscape (1983) and The Art of Thomas Gainsborough: ‘a little business for the Eye’ (1999), both issued by Yale University Press. In 2000 he was invited to be the lead curator of the Gainsborough exhibition that opened at Tate Britain in October 2002, and afterward traveled to the National Gallery, Washington, and the Museum of Fine Arts, Boston. During his career Rosenthal was consistently interested in landscape in all its manifestations, as well as in the Venetian Renaissance, a period on which he focused while teaching final-year Warwick students in Venice for twenty years. Professor Rosenthal’s most recent research is focused on colonial art in Australia 1788–1840, from which he will publish the book The Artless Landscape, and he is also working on a second book on colonial Australia, Governor Macquarie’s Culture.
Andrew Sanders is Emeritus Professor of English at the University of Durham. His books include The Victorian Historical Novel (1978), Charles Dickens: Resurrectionist (1982), Dickens and the Spirit of the Age (1999), Charles Dickens (Authors in Context) (2003), Charles Dickens’s London (2011), and The Short Oxford History of English Literature (1994). He was editor of The Dickensian (1978–86) and he has published editions of Dombey and Son, David Copperfield, Bleak House, and A Tale of Two Cities. His In the Olden Time: Victorian Responses to the British Past will be published by Yale University Press in 2013.
Robin Simon is Paul Mellon Lecturer in British Art for 2013, when he will give a series of lectures on British art and the theatre at the National Gallery, London, and the Yale Center for British Art. He is Visiting Professor of English, University College London, and editor of The British Art Journal. Robin Simon’s most recent book is Hogarth, France and British Art: The rise of the arts in eighteenth-century Britain (2007), but he has also published and lectured extensively on portraiture, Italian art of the thirteenth and fourteenth centuries—and cricket. He is currently writing a new history of the Royal Academy and its collections (forthcoming 2014) and co-curating the tercentenary exhibition of Richard Wilson planned for 2014 at the Center and the National Museum of Wales, Cardiff.
Philip Smith is Professor of Sociology and co-director of the Center for Cultural Sociology at Yale University. With a focus on the role of meanings in shaping the social world, his work bridges the social sciences and humanities. He is author, co-author, or editor of more than a dozen books. These include Cultural Theory—a book that reviews the major conceptual resources for interpretation available today. Researching the Visual outlines a series of methods for exploring images, objects, interaction, and display in everyday life. Why War? used literary theory to decode the political narratives that accompanied and justified the war in Iraq. Punishment and Culture is a cultural history of changing penal technologies over the past two hundred years. His current work is an Aristotelian analysis of the public communication of climate change. It explores the relationship between rhetoric, representation, trust, and character.
In November 2013, Dr. Sarah Victoria Turner became the Assistant Director for Research at the Paul Mellon Centre for Studies in British Art in London. For the past five years, she has been based in the History of Art Department at the University of York. Her research focuses on art and visual culture in Britain and the British Empire, ca. 1800–1950. Turner’s work interrogates the connections between art, modernity, and empire and she is currently working on visual representations of London as an imperial metropolis in Victorian and Edwardian art. She is particularly interested in the cross-cultural contacts between Britain and South Asia and has recently published on the impact of South Asian sculpture on artists in Britain. Trained at the University of Cambridge (BA), the University of Leeds (MA), and the Courtauld Institute of Art (London), Turner’s interests in British art and culture are wide ranging.
Brian Walsh holds a PhD in English Literature from Rutgers University. He is author of the book Shakespeare, The Queen’s Men, and the Elizabethan Performance of History (Cambridge University Press, 2009), which won the 2010 Samuel and Ronnie Heyman Prize for Outstanding Scholarly Publication at Yale. Walsh is currently writing a book about religious identities and the vicissitudes of toleration on the Jacobean stage, and is also engaged in further research on the origins, aims, and legacies of various Shakespeare memorial sites in the UK and Europe.
Mark Wheatley is a London-born writer and teacher. He co-adapted Complicite’s productions of Out of a House Walked a Man…, The Street of Crocodiles, and The Three Lives of Lucie Carrol and has been the theater company’s literary manager since 1992. He has also written for television, including a single drama, The Escapist, and a soap, East Enders, as well as radio plays and short films. His most recent play, So Close to Home, was staged in London and at the 2008 Brighton Festival. Mark teaches screenwriting, playwriting, and theater in both the UK and the US.
Sean Willcock’s research examines the interrelationships between aesthetic practices and geopolitical violence during the Victorian period, with a particular focus on colonial photography in nineteenth-century South Asia. This year he is a Postdoctoral Fellow at the Paul Mellon Centre for Studies in British Art and is working on his first book, which examines the visual cultures that developed in tandem with the political and military crises that characterized British engagements with India and its borderlands during the nineteenth century. Since completing a PhD in 2013, he has held teaching positions at the University of York and Queen Mary, University of London.
Anders Winroth has taught medieval European history at Yale University since 1998. He is an expert in the history of the Vikings and the legal and intellectual history of the European Middle Ages. His most recent book, The Age of the Vikings (2014), allows the full story of that exciting but difficult period to be told, while dismantling many widespread myths. He has also written The Conversion of Scandinavia: Vikings, Merchants and Missionaries in the Remaking of Northern Europe (2012) and The Making of Gratian’s Decretum (2000). In 2003, Winroth’s creativity was recognized with the prestigious John D. and Catherine T. MacArthur Fellowship, and he has held the Forst Family Chair in History since 2013.
Keith Wrightson is a historian of “early modern” England, specializing in social, economic, and cultural history. He received his BA and PhD from Cambridge University, and has taught at the University of St. Andrews (1975–84), Cambridge (1984–99), and Yale (since 1999). He is a Fellow of the British Academy and of the Royal Historical Society, an Honorary Fellow of Jesus College, Cambridge, and an Honorary Professor at the University of Durham. He is currently President of the North American Conference on British Studies. His publications include English Society, 1580–1680; Earthly Necessities: Economic Lives in Early Modern Britain; Poverty and Piety in an English Village: Terling 1525–1700 (with David Levine); The Making of an Industrial Society: Whickham, 1560–1765 (with David Levine); and many essays on the social and cultural history of early modern England. His most recent book, Ralph Tailor’s Summer: A Scrivener, his City, and the Plague, was short-listed for the Portico Prize in Literature.
Jonathan Wyrtzen is an Associate Professor of Sociology, History, and International Affairs at Yale University. His research focuses on empire and colonialism, state formation and nonstate forms of political organization, and ethnicity and nationalism in North Africa and the Middle East. His book Making Morocco: Colonial Intervention and the Politics of Identity was published by Cornell University Press in 2015. His current book project, Reimagining the Middle East: Jihads, Empires, and the Long Great War, focuses on an interconnected set of jihads/revolts from Morocco to Iraq between 1911 and 1931 to demonstrate that, rather than being imposed unilaterally by the European imperial powers, the region’s modern political map was negotiated on the ground through violent clashes between local and colonial visions for the postwar order.