Nina Amstutz completed her PhD in the History of Art at the University of Toronto in 2013. Broadly, her research investigates intersections of art and science from the eighteenth to the twentieth centuries, with a particular focus on how natural history and science shaped constructions of nature and the environment in the visual arts. Her thesis, "Caspar David Friedrich and the Science of Landscape," considered how methods and ideas in the life sciences informed the relationship between nature and the human subject in the painter Caspar David Friedrich’s late landscapes. Her first publication from this project, "Caspar David Friedrich and the Anatomy of Nature," is forthcoming in Art History (2014). Nina is also working on a new project that explores the material and conceptual resonance of fossils in the visual arts during the long nineteenth century, particularly in the British context.
Florence Grant received her PhD in History from King’s College London in 2012. Her dissertation was entitled “The Philosophical Instruments of George III: A Case Study in the Material Culture of Experimental Philosophy.” She is currently working on projects concerned with the history of natural history and collecting in the eighteenth century.
A. Robin Hoffman received her PhD in Critical and Cultural Studies from the Department of English at the University of Pittsburgh in 2012. Her dissertation, entitled “ ‘Doubtful Characters’: Alphabet Books and Battles over Literacy in Nineteenth-Century British Print Culture,” was supported by an Andrew W. Mellon Predoctoral Fellowship. She originally pursued research on illustration and childhood studies as part of an MA in the History of Art, completed at University College London in 2006.
David Frazer Lewis received his doctorate from the University of Oxford in 2014. His thesis examined the work of Giles Gilbert Scott, designer of the red telephone kiosk, Battersea Power Station, Liverpool Anglican Cathedral, and the House of Commons chamber. His current research focuses on British architecture in the first decades of the twentieth century, particularly the ways that architects thought about psychology and religion. He is the editor of True Principles, the peer-reviewed journal of the Pugin Society.
Chitra Ramalingam is a historian of both science and photography. After receiving a PhD in History of Science from Harvard University, she was a research fellow at the University of Cambridge before arriving at Yale, where she also teaches in the program in the History of Science and Medicine. Her research and teaching range broadly across topics in science and visual culture in the modern period, with a particular focus on the early history of photography, the visual culture of physics (nineteenth and twentieth centuries), and the photographic archive of science. She is author of To See a Spark: Experiment and Visual Experience in Victorian Science (under contract with Yale University Press), and co-author of William Henry Fox Talbot: Beyond Photography (Studies in British Art, YCBA/Yale University Press, 2013). For the last few years her work has focused on rethinking the early history of photography and its invention in Britain from the perspective of the cultural history of science, and a book project on photography, experiment, and the archive.
Samuel Shaw received his PhD in History of Art from the University of York in 2010. His dissertation was entitled "Equivocal Positions: the Influence of William Rothenstein c.1890-1910." He has taught at the Universities of York and Warwick, and is co-founder of the Edwardian Culture Network, an interdisciplinary research project dedicated to British culture from the period of 1895 to 1914.