Maryam Ohadi-Hamadani holds a PhD from the University of Texas at Austin. Her dissertation provides a contextual, sociopolitical history of postwar abstraction in Britain between 1948 and 1972 through a series of case studies examining the exhibiting practices of the Commonwealth Institute, the Institute of Contemporary Arts, and the New Vision Centre, as well as the role of visual arts in the Caribbean Artists Movement. Her research interests include postcolonial cultural studies and the politics of postwar abstract art and visual culture. She has curated exhibitions for the Cleveland Foundation and the Wichita Art Museum, and has held internships at the Cleveland Museum of Art; the Museum of Contemporary Art, Cleveland; the Ulrich Museum of Art; and Tate Liverpool.
Rachel Stratton specializes in British art of the twentieth century and the intersection between art and science. She completed her doctorate at the Courtauld Institute of Art in 2018. Her thesis, “‘Grammars of Form’: Scientism and Semantics in early Pop and Abstract Constructionism (1950–65),” sought to understand why artists in Britain turned to collage and constructivist practices in the immediate postwar period. Drawing on the semantic, sociological, and mathematical theories that percolated London’s intimate art scene in the 1950s, the thesis looked at how scientific principles were incorporated into art and how artists conceived of new visual languages that captured the flux of postwar experience. Prior to completing her PhD, Rachel was the Assistant Curator at Ben Uri Museum in London (2011–14), where she worked on exhibitions, including Judy Chicago and Louise Bourgeois, Helen Chadwick and Tracey Emin (2013) and “Uproar”: The First Fifty Years of the London Group (2014). In 2012, she co-founded AXNS, a not-for-profit curatorial collective focusing on art and neuroscience, with which she curated many exhibitions and events at institutions, including Ashmolean Museum, Oxford; King’s College London; Southbank Centre and Science Museum, London.