Eleanor Heartney
Eleanor Heartney is a contributor to Art in America, Artnet, Brooklyn Rail and Artpress and has written extensively on contemporary art issues for such other publications as Artnews, Art and Auction, The New Art Examiner, the Washington Post and the New York Times. She received the College Art Association’s Frank Jewett Mather Award for distinction in art criticism in 1992. Her books include: Critical Condition: American Culture at the Crossroads 1997, Postmodernism 2001 Postmodern Heretics: The Catholic Imagination in Contemporary Art 2004, Defending Complexity: Art, Politics and the New World Order, 2006, Art and Today, 2008 and Doomsday Dreams: The Apolcalyptic Imagination in Contemporary Art, 2019.
She is the co-author of the award winning book After the Revolution: Women Who Transformed Contemporary Art published (Prestel, 2007), The Reckoning: Women Artists of the New Millennium (Prestel 2013) and Mothers of Invention: The Feminist Roots of Contemporary Art, (Lund Humphries 2024). Heartney is a past President of AICA-USA, the American section of the International Art Critics Association. In 2008 she was honored by the French government as a Chevalier dans l’Ordre des Arts et des Lettres.
Helaine Posner
Helaine Posner is Chief Curator Emerita at the Neuberger Museum of Art, Purchase College, SUNY, Purchase, New York. Her exhibitions at the Neuberger Museum include Yto Barrada: The Dye Garden (2019), Louise Fishman: A Retrospective (2016), Dana Schutz: If the Face Had Wheels (2011), and Tania Bruguera: On the Political Imaginary(2010), each accompanied by a monographic catalogue. From 1991-1998, she was curator at the MIT List Visual Arts Center, Cambridge, Massachusetts where she curated such exhibitions as Mirror Images: Women, Surrealism, and Self-Representation (1998); Glenn Ligon: Skintight (1995); and Leon Golub and Nancy Spero: War and Memory(1994); among other projects. Previously, she was Director of the University Gallery, University of Massachusetts, Amherst.
Posner is the author of a monograph on the artist Kiki Smith and on architectural sculptor Donna Dennis (Monacelli, 2005 and 2023). She was United States Co-commissioner for the 48th Venice Biennale where she organized Ann Hamilton: Myein.
Nancy Princenthal
Nancy Princenthal is a Brooklyn-based writer whose most recent book is Unspeakable Acts: Women, Art, and Sexual Violence in the 1970s (Thames & Hudson, 2019). Her Agnes Martin: Her Life and Art (Thames & Hudson, 2015) received the 2016 PEN/Jacqueline Bograd Weld Award for Biography. She is also the author of the monograph Hannah Wilke (Prestel, 2010). A former Senior Editor of Art in America, she has also written for the New York Times and many other publications.
Her writing has appeared in monographs and exhibition catalogues for a wide range of artists, including Ann Hamilton, Alfredo Jaar, Gary Simmons, Willie Cole and Lesley Dill. A longtime faculty member in the MFA Art Writing program at the School of Visual Arts, she has taught and lectured widely. Currently, she is working on a book about Louise Bourgeois.
Sue Scott
Sue Scott is an independent curator and writer living in New York. She was Adjunct Curator of Contemporary Art at the Orlando Museum of Art for nineteen years, where she curated solo exhibitions of the works of Bryan Hunt, Jane Hammond, Suzanne McClelland, Katherine Bowling, Frank Moore, Kerry James Marshall, Jennifer Bartlett Print Retrospective and Alex Katz, among others. Group exhibitions include Proof Positive: Forty Years of Printmaking at ULAE at the Corcoran Gallery of Art, Witness Theories of Seduction for Dorsky Curatorial Programs, and The Washington Color School: The First Generation and The Edward R. Broida Collection: A Selection of Works for the Orlando Museum of Art.
She is the co-author of the award-winning book After the Revolution: Women Who Transformed Contemporary Art (Prestel, 2007), and of The Reckoning: Women Artists of the New Millennium released by Prestel in 2013. Scott contributed an essay to Meghan Boody: We Are Gods in the Chrysalis (Herber, 2016)