Njideka Akunyili Crosby

Dr. Jareh Das is an independent curator, writer, and researcher who lives and works between West Africa and the United Kingdom. Das’s academic and curatorial practice is informed by an interest in global modern and contemporary art with a specific focus on performance art. In 2022, Das curated Body Vessel Clay: Black Women, Ceramics and Contemporary Art at Two Temple Place, London, and York Art Gallery. The exhibition spanned seventy years of ceramics and explored how clay has been disrupted, questioned and reimagined by Black women artists. Das has held curatorial and editorial positions with Deptford X, Middlesbrough Institute of Art, Middlesbrough; Etemad Gallery, Dubai; Arts Catalyst, London; MVRDV, Rotterdam; and Camden Art Centre, London; and has contributed to a number of print and online publications.

Helen Molesworth is a Los Angeles–based writer, podcaster, and curator. Her major museum exhibitions include: Leap Before You Look: Black Mountain College 1933–1957, This Will Have Been: Art, Love, and Politics in the 1980s, and Work Ethic. She has organized monographic exhibitions of Ruth Asawa, Moyra Davey, Noah Davis, Louise Lawler, Steve Locke, Kerry James Marshall, Catherine Opie, and Luc Tuymans. She is the author of numerous catalogue essays and her writing has appeared in Artforum, Art Journal, Documents, and October. The recipient of the 2011 Bard Center for Curatorial Studies Award for Curatorial Excellence, in 2021 she received a Guggenheim Fellowship and in 2022 she was awarded The Clark Art Writing Prize.

Jason Rosenfeld, Ph.D., is a professor of art history at Marymount Manhattan College, New York, and a senior writer and editor-at-large at The Brooklyn Rail. He is the coauthor of a monograph on Cecily Brown and author of a monograph on John Everett Millais. He was curator of Ben Wilson: From Social Realism to Abstraction, at the George Segal Gallery, Montclair State University, New Jersey, and co-curator of exhibitions including River Crossings at Cedar Grove, the Thomas Cole National Historical Site, Catskill, New York, and Olana, Hudson, New York; Pre-Raphaelites: Victorian Avant-Garde at Tate Britain, London, the National Gallery of Art, Washington, DC, the State Pushkin Museum of Fine Arts, Moscow, the Mori Arts Center Gallery, Tokyo, and the Palazzo Chiablese, Turin; and John Everett Millais at Tate Britain, the Van Gogh Museum, Amsterdam, the Kitakyushu Municipal Museum of Art, Fukuoka, and the Bunkamura Museum, Tokyo, Japan.

Drew Thompson is an art historian and curator of African and Black Diaspora visual and material culture. His recent exhibitions include Benjamin Wigfall and Communications Village at the Dorsky Museum of Art, at SUNY New Paltz, and the Virginia Museum of Fine Arts, and SIGHTLINES at the Bard Graduate Center Gallery. His writings on modern and contemporary art have appeared in Africa Is a Country, FOAM Magazine, The White Review, and in edited volumes published by the Art Institute of Chicago, HANGER—Centro do Investigação Artística, The Image Centre, The Studio Museum in Harlem, and the Walter Collection. Thompson currently teaches at Bard Graduate Center and Bard College.