David Hopkins is Professor of Art History at the University of Glasgow. An acknowledged expert on Dada and Surrealism, he has published widely on these movements, and on artists such as Marcel Duchamp and Max Ernst. His books include Marcel Duchamp and Max Ernst: The Bride Shared (1998) and Dada’s Boys: Masculinity After Duchamp (2007). He is also author of the bestselling short guide to the subject, Dada and Surrealism: A Short Introduction (2004). His latest book is Dark Toys: Surrealism and the Culture of Childhood (2021).

Dawn Ades is Professor Emerita of the History and Theory of Art at the University of Essex, UK, where she taught from 1968 to 2008. Her research concentrates on Surrealism and on Latin American Art, and her books include Photomontage (Thames & Hudson, 1976/1981), Salvador Dalí (1982), André Masson (1994), Siron Franco (Brazil, 1996) Marcel Duchamp (with N. Cox and D. Hopkins, 2000), Selected Writings (2015). She has organized or co-curated many exhibitions in the UK and internationally, and written, edited, or contributed essays to their catalogues, including Dada and Surrealism Reviewed (1978); Art in Latin America: the Modern Era 1820–1980 (1989); Dalí’s Optical Illusions (2000); Salvador Dalí: the Centenary Exhibition (2004); Undercover Surrealism: Georges Bataille and Documents (2006); Close-Up: Proximity and Defamiliarisation in Art, Photography and Film (2008); The Colour of my Dreams: the Surrealist Revolution in Art (2011). She was Associate Curator for Manifesta 9 (2012). In 2013 she was made CBE for services to higher education, is a former trustee of Tate (1995–2005) and of the National Gallery (2000–2005), a Fellow of the British Academy, and Professor of the History of Art at the Royal Academy.

Patricia Allmer is Chancellor’s Fellow at Edinburgh College of Art, University of Edinburgh, UK. She has published and lectured widely on Surrealism. Her major publications include Lee Miller: Photography, Surrealism, and Beyond (Manchester University Press, 2016), René Magritte: Beyond Painting (Manchester University Press, 2009), and a range of edited and co-edited books and special journal issues such as Intersections: Women Artists/Surrealism/Modernism (Manchester University Press, 2016). She is the curator and catalogue editor of the award-winning Angels of Anarchy: Women Artists and Surrealism (Manchester Art Gallery, 2009; Prestel), and co-curated and co-edited the catalogue for Taking Shots: the Photography of William S. Burroughs (The Photographers’ Gallery, 2014; Prestel).

James Boaden is a Lecturer in History of Art at the University of York, UK. His research focuses on American art in the twentieth century, and in particular the intersection with experimental film. He was a research fellow on the AHRC project Queer Surrealism at the Centre for the Study of Surrealism and its Legacies at the University of Manchester. He has published essays on the artists Bruce Conner, Robert Rauschenberg, and Jess in Papers of Surrealism, Art History, and Oxford Art Journal. He has curated film screenings at Tate Modern, the British Film Institute, and Nottingham Contemporary.

Katharine Conley is Dean of the Faculty of Arts and Sciences and Professor of French and Francophone Studies at the College of William & Mary, USA. She is the author of Surrealist Ghostliness (University of Nebraska Press, 2013), Robert Desnos, Surrealism, and the Marvelous in Everyday Life (Nebraska, 2003), and Automatic Woman: The Representation of Woman in Surrealism (Nebraska, 1996), as well as a series of recent articles on surrealist collections published in Papers of Surrealism, Symposium, Journal of Surrealism and the Americas, South Central Review, and Yale French Studies.

Neil Cox is Professor of Modern and Contemporary Art at Edinburgh College of Art, University of Edinburgh, UK. He is Director of the ARTIST ROOMS Research Partnership, working with Tate and National Galleries of Scotland. He is co-author of Marcel Duchamp (London, 1999) and author of Cubism (London, 2000) and The Picasso Book (London, 2010).

Angela Dimitrakaki is Senior Lecturer in Contemporary Art History and Theory at the University of Edinburgh, UK. Working across Marxism and feminism, her books include Gender, ArtWork and the Global Imperative: A Materialist Feminist Critique (2013), Politics in a Glass Case: Feminism, Exhibition Cultures and Curatorial Transgressions (co-edited with Lara Perry, 2013), Economy: Art, Production and the Subject in the 21st Century (co-edited with Kirsten Lloyd, 2015) and, in her native Greek, Art and Globalisation: From the Postmodern Sign to the Biopolitical Arena (2013). She is Corresponding Editor of the interdisciplinary journal Historical Materialism: Research in Critical Marxist Theory.

Jonathan P. Eburne is Associate Professor of Comparative Literature and English at Pennsylvania State University, USA. He is founding co-editor of ASAP/Journal, the scholarly journal of ASAP: The Association for the Study of the Arts of the Present. He is the author of Surrealism and the Art of Crime (Cornell University Press, 2008), and the editor or co-editor of numerous scholarly volumes and journal issues. Eburne is President of the Association for the Study of Dada and Surrealism, and a Past President of ASAP. He is the series editor of the Refiguring Modernism book series at the Pennsylvania State University Press. He is currently completing a book called Outsider Theory.

Krzysztof Fijałkowski is Professor in Fine Art, Norwich University of the Arts, UK. A writer and researcher with particular interests in the international dada and surrealist movements, recent publications have included (with Michael Richardson and Ian Walker) Surrealism and Photography in Czechoslovakia: On the Needles of Days (Ashgate, 2013) and several chapter-length studies of the work of Gherasim Luca. With Michael Richardson he is editor of the forthcoming volume Surrealism: Key Concepts.

Emily Hage is Associate Professor of Art History at Saint Joseph’s University, USA. She has worked at many art museums, including the San Francisco Museum of Modern Art, the National Portrait Gallery in Washington, and the Philadelphia Museum of Art. A specialist in twentieth-century European and American art, Dr. Hage is interested in print media, dialogues between texts and images, and how gender, racial, religious, and national identities inform artistic production. Her scholarship focuses on artists and magazines, from Dada art journals in the early twentieth century to “dadazines” produced by Mail Artists in the 1970s. Her current book project is Dada Magazines: The Publications that Made the Movement.

Steven Harris is Associate Professor in the Department of Art and Design at the University of Alberta in Canada, where he teaches modern and contemporary art history. He has published articles on Surrealism, postwar abstraction, Fluxus and most recently on Asger Jorn; his book, Surrealist Art and Thought in the 1930s: Art, Politics, and the Psyche, appeared in 2004. He is currently researching the surrealist movement and like-minded tendencies in postwar Europe.

Adam Jolles is Associate Professor in the Department of Art History at Florida State University, USA. He has published on Surrealism in France and Soviet modernism under Stalin. He is the author of The Curatorial Avant-Garde: Surrealism and Exhibition Practice in France, 1925–1941 (Penn State University Press, 2014). He co-curated the 2011 exhibition Windows on the War: Soviet TASS Posters at Home and Abroad, 1941–1945 (Art Institute of Chicago/Yale University Press). His next book will address the curatorial history of photography in the United States.

Julia Kelly is Research Associate in the School of the Arts, Loughborough University, UK. Her published books include Art, Ethnography and the Life of Objects, Paris c.1925–1935 (Manchester, 2007); Giacometti: Critical Essays (ed. with Peter Read; Ashgate, 2009); Found Sculpture and Photography from Surrealism to Contemporary Art (ed. with Anna Dezeuze; Ashgate, 2013); Travels and Translations: Anglo-Italian Cultural Exchanges (ed. with Alison Yarrington and Stefano Villani; Rodopi, 2013); and The Sculpture of Bill Woodrow (with Jon Wood; Lund Humphries, 2013). She has also published essays on Surrealism and ethnography, Dahomean art in the 1890s, assemblage art, and the artists Henry Moore, Joseph Cornell, Paule Vezelay, and Andre Masson.

Elliott H. King is an Assistant Professor of Art History at Washington and Lee University in Lexington, Virginia, USA. Educated at the University of Essex and the Courtauld Institute of Art, his research focuses on post-war Surrealism with an emphasis on Salvador Dalí’s art and writing. His publications include Dalí, Surrealism and Cinema (Kamera Books, 2007) and Dalí: The Late Work (High Museum of Art with Yale University Press, 2010).

Tirza True Latimer is Associate Professor and Chair of the Graduate Program in Visual and Critical Studies, California College of the Arts, San Francisco. Her published work reflects on modern and contemporary visual culture from queer feminist perspectives. She is co-editor, with Whitney Chadwick, of the anthology The Modern Woman Revisited: Paris between the Wars (Rutgers University Press, 2003) and the author of Women Together/Women Apart: Portraits of Lesbian Paris (Rutgers University Press, 2005). She is co-author, with Wanda Corn, of Seeing Gertrude Stein: Five Stories (University of California Press, 2011), companion book for an exhibition organized by the Contemporary Jewish Museum, San Francisco, in partnership with the National Portrait Gallery, Washington, DC. Her latest book, Eccentric Modernisms: Making Differences in the History of American Art, is in production the at University of California Press.

Elizabeth Legge is an Associate Professor in the Department of Art at the University of Toronto, Canada. She has written Max Ernst: The Psychoanalytic Sources (Ann Arbor: UMI, 1989); Michael Snow: Wavelength (London: Afterall/MIT, 2009); and has edited a collection of essays with Mark Cheetham and Catherine Soussloff, Editing the Image (University of Toronto Press, 2009). She has written on Dada, Surrealism, and contemporary British and Canadian art and published reviews in journals including Representations, Journal of Canadian Art History, Art History, History of Photography, Border Crossings, Canadian Art, Art Journal, Oxford Art Journal, and Transmission. Her essay on Frenkel, “Analogs of Loss: Vera Frenkel’s Body Missing,” was included in the anthology, Visual Culture and the Holocaust; and her article on Frenkel’s The Institute: Or What We Do for Love was published in the major book Vera Frenkel (Hatje Cantz, 2014).

Ulrich Lehmann is Professor for Interdisciplinary Arts and Design at The New School, New York. He is the author of Tigersprung: Fashion in Modernity (MIT Press, 2000). His interest lies in the relations between social history and material culture (1890s to today) and the meaning of modern design, especially fashion.

Debbie Lewer is Senior Lecturer in History of Art at the University of Glasgow, UK. She has published widely on Dada in Zurich and Berlin, on German Expressionism and on art in the German Democratic Republic. She has also translated numerous texts from German for publication and edited the Blackwell anthology Post-Impressionism to World War II. She is currently working on two book-length studies; on Dada in Zurich and on the cultural politics of the avant-garde in Weimar Germany. In 2009–2010, she held an Alexander von Humboldt Research Fellowship at the Art History Institute at the University of Bonn, Germany.

Majella Munro is the author of Communicating Vessels: The Surrealist Movement in Japan (Enzo Arts and Publishing, 2013) and Understanding Shunga: A Guide to Japanese Erotic Art (ER Books, 2008). She is Executive Editor of Modern Art Asia. In 2013–2014 she was Research Fellow at the Tate’s Research Centre: Asia-Pacific.

Michael Richardson is currently Visiting Fellow in the Centre for Cultural Studies, Goldsmiths, University of London. He is author of Otherness in Hollywood Cinema (2010), Surrealism and Cinema (2006), The Experience of Culture (2001), and Georges Bataille (1994). With Krzysztof Fijałkowski and Ian Walker he has also published On The Needles of Days: Surrealism and Photography in Czechoslovakia (2013) and has edited Surrealism Against the Current: Tracts and Declarations (with Krzysztof Fijałkowski, 2001), Georges Bataille: Essential Writings (1998), Refusal of the Shadow: Surrealism and the Caribbean (1996), Georges Bataille, The Absence of Myth (1994), and The Dedalus Book of Surrealism (1993–1994). His forthcoming publications include The Surrealist Reader (with Dawn Ades) and Surrealism: Key Concepts (with Krzysztof Fijałkowski).

Donna Roberts attained a PhD from the Department of Art History and Theory at the University of Essex on the topic of the para-surrealist group, the Grand Jeu. She undertook postdoctoral studies at the National Autonomous University of Mexico, working on the theme of Surrealism, Freud, and psychobiology, and currently teaches at the University of Helsinki. She has written on Czech Surrealism and curated an exhibition in the UK of the work of the Czech surrealists Jan Švankmajer and Eva Švankmajerová. Her central research interests are the themes of Surrealism and nature, natural history, and evolutionary theory, with particular focus on the writings of Roger Caillois. This research will be published in a forthcoming monograph “A Feeling for Nature”: Surrealism, from Natural History to Ecology.

Eric Robertson is Professor of Modern French Literature and Visual Arts at Royal Holloway, University of London, where he specializes in modern French and European literature and visual arts, the literary and artistic avant-garde movements of the twentieth century, and literary bilingualism. He is the author of Arp: Painter, Poet, Sculptor (2006, awarded the 2007 R.H. Gapper Book Prize), Writing Between the Lines: René Schickele, “Citoyen franç&c.lhrgbl;ais, deutscher Dichter,” 1883–1940 (1995), and Picturing Modernity: Blaise Cendrars and the Visual Avant-Gardes (forthcoming). He is the co-editor of Yvan Goll–Claire Goll: Texts and Contexts (1997), Robert Desnos: Surrealism in the Twenty-First Century (2006), Dada and Beyond, Vol 1: Dada Discourses (2011) and Dada and Beyond, Vol 2: Dada and its Legacies (2012). Current projects include a new book on Arp and a study of avant-garde art and virtual technologies.

Sherwin Simmons is Professor Emeritus of Art History at the University of Oregon, USA. His research over the past 20 years has been devoted to the impact of mass culture on German art of the early twentieth century, with particular attention given to August Macke, Ernst Ludwig Kirchner, Ernst Neumann, Berlin Dada, and the development of poster design and satirical journals.

Raymond Spiteri teaches Art History at Victoria University of Wellington, New Zealand. In his research and publications he focuses on the culture and politics of Surrealism. He is the co-editor (with Don LaCoss) of Surrealism, Politics and Culture (2003), and has contributed essays to Aesthetic Revolutions and Twentieth-Century Avant-Garde Movements (2015), Modernist Magazines: A Critical and Cultural History (2013), The Invention of Politics (2006), and Surrealism and Architecture (2005). His current research focuses on Surrealism and modernism circa 1930.

Abigail Susik is an Assistant Professor of Art History at Willamette University, USA. Her research focuses on cultural histories of the European avant-gardes, as well as issues of aesthetics and ethics in contemporary and new media art. She is an Associate Editor of Media-N, journal of the New Media Caucus. Current book projects include the co-edited volume with Elliott H. King, Radical Dreams: Surrealism and Counterculture, as well as the monograph, Dream Kitsch: Aragon, Benjamin and Surrealism.

Michael White is a Professor of History of Art at the University of York, UK and is well known for his research on the interwar European avant-gardes, particularly Dada and Constructivism. His books include De Stijl and Dutch Modernism (Manchester University Press, 2003), The Story of De Stijl (co-authored with Hans Janssen; Ludio Press, Antwerp, 2011), Generation Dada: The Berlin Avant-Garde and the First World War (Yale University Press, 2013), and Virgin Microbe: Essays on Dada (co-edited with David Hopkins; Northwestern University Press, 2014). He was consultant curator of Theo van Doesburg and the International Avant-Garde (Tate Modern, 2010) and co-curator of Mondrian and His Studios (Tate Liverpool, 2014).