Pamela Nguyen Corey researches and teaches modern and contemporary art history, with a focus on Southeast Asia within broader transnational Asian and global contexts. She is currently Lecturer in South East Asian Art at SOAS University of London. Her first book manuscript is titled The City in Time: Contemporary Art and Urban Form in Vietnam and Cambodia, and her writing is featured in numerous academic journals, exhibition catalogues, and platforms for artistic and cultural commentary.
Sonya Rhie Mace (formerly Quintanilla) is the George P. Bickford Curator of Indian and Southeast Asian Art at the Cleveland Museum of Art and Adjunct Professor of Art History at Case Western Reserve University. Her publications include History of Early Stone Sculpture at Mathura, ca. 150 BCE to 100 CE (Brill 2007) and “Transformations of Identity and the Buddha’s Infancy Narratives at Kanaganahalli” Archives of Asian Art 67:1 (2017). She is currently working on a major exhibition with accompanying publication on the art and site of Phnom Da, Revealing Krishna: Journey to Cambodia’s Sacred Mountain to open in October 2020.
Justin McDaniel is the Chair of the Department of Religious Studies. He earned a BA in Classics and History from Boston College and his MA, MTS in Religious Studies from Harvard University, and his PhD in Sanskrit and Indian Studies from Harvard in 2003. He lived and researched in South and Southeast Asia for many years as a translator, archivist, amulet collector, volunteer teacher, and Buddhist monk. His research foci include Monastic History, Comparative Asceticism, Religious Contemplative Practice, Pilgrimage, Ritual, Meditation, and manuscript studies. His first book is on the history of Buddhist monastic education in Laos and Thailand, Gathering Leaves and Lifting Words (Seattle: University of Washington Press, 2008). His second book is the Lovelorn Ghost and the Magic Monk(Columbia University Press). His third book is the Architects of Buddhist Leisure (University of Hawaii Press), and he has recent books on comparative monasticism between Europe and Asia, illuminated manuscript studies, and Religious aesthetics and ritual. He has published more than 100 articles and reviews and has given invited lectures over 30 countries. He has been named a Fulbright, Luce, Rockefeller, NEH, Mellon, and Guggenheim Fellow and holds an endowed chair at the University of Pennsylvania.
Vipash Purichanont is a curator based in Bangkok. He is a lecturer at the department of Art History at the faculty of Archeology, Silpakorn University. His curatorial projects include 'Kamin Lertchaipraset: 31st Century Museum of Contemporary Spirit' (Chicago, 2011), ‘Tawatchai Puntusawasdi: Superfold’ (Kuala Lumpur, 2019) and ‘Concept Context Contestation: Art and the Collective in Southeast Asia’ (Bangkok, Yogjakarta, Hanoi, Yangon, 2013-2019). He was an assistant curator for the first Thailand Biennale (Krabi, 2018), and a curator of Singapore Biennale 2019 (Singapore, 2019). He is a co-founder of Waiting You Curator Lab, a curatorial collective based in Chiangmai.
Arin Rungjang is known for deftly revisiting historical material, overlapping major and minor narratives across multiple times, places, and languages. His interest lies in lesser-known aspects of Thai history and their intersection with the present in the sites and contexts of his practice, revolve around memory, society, and history—often with reference to the difficult development of a (mono-) cultural identity in post-war Thailand and its continuation through the present day. His artistic practice can be read as a poetic and complex re-exploration of historical moments, in which the main and secondary narratives are connected, superimposed, and condensed across multiple times, locations, and languages. In his work, Rungjang dissects both historical events and everyday-life experiences, deconstructing the source material and thus developing a new reading of the standard narrative. The artist does not regard history as an undisputed fact, and it never has only one, objective approach: history and historiography are always idiosyncratic and speculative. Often find his works put on the storytelling of minority to elaborate, narrate and share in resistance of strategies discourse of now a day contemporary world.
Amy Lee Sanford is a Cambodian-American sculptor. Her work explores the intersection of trauma and healing. Born in Phnom Penh, Cambodia and raised in the United States, the artist holds a degree from Brown University in the Visual Arts, with concentrated study in biology and engineering. Sanford has been in numerous exhibitions internationally. A partial list includes Cinerama: Art and the Moving Image (Singapore Art Museum 2017-18), Love in the Time of War (SF Camera works and UC Santa Barbara 2016), Cascade (solo exhibition, Bathurst Regional Art Gallery, NSW, Australia, 2015-16), Images Biennial: An Age of Our Own Making (Museum of Contemporary Art, Denmark, 2016). According to promotional material for the artist’s “1975” exhibition” her art addresses the evolution of emotional stagnation, and the lasting psychological effects of war, including aspects of guilt, loss, alienation and displacement.” Sanford’s works encapsulate the fragility and transient nature of current Cambodian society while using common, everyday objects.
Nora Annesley Taylor is the Alsdorf Professor of South and Southeast Asian Art at the School of the Art Institute of Chicago. She is the author of Painters in Hanoi: An Ethnography of Vietnamese Art (Hawaii 2004 and NUS Press 2009) co-editor of Modern and Contemporary Southeast Asian Art, An Anthology (Cornell SEAP 2012) as well as numerous articles on Modern and Contemporary Southeast Asian and Vietnamese Art. She was the recipient of a Guggenheim Foundation Award in 2014.
Ashley Thompson, Hiram W. Woodward Chair in Southeast Asian Art; BA, Harvard; MA, Université de Paris 3; PhD, Université de Paris 8. Ashley Thompson is a specialist in Southeast Asian Cultural Histories, with particular expertise on Cambodia. A sustained focus on classical and pre-modern arts and literatures is complemented by more punctual work on the contemporary period. Her research is informed by deconstruction and psychoanalysis, and revolves around questions of memory, political and cultural transition, sexual difference and subjectivity. Before taking up academic posts in the West, she spent a decade in Thailand and Cambodia working in post-war reconstruction in the fields of education, art, archaeology and cultural heritage management. Her current work is inflected by considerations of decoloniality in and beyond the classroom, here and there. Her most recent book is Engendering the Buddhist State: Territory, Sovereignty and Sexual Difference in the Inventions of Angkor.