Michael Fried is James R. Herbert Boone Professor of Humanities at The Johns Hopkins University, with a joint appointment in the Humanities Center and the Department of the History of Art. An art historian, art critic, literary critic, and poet, he has a longstanding interest in the theatrical and performative, from the mid-eighteenth century to the early twentieth century. Among his publications are Absorption and Theatricality: Painting and Beholder in the Age of Diderot (California 1980); Realism, Writing, Disfiguration: On Thomas Eakins and Stephen Crane (1987), Courbet's Realism (1990), and Manet's Modernism: or, The Face of Painting in the 1860s (1996)-all published by the University of Chicago; and, on the nineteenth-century German painter-draftsman Adolf Menzel, Menzel's Realism: Art and Embodiment in Nineteenth-Century Berlin (Yale 2002). Professor Fried has, in his words, "long been engaged by questions of modernism, realism, theatricality, objecthood, self-portraiture, embodiedness, and the everyday." This is no less true of his most recent book, Why Photography Matters as Art as Never Before (Yale 2008), which addresses these questions in contemporary photography, including the art of Jeff Wall.

Margaret D. Stetz is Mae and Robert Carter Professor of Women's Studies and Professor of Humanities at the University of Delaware. She has published extensively on nineteenth century women's literature and culture, including British Women's Comic Fiction, 1890-1990 (Ashgate, 2001) , and two curatorial projects specifically focused on NCSA 2010 conference themes: Gender and the London Theatre, 1880-1920 (Rivendale Press 2004) and Facing the Late Victorians, Portraits of Writers and Artists from the Mark Samuels Lasner Collection (University of Delaware Press, 2007). Her edited books include a volume of essays (with Bonnie B. C. Oh), Legacies of the Comfort Women of WWII (M. E. Sharpe, 2001) and a volume of essays (with Cheryl A. Wilson) on two Victorian women poets, Michael Field and Their World (Rivendale Press, 2007). Her next book, Oscar Wilde, New Women, the Bodley Head and Beyond, is forthcoming from Rivendale Press. For Rice University Press, she is editing a digital reprint of George Egerton's Fantasias.

Dennis Denisoff is Chair of the Department of English and Associate Professor, Graduate Programme in Communications and Culture, at Ryerson University in Toronto. He is a member of the Centre for the Interdisciplinary Study of Sexuality and Gender in Europe at the University of Exeter, Co-Editor of Nineteenth Century Studies, and Vice President of NCSA. Dr. Denisoff has varied research interests that include gender and sexual politics and nineteenth century visuality and media. Among his publications are Aestheticism and Sexual Parody, 1840-1940 (Cambridge 2001), Sexual Visuality from Literature to Film, 1850-1950 (Palgrave Macmillan 2004), and The Nineteenth-Century Child and Consumer Culture (Ashgate 2008). Edited books include The Broadview Anthology of Victorian Short Stories (2004) and (with Liz Constable and Matt Potolsky) Perennial Decay: On the Aesthetics and Politics of Decadence (U Pennsylvania 1999). His work in progress is Dissipating Nature: The Eco-Pagan Vein of British Decadence.

Maria Gindhart is Associate Professor of Art History in the Ernest G. Welch School of Art and Design at Georgia State University, and NCSA Board member since 2007. A specialist in nineteenth-century French painting and sculpture, Dr. Gindhart has focused her research on fin-de-siècle images of prehistoric humans and the intersections between art and science. Recent publications include "Fleshing Out the Museum: Fernand Cormon's Decorative Program for the New Galleries of Comparative Anatomy, Paleontology, and Anthropology," Nineteenth-Century Art Worldwide (Autumn 2008) and "Cro-Magnon and Khoi-San: Constant Roux's Racialized Relief Sculptures of Prehistoric Artists," Visual Resources" An International Journal of Documentation (September 2008). She is currently working on two different projects: a book on representations of modern-day "primitive" people in Parisian scientific institutions, world's fairs, and zoos between 1860 and 1940, and a co-authored book tentatively entitled František Kupka: New Perspectives on Art and Science.

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