Günter Berghaus
is a Senior Research Fellow at the University of Bristol and has published some 30 books on various aspects of theatre and performance studies, art history and cultural politics. He has directed numerous plays from the classical and modern repertoire and devised many productions of an experimental nature. His books include Theatre and Film in Exile (1989), Fascism and Theatre (1996), Futurism and Politics (1996), Italian Futurist Theatre (1998), On Ritual (1998), International Futurism in the Arts and Literature (2000), Avant-garde Performance: Live Events and Electronic Technologies (2005), Theatre, Performance and the Historical Avant-garde (2005), F. T. Marinetti: Selected Writings (2006), Futurism and the Technological Imagination (2009), Futurism in Eastern and Central Europe (2011), Iberian Futurisms (2013), Women Artists and Futurism (2015), Handbook of International Futurism (2019). His writings have been translated into Chinese, Croatian, French, Georgian, German, Hungarian, Italian, Japanese, Polish, Portuguese, Russian, Spanish.
Fae (Fay) Brauer
is Professor Emeritus of Art and Visual Culture at the University of East London Centre for Cultural Studies Research, Honorary Professor of Art Theory at The University of New South Wales and a Fellow of the Royal Society of Arts. Her interdisciplinary scholarship encompasses Darwinism, Neo-Lamarckism, Ecoaesthetics and the visual cultures of eugenics; the body and fitness imperatives; neurology, hysteria and mesmerism; vitalism and occultist sciences, plus the cultural politics of art institutions. Her books include Art, Sex and Eugenics: Corpus Delecti (2008), The Art of Evolution: Darwin, Darwinisms and Visual Culture (2009), Rivals and Conspirators: The Paris Salons and the Modern Art Centre (2013), Picturing Evolution and Extinction: Degeneration and Regeneration in Modern Visual Cultures (2015) and Vitalist Modernism: Modern Artists, New Sciences and Creative Evolution (2021).
John Hughson
is Professor of Sport and Cultural Studies at the University of Central Lancashire. His interest in sport as a ‘cultural form’ has resulted in research focussed on the design of Olympic Games’ posters, the representation of football within English painting and on sport related items within museum collections. He has also investigated the inclusion of sport within cultural policy agendas, including bids for the ‘European Capital of Culture’. He has been an adviser to the National Football Museum of England and a research scholar at the Australian Sports Museum. His published books include The Uses of Sport: A Critical Study (Routledge, 2005), The Making of Sporting Cultures (Routledge, 2009) and England and the 1966 World Cup: A Cultural History (Manchester University Press, 2016).
is Professor of German and Comparative Literature at Goldsmiths, University of London. He has written extensively on 20th-century German-language literature in its international and interdisciplinary contexts, with a particular emphasis on Expressionism, Dada, the European avant-garde, literature and film. Building on these specialisms, his interest in cultural representations of sport in avant-garde cultures has resulted in the monograph Sport und literarischer Expressionismus (2019) and essays on Dada Zurich, Dada Berlin, and Expressionist art and film.
Mike O’Mahony
is Professor of History of Art and Visual Culture at the University of Bristol. He has published widely on Soviet art and culture and on the visual representation of sport and physical culture in wider international contexts. He has also published widely on the art and visual culture of the Olympic Games. His books include Sport in the USSR: Physical Culture – Visual Culture (2006), Sergei Eisenstein (2008), Olympic Visions: Images of the Games Through History (2012), Photography and Sport (2018) and he has co-edited (with Mike Huggins) The Visual in Sport (2012). He has also published many articles on Soviet art and on the representation of sport and the Olympic Games.
Joann Skrypzak-Davidsmeyer
is a freelance art historian in Cologne, Germany. She received her PhD at the University of Wisconsin-Madison in 2007 and has published on Viennese modernism as well as the sports pictures of László Moholy-Nagy and Willi Baumeister. She is the editor and translator of Willi Baumeister’s theoretical writings, The Unknown in Art (2013). Most recently, she was also the translator of selected journal writings of Max and Quappi Beckmann for the catalogue raisonné Max Beckmann: The Paintings (2021).
Przemysław Strożek
is Assistant Professor at the Institute of Art of the Polish Academy of Sciences and an Associate Researcher and curator at the Archiv der Avantgarden – Staatliche Kunstsammlungen Dresden. He was a Fulbright fellow at the University of Georgia (Athens, GA) and a fellow at the Accademia dei Lincei (Rome). He is the author of several dozen academic articles, and has published extensively on sport and the avant-garde, as well as on sport and contemporary art. He has curated numerous exhibitions, including an exhibition on Enrico Prampolini at the Muzeum Sztuki in Łódź and on Polish-Moroccan artistic relations at the Zachęta – National Gallery of Art.
is Programme Director of the MA in Fine and Decorative Art and Design at Sotheby’s Institute of Art – London. He is the author of Sport and Modernism in the Visual Arts in Europe, 1909–1939 (Manchester University Press, 2018). He has also written extensively on modern art in Britain, including an essay on William Roberts’s Boxers for Modernism/ Modernity. In 2015 he wrote an essay on Andy Warhol’s Athlete series for the catalogue of the Halcyon Gallery’s exhibition Pelé: Art, Life Football. Other essays have appeared in the journals The International Journal of the History of Sport, Textual Practice, Visual Culture in Britain, British Art Studies and the books Sculpture and Sexuality, Art and Authenticity, Understanding Art Objects and Photography: The Whole Story. He has discussed his work on the Sport in History podcast.