PATRICIA ALLMER
is currently Research Associate at MIRIAD, Manchester Metropolitan University. She is the curator of a forthcoming exhibition (2009) on women artists and Surrealism at Manchester Art Gallery and has widely published on Surrealism, René Magritte and art theory.

JAN DIRK BAETENS
is a jurist and an art historian. He is a researcher at the Katholieke Universiteit
Leuven, Belgium (Lieven Gevaert Research Centre), and is the co-author of a new book on the Cobra movement (Lannoo, 2007). He has also published on late 19th-century Belgian art, with a research focus on the interplay between painting and photography.

DAVID BATE
is Reader in Photography at the University of Westminster, London, England. His photographic work has been shown widely and his many writings on photography, art and culture are also published extensively. He is author of Photography and Surrealism: Sexuality, Colonialism and Social Dissent published by IB Tauris in 2004.

GEORGIANA COLVILLE
is retired Professor of Anglo-American Studies from the Université de Tours, France, and former Professor of French, Film and Comparative Literature at the University of Colorado, USA. Her three main research fields are Surrealism, film and Canadian literature, with emphasis on women’s production. She has published several books and numerous articles on both sides of the Atlantic. Her four latest books concern women’s contribution to Surrealism: La Femme s’entête with Katharine Conley (Lachenal & Ritter, 1998); Scandaleusement d’elles, an anthology of 34 women Surrealists (Jean-Michel Place, 1999); an edition of Valentine Penrose’s writings (Joëlle Losfeld, 2001); and an edition of Simone Breton Lettres à Denise Lévy (2005). Her latest article deals with the early films of André Delvaux (Yale French Studies, 109 [2006]).

LIESBETH DECAN
is a PhD Candidate in the Department of Art History at the Katholieke Universiteit Leuven, Belgium, and teaches in the Photography Department at the St-Lukas College of Art in Brussels. Her Master’s thesis focused on the life and work of Evelyne Axell (1935-1972) and is currently working on a PhD dissertation on the influence and incorporation of photographs in the works of Belgian artists since the 1960s, entitled Between Medium Specificity and Actualization of the Pictorial Genres: The Insertion of the Photographic Medium in the Belgian Artistic Scene between 1972 and 1992.

STEVEN HARRIS
is Assistant Professor in the Department of Art and Design at the University of Alberta in Edmonton, Canada. His research is focused on anti-formal tendencies in 20th-century art in Europe and North America, and he is the author of articles on surrealism, postwar abstraction and Fluxus. His book, Surrealist Art and Thought in the 1930s: Art, Politics, and the Psyche, was published by Cambridge University Press in 2004.

SILVANO LEVY
has published extensively on Surrealism, with studies on René Magritte, E.L.T. Mesens and Paul Nougé. His research on ‘The Surrealist Group in England’ began with a film on Conroy Maddox and the book Conroy Maddox: Surreal Enigmas (1995), while a wider interest in the movement led to the publication of Surrealism: Surrealist Visuality (1996, 1997) as well as Surrealism (2000). Levy has curated national touring exhibitions of the work of Maddox and Desmond Morris, and published a monograph on the latter entitled Desmond Morris: 50 Years of Surrealism (1997), which was followed by the enlarged re-edition Desmond Morris: Naked Surrealism (1999) and Desmond Morris: Analytical Catalogue Raisonné 1944-2000 (2001). Silvano Levy’s monograph on Maddox, The Scandalous Eye. The Surrealism of Conroy Maddox, was published by Liverpool UniversityPress in 2003. Silvano Levy is a Reader at Keele University, England.

NEIL MATHESON
is Senior Lecturer in Theory and Criticism of Photography at the University of Westminster. He is the Editor of the collection The Sources of Surrealism (2006) and has written recently on Surrealism in England and Belgium, and on spirit photography, as well as on contemporaryGerman photography in the collection The State of the Real (2006).

AN PAENHUYSEN
is a visiting scholar at the University of Berkeley, California (Fellowship Belgian American Educational Foundation). Her dissertation on the cultural criticism of the Belgian avant-garde in the interwar period will be published in 2007 (Mercatorfonds). She is currently workingon a post-doctoral project on urban photography in Berlin in the 1920s and 1930s.

BEN STOLTZFUS
is Professor Emeritus at the University of California, Riverside. He has received many grants and awards: Fulbright, Camargo, Humanities, Creative Arts, Litt.D., and the 1997 Gradiva Award from NAAP for Lacan and Literature: Purloined Pretexts. Among his many published works are La Belle Captive: Alain Robbe-Grillet and René Magritte (University of California Press, 1995) and The Target: Alain Robbe-Grillet and Jasper Johns (Fairleigh Dickinson University Press, 2006).

HILDE VAN GELDER
is Professor of Modern and Contemporary Art History at the Katholieke Universiteit Leuven, Belgium. She is Director of the Lieven Gevaert Research Centre for Photography
(http://www.lievengevaertcentre.be). She is Editor of Image [&] Narrative (http://www.imageandnarrative.be) and of the LGC-Series (University Press Leuven).