Isabella Galdone is a 5th-year PhD candidate at Yale University. She is a graduate of Smith College and the University of York, where she completed an MA thesis on the work of artist Elizabeth Eleanor Siddall. Her PhD dissertation, tentatively titled Intersecting Spheres: Victorian Women Artists and the Enmeshment of Pre-Raphaelite Painting, Needlework and Amateur Science focuses on the relationship between painting, decorative needlework, specimen collecting and nature study in the work of artists Rosa Brett, Elizabeth Siddall and Joanna Mary Boyce. Her research has been supported by fellowships from the Huntington Library, the Decorative Arts Trust and the British Association for Victorian Studies.

Maeve Diepenbrock is a current MA student at Bard Graduate Center where she is a Dr. Lee MacCormick Edwards Fellow. She graduated from the University of Edinburgh with First Class Honors in History of Art. In her previous studies at the University of Edinburgh and the École du Louvre, Maeve focused on eighteenth-century French decorative arts. She is an intern at the Michele Beiny Gallery and works as Social Media Manager for the Furniture History Society. Maeve is also a member of the Furniture History Society’s Early Career Development Group and the French Porcelain Society’s Emerging Scholars Group.

Loïc Derrien student in History of Design & Curatorial Studies at Parsons School of Design, and a curatorial fellow in the Product Design & Decorative Arts Department at the Cooper Hewitt, Smithsonian Design Museum. He obtained his bachelor’s in history from Durham University focusing on early modern European cultural and art history. Since starting his master’s, he has been awarded the runner up prize for the Design History’s Postgraduate Student Essay prize for a paper he wrote on Piqué objects in 18th century Naples which he later presented at the British Society for Eighteenth Century Studies Annual College at Oxford University. He is now writing his master’s thesis on the relationship between colonial violence and the arts in 17th and 18th century France. 

William Chaudoin holds a BA in Italian from Vassar College and an MA in Art History from the George Washington University, where his research focused on the early modern period in southern Italy. His scholarship explores the ways in which art and architecture served as mediums of devotion and social influence. His current work examines how materiality, consumption, and social structures shape artistic and design practices, with a particular interest in the shifting boundaries between luxury and mass-produced goods.

Hannah Pivo is a Ph.D. candidate in the Department of Art History and Archaeology at Columbia University, where she specializes in twentieth-century design history with a focus on the history of graphic design and information visualization in the United States. She holds a B.A. from Pomona College and an M.A. in Modern and Contemporary Art History from the School of the Art Institute of Chicago. Her work has appeared in the Journal of Design History, Design Issues, and Public Art Dialogue and she is currently completing a dissertation on the use of statistical mapping and graphing for public and private administration in the United States during the 1910s–30s. 

Oz Bender is a second-year in the Parson's History of Design and Curatorial Studies program and is currently studying for exams in 19th-century American visual and material culture with an emphasis on orientalism and nation-building, and 18th-century French furniture and print culture. Oz has a BFA in Craft and Material Studies from Virginia Commonwealth University, where he practiced jewelry-scale metalsmithing, furniture woodwork, and a range of textile arts. He has a passion for rare books and is interested in the histories of parallel developments in decorative arts and science, medicine, and technology.

Iris Moon is Associate Curator in the European Sculpture and Decorative Arts Department at The Metropolitan Museum of Art, where she specializes in European ceramics and glass. She is the author of Melancholy Wedgwood (2024), Luxury after the Terror (2022) and coeditor with Richard Taws of Time, Media, and Visuality in Post-Revolutionary France (2021). In addition to curatorial work, she has taught at Cooper Union.