Jean Robertson is Chancellor’s Professor of Art History Emeritus at Indiana University Indianapolis, Herron School of Art and Design, where she received three Indiana University awards for excellence in teaching. She specializes in art history and theory after 1980, viewed in a global context. She served as founding co-director of the Southern Ohio Museum and associate curator of the Columbus (Ohio) Museum of Art. Among her publications are Themes of Contemporary Art: Visual Art after 1980; Spellbound: Rethinking the Alphabet; and Painting as a Language: Material, Technique, Form, Content, all co-authored with Craig McDaniel.Dr. Robertson wrote chapters on European and North American art from the Romantic period to the present. She was primary author on Chapter 74, “Art of the Global Contemporary,” and coordinated contributions from co-authors who are experts on other regions. Along with Deborah Hutton, she is also the textbook’s co-lead author, and assisted with editing all of the chapters, co-authoring the Part Openers, and coordinating vocabulary throughout.Deborah Hutton is Professor of Art History in the Department of Art and Art Education at The College of New Jersey. Her research explores art made for the Muslim courts of South Asia between the sixteenth and early twentieth centuries. Her book Art of the Court of Bijapur won the American Institute of Indian Studies Edward Cameron Dimock Jr. Prize in the Indian Humanities. She co-authored (with Deepali Dewan) Raja Deen Dayal: Artist-Photographer in 19th-century India and co-edited (with Rebecca Brown) Asian Art: An Anthology; Blackwell Companion to Asian Art; and Rethinking Place in South Asian and Islamic Art, 1500–Present. She also co-authored (with De-nin Lee) The History of Asian Art: A Global View.Dr. Hutton wrote chapters on the art of South and Southeast Asia from the earliest periods to the present, and on Islamic art in North Africa, West Asia, and Central Asia from the seventh century to the present. In collaboration with De-nin Lee, she co-authored the Introduction. Along with Jean Robertson, she is also the textbook’s co-lead author, and assisted with editing all of the chapters, co-authoring the Part Openers, and coordinating vocabulary throughout.Cynthia S. Colburn is Blanche E. Seaver Chair of Fine Arts and Professor of Art History at Pepperdine University where she has received two awards for excellence in teaching. Her research focuses on the art and archaeology of the ancient Mediterranean, especially the role of dress and performance in identity construction, transcultural interaction, and global art history. Her publications include Gender Violence, Art, and the Viewer: An Intervention (co-edited with Ellen Caldwell and Ella Gonzalez), and Reading a Dynamic Canvas: Adornment in the Ancient Mediterranean World (co-edited with Maura K. Heyn). She has also conducted archaeological fieldwork in Italy, Greece, and Turkey.Dr. Colburn authored ten chapters on Cycladic and Minoan art; Villanovan and Etruscan art; and Greek and Roman art.Ömür Harmansah is Director of the School of Art & Art History and Associate Professor of Art History at the University of Illinois at Chicago.As an archaeologist and an architectural historian, Dr. Harmansah specializes in the art, architecture, and material culture of ancient West Asia. He is the author of Cities and the Shaping of Memory in the Ancient Near East and Place, Memory, and Healing: An Archaeology of Anatolian Rock Monuments.Dr. Harmansah authored chapters on the art of Mesopotamia, ancient West Asia and West Asian Empires, and ancient Egypt from the Predynastic Nile Valley through the Late Period. He was primary author on Chapter 1, “The Beginnings of Art,” and coordinated contributions from co-authors who are experts on other regions.Eric Kjellgren is a leading scholar of the arts of Oceania. Formerly the curator of Oceanic Art at the Metropolitan Museum of Art in New York, director of the American Museum of Asmat Art (AMAA), and a member of the Art History faculty at the University of St. Thomas in Minnesota, he has worked extensively with contemporary First Nations Australian artists and conducted research in Vanuatu. Dr. Kjellgren has written more than 40 articles and 2 books on the arts of Oceania (How To Read Oceanic Art and Oceania: Art of the Pacific Islands in the Metropolitan Museum of Art); curated numerous exhibitions at the Metropolitan and the AMAA; and had curatorial responsibility for the 2007 redesign and reinstallation of the Metropolitan’s permanent galleries for Oceanic Art.Dr. Kjellgren wrote chapters on the arts of Oceania from the earliest period to the present, including the section on Oceanic art in Chapter 7.Rex Koontz is Moores Professor of Art History at the University of Houston and Consulting Curator of Ancient American Art at the Museum of Fine Arts, Houston. He has studied the public sculpture of Ancient Mexico for more than two decades, and published articles, book chapters, and the books Lightning Gods and Feathered Serpents; Blood and Beauty: Organized Violence in the Art and Architecture of Mesoamerica (with Heather Orr); Landscape and Power in Ancient Mesoamerica, edited with Kathryn Reese-Taylor and Annabeth Headrick; and Mexico, with Michael Coe and Javier Urcid.Dr. Koontz wrote chapters on the art of the Americas, from early South America and Mesoamerica and North America, to the art of North, South, and Mesoamerica from 1300 onward.De-nin D. Lee  is Professor of Art History in the department of Visual & Media Arts at Emerson College. Her current research takes an ecocritical approach to images of Chinese landscape. She is author of The Night Banquet: A Chinese Scroll through Time and editor of Eco–Art History in East and Southeast Asia. She co-authored (with Deborah Hutton) The History of Asian Art: A Global View.Dr. Lee wrote chapters on East Asia—the areas of present-day China, Mongolia, Japan, and Korea—from prehistorical times to the modern period. In collaboration with Deborah Hutton, she co-authored the Introduction.Henry Luttikhuizen is the Lena Meijer Professor of Art History at Aquinas College. He has served as the president of the Midwest Art History Society and the American Association of Netherlandic Studies. With Dorothy Verkerk, he co-authored the second edition of Snyder’s Medieval Art and with Larry Silver, the second edition of Snyder’s Northern Renaissance Art. He is also co-editor of The Primacy of the Image in Northern European Art, 1400–1700. Dr. Luttikhuizen has curated numerous exhibitions, including The Humor and Wit of Pieter Bruegel the Elder and Stirring the World: German Printmaking in the Age of Luther.Dr. Luttikhuizen wrote the chapters on Jewish and Christian art in late antiquity; art of the Byzantine Empire and the Mediterranean world from 500–1500; and European art from the early medieval period to the lateMiddle Ages, including Romanesque and Gothic art and architecture.Allison Lee Palmer is Professor of Art History in the School of Visual Arts at the University of Oklahoma, where she has won numerous teaching awards. She specializes in Italian Renaissance art and Baroque architecture, and her publications include Leonardo da Vinci: A Reference Guide to His Life and Works; Historical Dictionary of Architecture; Historical Dictionary of Romantic Art and Architecture; and the Historical Dictionary of Neoclassical Art and Architecture.Dr. Palmer authored chapters on the art of Renaissance Europe, including Italy, Spain, France, northern Europe, and England, from the fifteenth through the sixteenth centuries.Stacey Sloboda is the Paul H. Tucker Professor of Art at the University of Massachusetts Boston. Her research focuses particularly on eighteenth-century art, design, and material culture in Britain, with a special interest in cross-cultural exchange and global networks. She is the author of Chinoiserie: Commerce and Critical Ornament in Eighteenth-Century Britain; co-editor of Eighteenth-Century Art Worlds: Global and Local Geographies of Art; and editor of Interiors in the Age of Enlightenment: A Cultural History.Dr. Sloboda authored chapters on European art in the Baroque period, in the Dutch Republic, during the Enlightenment, and the Rococo and Neoclassical periods. She also played a pivotal role in conceiving the “Seeing Connections” features, and in coordinating the efforts of her co-authors as they collaborated on the features.Monica Blackmun Visonà  is Professor of Art History and Visual Studies and affiliate faculty in African American and Africana Studies at the University of Kentucky. Her primary research has been conducted in Ivory Coast and Ghana, and she has interviewed artists and curators in eight other African nations. She was principal author of the first two editions of A History of Art in Africa, and she co-edited (with Gitti Salami) A Companion to Modern African Art. Her other publications include Constructing African Art Histories for the Lagoons of Côte d’Ivoire.Dr. Blackmun Visonà authored five chapters on the art of Africa from early art through the postcolonial period, integrating them with chapters on ancient Egypt and Islamic art. Drawing on twenty years of teaching global surveys, she contributed to the Part Openers, several Seeing Connections features, and the Linkages.