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Cynthia Stollhans, Ph.D., joined the faculty of Saint Louis University in 1986 and has been teaching a variety of courses in Italian Renaissance and Ancient Art. In 2014 she published 鈥淪aint Catherine of Alexandria in Renaissance Roman Art: Case Studies in Patronage.鈥� Stollhans鈥� current research is on courtesans and mistresses as art patrons in Renaissance Rome. An essay on the courtesan Fiammetta will appear in Katherine McIver and Cynthia Stollhans, 鈥淧atronage, Gender and the Arts in Early Modern Italy: Essays in Honor of Carolyn Valone鈥� (2015).

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A native of Chicago, sculptor has exhibited nationally in cities including Chicago, New York, San Francisco, Los Angeles, and St. Louis, and his international showings include the Grand Palais in Paris and the National Museum of Modern Art in Tokyo. He has taught at a number of institutions, including The School of the Art Institute of Chicago, Notre Dame University, and DePaul University. He has been the recipient of numerous grants and awards, including a commission for the Chicago Transit Authority鈥檚 Rockwell station, titled 鈥淗idden Movers.鈥�

Skomski infuses his work with his Buddhist understanding of life and describes his artistic process as an effort to use industrial materials to create works that reveal a deeper reality and the richness of mystery. His large sculpture titled 笔颈别迟脿, included as part of the MOCRA exhibition 鈥淧ost-Minimalism and the Spiritual: Four Chicago Artists鈥�, has been a prominent presence in MOCRA鈥檚 balcony gallery since 1994.

, an artist based in Boston and New York, has played a leading role in the American revival of the ancient technique of . With over thirty-five solo exhibitions nationally and internationally, her work is represented in such prestigious collections as the Museum of Modern Art, New York; The Metropolitan Museum of Art, New York; the National Gallery of Art, Washington DC; The British Museum, London; Victoria and Albert Museum, London; and the Ashmolean Museum, Oxford, England.

Her drawings juxtapose a wide variety of metals (silver, gold, brass, copper, platinum, pewter, bronze and aluminum) to obtain soft shifts in tone and color. Horizontal bands evoke an atmosphere of serenity, and the shimmer of light on the surface, created by the metals, is quite unlike any of the usual effects of metalpoint. Several of her works were included in MOCRA鈥檚 inaugural exhibition, 鈥淪anctuaries: Recovering the Holy in Contemporary Art鈥�, and are found in MOCRA鈥檚 collection.

 (1931鈥�2017) was an outstanding figural artist, whose work has been exhibited nationally and internationally, and is found in collections including the San Francisco Museum of Modern Art (SFMOMA), The National Museum of American Art, The Corcoran Gallery of Art, The Library of Congress, The Oakland Museum, and MOCRA. Among the honors she received was a 2003 鈥淟ifetime Achievement Award鈥� award from the National Women鈥檚 Caucus for Art. Dickinson was Professor Emerita at the California College of the Arts. 

Dickinson鈥檚 subject is the human form in all of its strength, joy, and vulnerability, which she renders in a dramatic style reminiscent of Italian Baroque artist Caravaggio. Some of her most evocative work are images of contemporary people from all walks of life posed in the form of the crucifixion. A number of these works, rendered with colored pastel on black velvet, were exhibited in MOCRA鈥檚 inaugural exhibition, 鈥淪anctuaries: Recovering the Holy in Contemporary Art鈥�, as well as in a retrospective solo exhibition at MOCRA in 1995. Art historian Peter Selz wrote in Art in America, 鈥淚n these poignant, self-contained images, Dickinson has managed to universalize individual distress and hope: in Wittgenstein鈥檚 words, 鈥榯he human body is the best image of the human soul.鈥樷��

Wilson Yates is President Emeritus of United Theological Seminary of the Twin Cities and founding Editor of the journal . Yates is one of the key educational figures in the dialogue between the arts and the religious dimension. He is the author of 鈥淎rts in Theological Education: New Possibilities for Integration,鈥� co-editor of 鈥淭heological Reflections on the Grotesque in Art and Religion鈥� and 鈥淭he Arts, Theology and the Church,鈥� and author of numerous articles on the dialogue between art and religion.