Biography
At Cambridge, I teach modern and contemporary art across the Tripos, and convene the special subject module 'Vision and Representation in Contemporary Art', which focuses on the politics of representation, figuration, surveillance and censorship in recent art and visual culture.
My research is concerned with histories of feminism and art. I am currently working on a book project on sisterhood and the women's liberation movement in Britain and the US, which emerges from my PhD thesis 'Working Together, Working Apart: Feminism, Art and Collaboration in Britain and North American, 1970–1981' completed in 2017 at the University of York under the supervision of Jo Applin. I have written on numerous artists including Helen Chadwick, Rose English, Rose Garrard, Eva Hesse, Candace Hill, Alexis Hunter, Suzanne Lacy, Linder, Rosemary Mayer, Julie Mehretu, Howardena Pindell, Cecilia Vicuña, Jo Spence and Hannah Wilke, and curated exhibitions on Louise Bourgeois, Julie Mehretu, Ian Giles, Rose Garrard, Linder, and Sutapa Biswas at Kettle's Yard. I also regularly write art criticism for Burlington Contemporary.
I was a pre-doctoral fellow at the Library of Congress in Washington D.C. in 2014 and a Terra Foundation for American Art pre-doctoral researcher in 2014–5. After my PhD I won post-doctoral research grants from the Paul Mellon Centre for Studies in British Art and the Henry Moore Foundation. In 2019-20 I was the Terra Foundation for American Art and the Paul Mellon Centre's Anglo-American Art Research fellow, and in the same year also received a Terra foundation post-doctoral travel grant and a library grant from the Rose Library, Emory University, Atlanta.
I have taught modern and contemporary art history and theory at the Universities of York and Birmingham, as well as at Goldsmiths, University of London, City and Guilds Art School and West Dean College. My research is published in British Art Studies, MIRAJ and Tate Papers and I have contributed chapters to Collaboration and its (Dis)Contents, (Courtauld Books Online, 2017), Other Cinemas: Politics, Culture and Experimental Film in the 1970s (IB Tauris, 2017), Feminism and Art History Now (IB Tauris, 2017) and A Companion to Feminist Art (Blackwell, 2019). I am also a co-editor of London Art Worlds: Mobile, Contingent and Ephemeral Networks 1960–1980 (Penn State University Press, 2018) with Jo Applin and Catherine Spencer. I co-edited The Art of Feminism (Chronicle and Tate, 2018) with Lucy Gosling, Helena Reckitt and Hilary Robinson.
Research
My research interests include: the relationship between feminism, art practice and art history; art and queer theory; art and post-colonialism; art and critical race theory; British and American art in the 1970s and 1980s; experimental cinema and moving image art; collaboration, collectivity and community in Modern and Contemporary art.
I am interested in supervising graduate research on gender, race, sexuality or class in 20th or 21st century art or visual culture, as well as projects on Modern or Contemporary British or American art or visual culture more broadly. I welcome enquiries from prospective students for MPhil and PhD.
I co-organise the project: Group Work: Art and Feminism with Dr Catherine Grant (Goldsmiths) and Dr Rachel Warriner (Courtauld Institute of Art). https://groupworkartandfeminism.wordpress.com/
Publications
Books
A Woman’s Place, exh. cat. London: Raven Row, 2017. Text available at: http://www.ravenrow.org/texts/75/
Edited Books
With Alessandro Vincentelli, Sutapa Biswas, Cambridge and Gateshead: Kettle’s Yard and BALTIC, 2021 [forthcoming].
Linderism, Cambridge: Kettle’s Yard and Koenig Books, 2020.
With Devika Singh, Homelands: Art from Bangladesh, India and Pakistan, Cambridge: Kettle’s Yard, 2019.
With Lucy Gosling, Helena Reckitt, Hilary Robinson, Art of Feminism, London and San Francisco: Tate and Chronicle Books, 2018. [responsible for: ‘Defining Feminism 1960–1989’.] [Translated into French and published by Hugo in 2019; Russian edition slated for 2021].
With Jo Applin, Catherine Spencer, London Art Worlds: Mobile, Contingent and Ephemeral Networks 1960–1980, Pennsylvania State University Press, 2018. Out Now: http://www.psupress.org/books/titles/978-0-271-07853-3.html
Peer-Reviewed Journal Articles
Women and Work: A Document on the Division of Labour in Industry 1974 by Margaret Harrison, Kay Hunt and Mary Kelly, Tate In Focus Research Publication. [forthcoming]
Heresies’ Heresies: Collaboration and Dispute in a Feminist Publication on Art and Politics, Women: A Cultural Review, Special Issue ‘Danger: Women Reading’ edited by Victoria Horne.
‘I’ll Show You Mine, If You Show Me Yours’, in the ‘Mediating Collaboration’ special edition of Tate Papers, edited by Catherine Spencer, Amy Tobin and Harry Weeks, no. 25, Spring 2016. http://www.tate.org.uk/research/publications/tate-papers/25/i-show-you-m...
‘Moving Pictures: Intersections between Art, Film and Feminism in the 1970s’ in MIRAJ, Feminisms Special Issue, edited by Catherine Elwes, vol.4, no.1–2, Spring 2016: 118–135.
Peer-Reviewed Book Chapters
‘On Feminism, Art and Collaboration’ in A Companion to Feminist Art, edited by Hilary Robinson and Maria Buszek, Blackwell, 2019.
with Fiona Anderson, 'Collaboration is Not an Alternative', Collaboration and its (Dis)Contents, (Courtauld Books Online, 2017).
‘Rapunzel, Let Down Your Hair (1978)’ in Other Cinemas: Politics, Culture and British Experimental Film in the 1970s edited by Sue Clayton and Laura Mulvey, I.B. Taurus, 2017.
With Victoria Horne, ‘An Unfinished Revolution in Art Historiography, Or How to Write a Feminist Art History?’ Feminist Review, no.107, 2014: 75–83. Republished in Feminism and Art History Now: Writing, Curating and Caring for the Past, IB Taurus, 2017.
Other Publications
‘Hesse/ Wilke’, Erotic Abstraction: Hesse and Wilke, New York, Acquavella and Rivoli, 2020.
‘Linderism: The Red Period’, Linderism, Cambridge and London: Kettle’s Yard and Koenig Books, 2020.
‘Feminist Sisterhood: Difference in the Women’s Art Movement’, Histórias das mulheres, Histórias feministas, edited by Andre Mesquita. Sāo Paolo: Museu de Arte de São Paulo, 2019.
‘Sfumato Again’, Julie Mehretu: Prints and Drawings, Cambridge: Kettle’s Yard, 2019.
‘Approach to Fear’, Alexis Hunter, London: Goldsmiths, 2018.
With Catherine Elwes, ‘An Interview with Rose Garrard’, in MIRAJ, February 2018.
‘On Charity’, Kate Davis, Charity. Lux, 2017.
‘Collaboration, Art and Activism, 1970–1981’, in Jacqueline Morreau, London: Nunnery Gallery, 2017.
‘The Internationalism of Feminist Art in 1970s Britain’ in British Art Studies, vol.1, no.1 2015. http://www.britishartstudies.ac.uk/issues/issue-index/issue-1/conversation
