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Academic Contacts

Natalie Adamson


Natalie joined the School as Lecturer in 2002. She has a BA Hons (Art History and History) from the University of Melbourne, a MPhil in History, University of Melbourne, a MA in Art History from Northwestern University in Chicago and a PhD in Art History from the University of Melbourne (2003). Her research is focused upon issues of art, politics, and cultural and intellectual history in France, 1920-1980, with particular interests in the ways in which art criticism constructs public meaning for artworks; the ideological and aesthetic problems of abstraction and the fate of painting after World War II; and the history of photography. More broadly, her teaching encompasses topics concerning art in Europe 1780-1980, Surrealism and twentieth-century Modernism, post-1945 art and politics in Europe and the USA, and the history of photography.

Prospective research students with interests in these fields are invited to contact Natalie by email or to make a visit to St Andrews to discuss postgraduate study.

From September to December 2015, Natalie will be a Scholar-in-Residence at the Getty Research Institute, Los Angeles, with a project entitled “What Counts as Painting: Pierre Soulages and the Materiality of Postwar Art in France”. In  January 2016 Natalie will commence a two-year Major Research Fellowship from the Leverhulme Trust, working on her book Pierre Soulages: Radical Abstraction

Karen Brown


Karen is Lecturer in Art History & Museum and Gallery Studies, and Director of the School's Museums, Galleries and Collections Institute. She joined the School in 2013 from the University of Cambridge and Trinity College, Dublin, where she was a Marie Curie Postdoctoral Research Fellow. From 2016-2020 she is co-ordinating a new research project funded by the European Commission Horizon 2020 programme called “EU-LAC-MUSEUMS: Museums and Community: Concepts, Experiences, and Sustainability in Europe, Latin America and the Caribbean.” Her research interest in museums is international and interdisciplinary, concerning relationships between museums, their communities and the environment, as well as the visual arts and literature. Her teaching interests also include the history and ethics of museums and collecting, university collections and museums, women artists, and Irish art. She was for eight years a Board Member of ICOM-Ireland, and currently serves on the Board of the European Regional Alliance of ICOM. Karen first studied History of Art and Architecture with French at Trinity College, Dublin, after which she worked as a university Curator of Art.

Brendan Cassidy


Brendan Cassidy taught chemistry in Ghana, West Africa before returning to university to take his M.A. in Art History at Edinburgh and his Ph.D. at Cambridge. He has been Research Associate at the Warburg Institute, University of London (1985-88) and Director of the Index of Christian Art at Princeton University (1988-95). He has taught at St Andrews from 1996 & offers courses on Late-Medieval & Early Renaissance Italian art and on cultural relations between Italy & Britain in the eighteenth century. His recent research has investigated painted & sculpted imagery as evidence of societal tensions in Italy c.1250-1400 and the ways in which it was employed by the political classes to influence public opinion & behaviour. With a particular interest in sculpture he is currently researching a social history of the craft in Italy from the thirteenth century to Michelangelo. He remains interested also in the phenomenon of the Grand Tour.

He would welcome research students with interests in any area of Italian art c1200-1500 or in Anglo-Italian relations in the eighteenth century.

Luke Gartlan


Luke joined the School of Art History in 2007. He is the editor of the peer-reviewed international quarterly History of Photography, and co-editor, with Ali Behdad, of Photography’s Orientalism: New Essays on Colonial Representation (Getty Research Institute 2013). His research concerns photography and cultural exchange in the nineteenth century, especially with reference to the camera’s role in colonial-era visual culture, histories of travel and exploration, and non-Western responses to photography. He is also engaged in research on Japanese modern visual culture and Japanese-European artistic interactions in the nineteenth century, as well as the visual cultures of the Habsburg Empire. With the support of an AHRC Early Career Fellowship, he is currently completing a monograph provisionally entitled A Career of Japan: Baron Raimund von Stillfried and the Business of Yokohama Photography.

Luke received his PhD from the University of Melbourne in 2004. He subsequently taught at the University of Sydney and held postdoctoral fellowships at the University of Vienna and Nihon University, Tokyo. He was a Visiting Fellow at the Australian National University in 2010, during which he co-organised an international two-day conference on studio photography in Asia. Luke has also been invited to speak at numerous international research centres, including Nagasaki University, the Getty Research Institute, the Institute of Fine Arts at New York University, the Courtauld Institute of Art, the Power Institute at the University of Sydney, the Australian National University, and the Freer|Sackler Galleries in Washington, DC.

Luke currently offers modules on ‘Orientalism and Visual Culture’ (AH4148), ‘Histories of Photography, 1835-1905’ (AH4166), ‘Imperial Lens: Readings in Nineteenth-Century Asian Photography’ (AH5141), and ‘Issues in Photographic Criticism’ (AH5146).

Luke welcomes potential students interested in pursuing postgraduate research related to his fields of expertise to contact him directly by email or phone.

Linda Goddard


Linda teaches nineteenth- and twentieth-century European art, and its intersections with literature. She has been a Junior Research Fellow at Churchill College, Cambridge, a British Academy Postdoctoral Fellow at The Courtauld Institute of Art, and a Member of the School of Historical Studies at the Institute for Advanced Study, Princeton.

Her research focuses on relations between word and image, particularly in nineteenth- and twentieth-century France, and on artists’ writings. She is the author of Aesthetic Rivalries: word and image in France, 1880-1926 (Peter Lang, 2012), which explores the tensions as well as associations between literature and visual art during this period. Interactions between the arts are also central to her new book project, on the writings of Paul Gauguin, and to a collection of essays that she edited for a special issue of Word & Image on ‘Artists’ writings 1850-present’ (2012). Her interests in word-image relations also include the visual and literary cultures of travel and colonialism; the connections between visual art and autobiography, and the writing of art’s histories.

She currently teaches courses on ‘Gauguin and Primitivism’ (AH4161), ‘Cubism and its Legacies’ (AH4165), ‘Symbolism, Decadence and Modernity’ (AH4167) and ‘Text and Image in France from Diderot to Dada’ (AH5150).

Linda welcomes enquiries from potential postgraduate students with interests in nineteenth- and twentieth-century art and literature.

Ann Gunn


Ann has worked as Keeper of Art at Nottingham City Museums, Assistant Registrar at Princeton Art Museum, USA, and Registrar of the University of St Andrews Art Collection. She also ran her own gallery which specialised in contemporary Scottish art. She is Honorary Curator of the University’s Fine Art Collection. She is also Chair of Fife Contemporary Art & Craft and a member of the Fife Committee of the Art Fund.

She has undertaken research for the Museums and Galleries Commission, the Scottish Museums Council and the Scottish Institute of Maritime Studies. She has published on 18th -20th century British art, and on research and scholarship in museums. She is co-author of Lifting the Veil: Research and Scholarship in United Kingdom Museums and Galleries (1999), author of The Prints of Wilhelmina Barns-Graham, a complete catalogue (2007).and her most recent publication is The Prints of Paul Sandby (1731-1809): A Catalogue Raisonné (2015).

She has supervised student research on a wide variety of collections management issues, ethics, museums and national identity, collections research, conservation, display and interpretation.

Jeremy Howard


Jeremy Howard works on central and east European art, architecture and design as well as on the relationships between art and education. He is particularly concerned with the representation, spaces and experiences of schooling, and grapples with the socio-political and pedagogic values that these may entail or involve. He has a long-standing interest in, and commitment to, cross-cultural communication. The direction of his teaching, learning and research is partially derived from a desire to probe disciplinary limitations. He is also known as a specialist in the regional variations of Art Nouveau, National/Transnational Styles, and Russian art. In the main he explores questions about the shifting expression of collective and individual identity through studies of visually-based paradigms.

Jeremy received his PhD in Art History from the University of St Andrews in 1991. Prior to this he studied at the Universities of Leningrad (St Petersburg) and Lancaster, and worked at: Duncan of Jordanstone College of Art, Dundee; the Occupational Therapy department of the Ida Darwin Hospital, Cambridge; Bedford Housing Link; Amersham Auction Rooms; and as a travel journalist.

Shona Kallestrup


Shona Kallestrup works on central and east European and Scandinavian art in the 19th and 20th centuries. She has a specialist interest in the art of Romania and her research also focuses on wider issues of national/ local identity, vernacular appropriation and international artistic exchange. Her current research explores the role of the arts in Danish educational establishments.

Shona offers Hons modules in Scandinavian art and design of the 20th C, Dada and Surrealism, Central European Secession Movements and Western European Art Nouveau.  

Shona is a graduate of the University of St. Andrews and the Warburg Institute and has also spent study periods at the Ion Mincu Institute of Architecture in Bucharest. She has previously taught at the Universities of Aberdeen, Edinburgh and Copenhagen.

Research Overview

19th/ 20th- C Romanian art; Habsburg Empire; 20th-C Scandinavian architecture and design.

Lenia Kouneni


Lenia’s primary research concern is the notion of ‘influence’ and artistic contacts between different cultures. Her doctoral thesis ‘Antiquity through Medieval Eyes: The Appropriation of Antique Art in the Trecento’ deals with the perception and reception of Greek and Roman antiquity in fourteenth-century Italy. She is also interested in Italo-Byzantine artistic contacts and has published two articles on the influence of Byzantine iconographic types of the Virgin and Child in Italian painting. Lenia’s other research interests include the Grand Tour and the travels and collections made by the British in the eighteenth century.

Lenia has a BA Hons (Archaeology and Art History) from the University of Athens, Greece. She completed her MLitt in Art History at the University of St Andrews and received her PhD from the same institution in 2009. She has taught at the University of St Andrews and the University of Dundee; she was a Neil Macgregor scholar at the National Gallery, London, doing research for the National Inventory Research Project, and has participated in a number of archaeological excavations in Greece.

At St Andrews, Lenia offers modules on Classicism in Western Art and Byzantine art.

Julian Luxford


Julian has been at St Andrews since January 2004. He has a BA(Hons) from LaTrobe University in Melbourne (1997) and a PhD from Cambridge University (2003), where he was also a Junior Research Fellow at Clare College.

His academic research is primarily concerned with architecture, art and ideas in England during the later Middle Ages. He has a particular interest in the monastic orders. The intellectual and social aspects of medieval objects - their symbolism, functions and contexts - lie at the heart of his work. He also has a developed interest in medieval French, German and Netherlandish architecture and art, and in Netherlandish painting of the sixteenth and seventeenth centuries: Rubens holds a special fascination for him.

Julian encourages students interested in these areas to discuss their interests and research proposals with him.

JL Publication to May 2017 (PDF, 6,480 KB)

Nicôle Meehan


Teaching Fellow. Nicôle joined us in 2016 from the University of Glasgow.  Previously she project managed the Skills for the Future digitisation traineeship programme at the National Galleries of Scotland.  In 2013 as the Elsevier Fulbright scholar she worked at the National Mining Museum (US) curating their geology collections.  Other positions include Historic Scotland's first Online Content Officer and events management at Kentwell Hall.  Nicôle specialises in digital media including creation, access and dissemination.

Laura Moretti


Laura Moretti took her undergraduate degree in architecture and also holds a professional performance diploma in violoncello. She has a PhD in Architectural History, and has been working for several years on the relationship between architecture and music. She is the author of the book Dagli Incurabili alla Pietà. Le chiese degli Ospedali Grandi veneziani tra architettura e musica (1522-1790), Florence: Leo S. Olschki, 2008, and the joint author (with Deborah Howard) of Sound and space in Renaissance Venice. Architecture, Music, Acoustics, New Haven and London: Yale University Press, 2009. She has held prestigious post-doctoral positions (Department of History of Art, University of Cambridge, 2005-07; Worcester College, University of Oxford, 2007-2010; Villa I Tatti, Florence, 2010).

She is the co-ordinator of the International Network ‘Daniele Barbaro (1514-70): In and Beyond the Text’, funded by the Leverhulme Trust. Her book project, entitled In the House of the Muses: Collection, Display and Performance in Sixteenth-Century Italy, has been accepted by Yale University Press (expected publication date 2017). In the Academic Year 2014-15 she will be a Lila Wallace-Reader’s Digest Fellow at Villa I Tatti, the Harvard University Center for Italian Renaissance Studies in Florence.

She would welcome research students with interests in any area of Italian art and architecture c.1450-1600.

Tom Normand


Tom Normand writes on British art in the 19th and 20th centuries, and has a specialist interest in art and photography from Scotland. His research focuses on sociological and political interpretations of art with an emphasis on cultural and national identities. This extends to issues of memory and memorials, the role and character of official institutions, the nature of vernacular culture, and, the representation of the ‘local’ in the visual arts.

In relation to these research interests Tom’s current teaching explores the context and ideology of English art in the period 1900-1939, the conditions of Scottish art in the period after 1945, the history of photography from Scotland, and the politics of American art in the first half of the 20th century.

Tom received his PhD in the Sociology of Art from the University of Durham and has taught at the University of St Andrews since 1982. He is co-ordinator for the Harry and Margery Boswell Collection of Scottish Art at the University of St Andrews.

Tom would welcome applications from postgraduate students interested in all aspects of British visual culture, and its international context, in the 19th and 20th centuries.

Stephanie O’Rourke


Stephanie O’Rourke joined the School in 2016. She holds a Ph.D. from Columbia University and a B.A. from Harvard University. Stephanie specializes in eighteenth- and nineteenth-century European visual culture, with a particular interest in exchanges between the history of art and history of science. Her ongoing research addresses evolving discourses about vision, affect, spectatorship, and the body at the turn of the nineteenth century. Stephanie’s current book project examines epistemology and the body in artworks by Henry Fuseli, Anne-Louis Girodet, and others.  

Prior to coming to St Andrews, Stephanie also conducted research on experimental printmaking and Impressionism as a Museum Research Consortium Fellow at The Museum of Modern Art. Her work has been supported by fellowships and grants from the Social Science Research Council, Yale Center for British Art, Pierre and Tana Matisse Foundation, Cathedral Fund at the Royal Academy, Mellon Foundation, and Columbia University.

Stephanie welcomes enquiries from potential postgraduate students interested in eighteenth- and nineteenth-century visual culture and science, technology, and society. 

Alistair Rider


Alistair Rider (MA, St Andrews; MA and PhD, Leeds) teaches twentieth-century art, with a focus on the art of sculpture, as well as the historical period between the 1950s and the 1970s. He has a special interest in minimalism in the United States, which he explored in his first book, Carl Andre: Things in their Elements (2011). This study argues for adopting a wider approach to the study of minimal art, one that recognizes the extent to which it is reliant on its historically specific context for its very particular effects and impact.

Alistair's recent research engages with notions of artistic selfhood. He is completing a book-length study of a range of twentieth-century artists who chose to pursue long-term art projects, and whose ongoing practice has become equally -- if not more -- important than their individual works. This investigation involves attending to the ways in which artists' lives intersect with wider cultural debates about 'how' we should live. For several years he has been discussing these issues with the poet Thomas A. Clark, and together they have been contributing to a blog that explores the theme, called 'The Single Road', The site currently receives around 1000 hits per month.

More broadly, Alistair has an interest in theories of modern sculpture from the nineteenth century to the present day. He is particularly concerned by questions relating to materiality, durability, contingency, manufacture, scale, modes of display, issues relating to point of view and location, as well as processes of perception. In recent years his research has also widened to embrace artists from a range of different countries, including Brazil, West Germany, Poland, Italy and Canada.

Currently, Alistair is a member of the Academic Advisory Board for the Terra Foundation/ Tate Research Project 'Refiguring American Art 1945-1980', and Reviews Co-Editor for the Sculpture Journal.

Alistair welcomes enquiries from potential students who are interested in pursuing postgraduate research in any field that might connect to these topics.

Sam Rose


Sam Rose received his BA and PhD from the University of Cambridge and the Courtauld Institute of Art, and was a junior research fellow at Peterhouse, Cambridge. His research and teaching is based around modern and contemporary art and art theory/aesthetics. Current research projects focus on the history of the idea of visual modernism (including in global perspective, and in relation to contemporary art), the roles and meanings of formalism in the visual arts, and present-day interactions between art history and aesthetics.

Recent articles have examined the description and interpretation of works of art based on ‘close looking’ (‘Close Looking and Conviction’, in Art History, the idea of ‘formalism’ in the visual arts (‘The Significance of Form’, in Nonsite, and the contemporary status of aesthetics (‘The Fear of Aesthetics in Art and Literary Theory’, forthcoming in New Literary History). Other publications have covered ‘style’ in contemporary painting, the late work of Walter Sickert in dialogue with the writing of Roger Fry (in Art History, formalism in art criticism, and the visual arts in the BBC’s The Listener magazine. For more preprints and offprints see

Honours courses offered in 2016/17 will cover art in England c.1900-1960, and the idea of ‘global’ modern art.

William Rough


Billy completed his MA in Art History at the University of St Andrews and received his PhD on “Walter Richard Sickert and the Theatre c.1880-c.1940” from the same institution in 2010. He has previously taught on a number of History of Art courses at Dundee College and since 2001 he has tutored on the University of St Andrews Evening Degree Programme finally progressing to the post of Art History Evening Degree Co-ordinator in 2009. In 2010 he joined the department as Teaching Fellow.

His research is focused upon the interrelationship of art and the theatre, particularly during the late 19th and early 20th centuries. In addition he has a particular interest in the development and reception of Impressionism in Britain. He currently teaches modules on Walter Sickert and European Art, the relationship between Country, City and Society in Nineteenth Century French Art and Painting and the British Theatre from Hogarth to Sickert.

In 2013 he also project managed and curated The Orchar Collection: Prints which was an AHRC funded collaboration between the University of St Andrews and The McManus: Dundee’s Art Gallery and Museum:

Kathryn Rudy


Kathryn M. Rudy is the author of four major monographs: Rubrics, Images and Indulgences in Late Medieval Netherlandish Manuscripts (Leiden: Brill, 2017); Piety in Pieces: How medieval readers customized their manuscripts (Open Book Publishers, 2016); Postcards on Parchment: The Social Lives of Medieval Books (Yale University Press, 2015); and Virtual Pilgrimages in the Convent: Imagining Jerusalem in the Late Middle Ages(Brepols, 2011). Many of her articles are available online.

She earned her Ph.D. from Columbia University in Art History and also holds a Licentiate in Mediaeval Studies from the University of Toronto. Before coming to St. Andrews, she was Curator of Illuminated Manuscripts at the National Library of The Netherlands (The Hague). Her research focuses on the medieval reception of manuscripts, and how they were manipulated and handled. She has pioneered the use of the densitometer to measure the grime that original readers deposited in their books. On this topic she gave a TED talk.

She currently holds a Paul Mellon Senior Fellowship to write a book about physical interactions with the manuscript in late Medieval England. She has held grants from, inter alia, the British Academy, the Bodleian Library, Oxford; the Getty Research Institute, the Warburg, and the Internationales Kolleg für Kulturtechnikforschung und Medienphilosophie (IKKM) at the Bauhaus-Universität Weimar.

Catherine Spencer


Catherine joined the School as a Lecturer in Modern and Contemporary Art in 2014, having previously taught at the University of Edinburgh and received her PhD from the University of York. Her research and teaching interests span performance art, particularly in the United States, Latin America and Europe, from the 1960s to the present; re-performance and its politics; dematerialized, multi-media, participatory and collaborative practices; the relationship between performance and pedagogy; interdisciplinary overlaps between art, sociology and anthropology; the body, gender and feminism; transnational exchange and globalization; and abstraction.

Catherine is currently working on a book project entitled Fieldwork: Performance Art, Social Science and Politics in the 1960s and 1970s, and is co-editing a collection of essays with Dr Jo Applin and Amy Tobin at the University of York entitled London Art Worlds: Mobile, Contingent and Ephemeral Networks 1960-1980. She has published articles in the journals Art History and Tate Papers, and regularly writes exhibition reviews for Apollo and This is Tomorrow. Her research has been supported by grants from the Terra Foundation for American Art, the Carnegie Trust, the AHRC and a Getty Library Research Grant. In 2013 she was a pre-doctoral fellow on the Terra Summer Residency in Giverny. 

In addition to her work on performance art, Catherine also retains a strong parallel research interest in art practice in the UK from Modernism through to the contemporary moment, building on her MA studies in this area. A chapter on the abstract painter Prunella Clough was published in the book British Art in the Nuclear Age in 2014.

At St Andrews, Catherine teaches the following honours level-courses:

  • AH4214 Body / Politics: Performance Art Since 1960
  • AH4215 Contemporary Art and the Ethics of Fieldwork
  • AH4230 Approaches to Art History

Catherine would be delighted to hear from potential PhD students interested in projects that relate to the above areas.

Current PhD Students:  

Lara Demori, ‘The Ineffectiveness of Representation: Hélio Oiticica, Piero Manzoni, and the Zero State’, co-supervised with Professor Neil Cox (University of Edinburgh) 

Ana Sol Gonzalez, ‘The Pedagogics of the Exhibition of Contemporary Art’, co-supervised with Dr Karen Brown

Ilse Sturkenboom


Ilse joined the School in 2016 as the first Lecturer in Iranian Islamic Art History. Her research concentrates on the arts of the book and painting from Iran and culturally related regions. Before coming to St Andrews, she taught Islamic Art History in Vienna and Bamberg, and was a fellow in Islamic Art at The Metropolitan Museum of Art in New York.  She did her PhD in Islamic Art History and Archaeology and her MA in Iranian Studies at the University of Bamberg.  She holds an MA and a BA degree in Art History from the University of Groningen. 

She will teach in the subjects of Islamic art and architecture from Iran, the Middle East, Central Asia, and India and welcomes potential graduate students in these fields.

Elsje van Kessel


Elsje joined the School in 2012 after holding an annual fellowship at the Centre allemand d'histoire de l'art in Paris and having completed her Ph.D. at Leiden University in 2011. She specialises in Italian Renaissance art and is currently preparing a book on the everyday interactions between paintings and their viewers in sixteenth-century Venice. By integrating archival research, art historical analysis, social history and anthropology, the book aims to demonstrate how and why Venetian viewers treated certain paintings as living beings.

Her research and teaching interests also include the histories and theories of portraiture, as well as the changing functions and effects of works of art in relation to the foundation of the first modern art museums, in eighteenth- and early nineteenth-century Italy but also in in Germany and France. Elsje is the author of articles in Art History and Studiolo, and with colleagues from Leiden University she recently edited the book The Secret Lives of Artworks: Exploring the Boundaries between Art and Life (2014). She is also active as a list editor for the international information network for art history H-ArtHist.

Ulrike Weiss


Dr Ulrike Weiss joined the Museum & Gallery Studies team in 2009, having previously worked in museums in Germany and Britain. Her research focuses on the ‚long eighteenth century’. Her PhD, on South German Rococo sculpture and interior decoration, was published in 1998. Her current work concentrates on Hanoverian political iconography, court culture and numismatics. A recent publication analyses the imagery of the medals celebrating the coronation in 1714 and looks at how they were marketed; and an article on 18th-century riding etiquette for ladies is in preparation. Ulrike acted as deputy chair on the academic advisory board for the current exhibition on the Hanoverian succession to the British throne, held across 5 venues in Hanover.

She is the School’s Director of Teaching.

Ulrike invites prospective research students interested in the field of baroque sculpture and interior decoration, court culture, numismatics as well as museum issues (focusing interpretation and audiences) to contact her to discuss postgraduate study.

Support Staff

Lynn Ayton


Lynn joined the School of Art History in 2006 as a part-time office secretary advancing to full-time in 2011.

James Brown


Jamie joined the school in 2016 as Project Youth Programme Worker and Administrator for a new research project funded by the European Commission Horizon 2020 programme called “EU-LAC-MUSEUMS: Museums and Community: Concepts, Experiences, and Sustainability in Europe, Latin America and the Caribbean.”

A graduate of the school’s MLitt Museum and Gallery Studies course, his experience includes managing and securing funding for diverse community volunteer projects across Scotland and internationally. Previously Jamie graduated in B.A. Community Education at the University of Strathclyde and worked as a teacher in Russia and Romania.

His interests include community development, museums increasing participation, youth empowerment and supporting third-sector development.

Andrew Demetrius


Andrew joined the School of Art History in 2009 after working as image librarian at the National Gallery, London, managing its digital image library.

Previously he worked for image management software developers and several large architectural practises, creating image databases and designing presentations for Ken Shuttleworth, designer of 30 St Mary Axe (the Gherkin) and former Stirling prize winner Chris Wilkinson.

An artist and designer, he studied fine art to postgraduate level at Wimbledon School of Art and the University of Brighton. He was a visiting lecturer at the University of Newcastle and also worked at the Hayward Gallery and Tate Modern.

Since joining the University Andrew has contributed to the Decorated School research project and curated the exhibition Sam Smith: Boats, Beasts and Beauties at the School of Art History and the Scottish Fisheries Museum.

Mary Kettle


Mary joined the School of Art History in January 2015 from the School of International Relations where she had worked since 2006, initially part-time as the Editorial Assistant to the Review of International Studies then full time as the Postgraduate Secretary.

Dawn Waddell


Dawn joined the school in 1982. She ensures that the students are put first in 'Scotland's first university'. But beware! She doesn't like mobile phones, and if you break off a conversation with her to answer one, don't expect her to be waiting patiently when you finish the call!

Associate Staff

Annette Carruthers


Annette joined the School in 1991 after 14 years as a curator of decorative arts at museums in Leicestershire and Cheltenham. She completed a Leverhulme research project on ‘Form and Function in the Scottish Home’, jointly organised by the University and National Museums Scotland, and then taught Museum and Gallery Studies and Art History until her retirement in 2014.

Annette’s main research interest is the Arts and Crafts Movement in Britain and Europe, with a particular focus on furniture and interiors. Her book on The Arts and Crafts Movement in Scotland was published in 2013 and she is currently working with Mary Greensted and Barley Roscoe on a new study of Ernest Gimson for publication in 2018.

Richard Fawcett


Richard received his PhD for research on the 14th and 15th-century church architecture of East Anglia. He spent a period on the curatorial staff at Temple Newsam, which led him to develop an interest in country houses and their architects. But most of his career was in the Inspectorate of Ancient Monuments of Historic Scotland, dealing with the conservation, interpretation and presentation of architectural monuments and buildings. While retaining wider interests, his present research is largely focused on the medieval architecture of Scotland, and especially on the sources of the ideas behind the design of church in the later middle ages.

He has published widely on many aspects of architectural history, and his most recent book is on the architecture of the Scottish medieval Church (Yale University Press, 2011), which was awarded the Alice Davis Hitchcock Medallion for 2012 of the Society of Architectural Historians of Great Britain. He is currently leading an AHRC-funded research project looking at the medieval parish churches of Scotland. He delivered the Rhind Lectures to the Society of Antiquaries of Scotland in May 2013.

Richard is a Fellow of the Royal Society of Edinburgh and of the Societies of Antiquaries of London and Scotland. He was appointed OBE in 2008.

Sophie Oosterwijk


Sophie has a PhD in art history (Leicester) and in English literature (Leiden). She specialises in portraiture and representation, death and commemoration in European art. Medieval, Netherlandish and Dutch seventeenth-century art are among her other teaching interests. She has published widely, including two co-edited volumes on the production of tomb sculpture in England and Wales in the fourteenth century (2010) and on the danse macabre in medieval and early modern Europe (2011). She is co-editor of the journal Church Monuments and also collaborated on the Dutch MeMO (Medieval Memoria Online) database, which was launched in 2013.

Graham Smith


Emeritus Professor

School of Art History
University of St Andrews
79 North Street
St Andrews
KY16 9AL

Tel: 01334 462399

See also