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Research Student Profiles _________________________

Emma Black

E.Black

Emma Black

I have an MSc in Classics from The University of Edinburgh, BSc (Hons) in Literature and Classics, and a Postgraduate Certificate in Professional Studies in Education. For seven years, I worked in public engagement for Surgeons’ Hall Museum, The Royal College of Surgeons of Edinburgh. In December 2015, I moved to Haemophilia Scotland to concentrate on building patient communities through events and activities.

Thesis: The lives and deaths of ‘others':  who cares for patients in medical museums?

Supervised by: Jeremy Howard/Ulrike Weiss (Joint)

The aim of my research is to address the underrepresentation of the patient’s voice in medical environments and public spaces, with particular emphasis on excluded groups who could benefit from using art and museum collections to explore their own health and preventative medicine. My first chapter concentrates on re-examining ethics, access and inclusion in relation to medical collections. The following chapters will explore the creation of new patient and medical narratives in settings relating to gender, poverty and the criminal justice system.

Selected publications and activities (2013-2015):

2015 – 2016 - Curating Project Venus: research project on medical collections and gender with Craigmillar Community Arts, Waverley Care and Willow

2014 - 2015 Touring Exhibition Coordinator and Curator for Words and Deeds, Weapons and Wounding, in partnership with The Royal College of Surgeons and The Centre for Modern Conflict, The University of Edinburgh.

2014 Coordinator and Curator ofWord of Mouth exhibition in partnership with Edinburgh College of Art, The University of Edinburgh and Craigmillar Community Arts.

2013 – 2015 design and delivery of the activity plan for The Lister Project, a £4.2 million Heritage Lottery Fund redevelopment project for The Royal College of Surgeons of Edinburgh.

Chapters:

  • Black, E. Capturing the Queen: Travelling Ideologies and Cultural Innovations on the Chessboard, from The Lewis Chessmen: New Perspectives, David Caldwell (ed) The National Museums of Scotland, 2014

Journals:

  • Lest we forget: The Deserter’s Tattoo, Surgeons News, September 2015
  • Anatomy on a Plate: The Work of Emil Ponfick, Surgeons News, June 2015
  • ‘Embarrassing illness on tour: Syphilis and The American Civil War, Surgeons News, March 2015
  • The Enigma of the Neanderthal Skull, Surgeons News, September 2014
  • The Tibia of Charles Anderson, Surgeons News, Surgeons News, June 2014
  • Cut from the Bladder: The Calculus of Thomas Murray, Surgeons News, vol.13, issue 1, March 2014  
  • The Death Cast of John Brogan, Surgeons News, December, 2013

Words and Deeds: Women, Caregivng and Warfare, Surgeons News, vol.12, issue 3, September 2013  

  • The Case of Robert Penman’s Tumour, vol.12, issue 3, September 2013 
  • The Gunner with the Silver Mask, Surgeons News, vol.12, issue 3, June 2013

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Natalie Boerder

Natalie Boerder

I have a BA in the History of Art as well as Film Studies from Southern Methodist University. In 2014, I completed my Masters at the Courtauld Institute of Art in Medieval Art. Prior to starting my PhD I worked as a paid intern at the Metropolitan Museum of Art in New York. 

Thesis: The Art of Storage

Supervised by: Dr. Kathryn Rudy

In the Middle Ages the act of storage, the placing of one item within another for the purpose of mental or physical preservation, endowed the contained with qualities of significance and uniqueness. Whether the contained remained visible or became veiled, this action put the item on display. Instead of focusing directly on those items preserved, I seek to examine their storage containers—boxes, pyxes, coffrets, high chairs, cassoni, credenzas and reliquaries.  Large or small, a container’s shape, materials and styles provide insight into not only why the contents were acknowledged as special but also how the storage container helped to separate, distinguish the preserved, promote the owner,  and abstractly helped produce and preserve memory. Whether to maintain the finger bone of a venerated saint or hold a lover’s lock of hair, storage containers represent a vast genre of medieval artifacts. While ornamentation, size, and shape may initially disassociate these items, these containers remain linked by the powerful duty to hold, preserve, promote, and memorialize.

Research interests: Material Culture, Medieval Art, Phenomenology, Social Anthropology

Publications, Activities, and Conferences:

  • “The Art of Public Storage and Display” Cultural History of the Interiors (Bloomsbury) edited by John Turpin and Mark Taylor – Forthcoming
  • Assistant Editor of the North Street Review
  • University of Cardiff, September 2015- “Manipulations of the ‘Other’: Images and Writings of Conquest and Defence.”

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Laura Castro Royo

Laura Castro Royo

Laura Castro Royo

I have a BA in Art History from the Universidad de Valencia and a MA in Medieval Studies from the Universidad Complutense de Madrid.

Thesis: “The mythical bird Simurgh in the text and iconography of medieval Persia”

Supervised by: Dr. Ilse Sturkenboom and Dr. Saeed Talajooy

My PhD thesis aims to analyse the mythical bird Simurgh as a literary and as a visual motif in medieval Persia. In Islamic times, the Simurgh features as an important figure in the Shahnameh (‘Book of Kings’) of Ferdowsi, which he completed around 1010 CE, and keeps recurring in Persian books thereafter such as in Sohravardi’s philosophical treatises (c. 1190 CE), and in ʿAttar’s Mantiq al-Ṭayr (‘Conference of the Birds’) of around 1200.

Research interests: Persian Literature, Mythology, Zoroastrianism, Manuscripts

Publications and activities:

Publications

· «El fenómeno del Mudejarismo y sus debates, ss. XIX-XX», in Roda da Fortuna. Revista Eletrónica sobre Antiguidade e Medievo, 2016, vol. 5, n. 1, pp. 57-71. ISSN: 2014-7430.

· «El erotismo de Oriente y los escritos del Cannibal Club», in Herejía y Belleza. Revista de estudios culturales sobre el movimiento gótico, 2016, vol. 4, pp. 156-171. ISSN: 2255-193X.

· «La legitimación del poder en la Persia medieval a través del Šāh-nāmeh, El Libro de los Reyes», in Roda da Fortuna. Revista Eletrónica sobre Antiguidade e Medievo, 2014, vol. 3, n. 2, pp. 78-94. ISSN: 2014-7430.

Papers

April 2017 — Madrid, I Jornadas de Ciencias de la Edad Media. Paper: Creación y Destrucción. La memoria de la Montaña Sagrada en la Literatura Persa Medieval.

November 2016 — Córdoba, International Conference Artistic Dialogue during the Middle Ages. Islamic Art – Mudéjar Art. Casa Árabe Córdoba. Paper: La dialéctica estructural en el 'revival' andalusí como parte identitaria de la España romántica: el redescubrimiento del arte islámico y su inserción en el pasado nacional.

November 2016 — Madrid. Encuentro Internacional Cultura Persa, Miradas hacia el Pasado y el Presente. Universidad Autónoma de Madrid. Paper: Introducción al Zoroastrismo y sus textos sagrados.

October 2016 — Murcia. VI Congreso Internacional de la Sociedad Española de Iranología. Universidad de Murcia. Paper: “May that time never come”: El mito del Fin del Mundo y la Renovación en el Zoroastrismo.

September 2016 — Zurich, International Conference The Power of Symbols. The Almhabra in a Global context. Univerity of Zurich. Paper: La inserción del pasado islámico en la identidad nacional española a través de la arquitectura revival: el caso del Palacio de Laredo.

June 2016 — Lleida, 6th International Medieval Meeting. Universitat de Lleida. Paper: Epiphany, creation and destruction: the memory of the Sacred Mountain in Persian Literature.

June 2016 — Nantes, 1st Atlantys International Conference. The End of the World, a Universal imagination? Université de Nantes. Paper: From Destruction to Resurrection: the Zoroastrian particular vision of the End of the World.

May 2016 — Together with MA Lucía Triviño Guerrero. Madrid, I Simposio de Estudios Medievales. Retos de la investigación. Ateneo de Madrid. Paper: La otra cara de la historia. La divulgación a través de los proyectos «Las plumas de Simurgh» y «Las hojas del Bosque».

May 2016 — I Congreso de Investigación Tobed Mudéjar – Patrimonio Mundial. Paper: La búsqueda de la identidad nacional a través de la arquitectura: Neo-Mudéjar versus Neo-Andalusí.

May 2016 — Madrid, XV Encuentro de Jóvenes Investigadores de Historia Antigua, Universidad Complutense de Madrid. Paper: Monoteísmo en la Antigüedad: el Zoroastrismo y sus formas de culto.

April 2016 — Madrid, VI Jornadas de Estudios Medievales Hispánicos, Universidad Autónoma de Madrid. Paper: ¿Arquitectura “mudéjar”? Revisión terminologica e historiográfica.

February 2016 — Lleida, III Winter School, Universitat de Lleida. Paper: Hidden Heritage: Neo-Moorish Architecture in Spain.

November 2015 — Cáceres, IV Congreso Internacional de Jóvenes Medievalistas Ciudad de Cáceres, Universidad de Extremadura. Estudiar la Edad Media en el siglo XXI: herencia historiográfica, coyuntura académica y renovación. Paper: El fenómeno del mudejarismo y sus debates (ss. XIX-XX).

October 2015 — Madrid, IV Congreso sobre arte, literatura y cultura gótica urbana. Universidad Complutense de Madrid. Paper: El erotismo de Oriente y los escritos del Cannibal Club.

September 2015 — Lisboa, 1st International Congress: The Birds in Natural History, in Prehistory and in History, Biblioteca Nacional de Portugal. Paper: Stormbird in Mesopotamia: from Avesta to Šāh-nāmeh.

July 2015 — Lleida, 5th International Medieval Meeting, Universitat de Lleida. Paper: The identity of the griffin bird in Avesta: Saēna as a prefiguration of Ferdowsī’s Simurgh.

April 2014 — Valencia, Instituto Valenciano de Conservación y Restauración IVC+R. Lecture: La visión del Islam en las Cantigas de Alfonso X.

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Alexandra Chiriac

A.Chiriac photo

I hold an MA in Art History from the Courtauld Institute of Art. Prior to embarking on my PhD I worked for Sotheby’s, as well as curating public programmes and a number of critically acclaimed exhibitions for GRAD, a non-profit space for Russian and Eastern European arts in London.

Thesis: ‘Oriental Constructivism’? The Search for Modernity in Decorative & Applied Arts in Interwar Bucharest

Supervised by: Dr Jeremy Howard

Funded by: SGSAH AHRC Doctoral Training Partnership

My doctoral research aims to examine the history of applied arts and design in interbellum Bucharest, highlighting the interchanges between modernist movements in Eastern and Western Europe. Existing research in the field has focused on the emergence of the historicist neo-Romanian style and as a result the history of decorative and applied arts in Romania has become subsumed with that of traditional crafts. Through my research I wish to address this imbalance by excavating the contribution made by Romanian artists to international design practices and pedagogy, including the foundation of a Bauhaus-inspired Academy of Decorative Arts and the creation of artist-led design studios, avant-garde journals and international exhibitions. It is my intention to add to the growing number of works that expand the definition of modernism away from Western European practices, emphasising the mobility of the international avant-gardes and the shifting boundaries between the applied and fine arts.

Publications and activities:

Publications:

  • ‘Fedor Lopukhov and the Bolt’, Studies in Theatre and Performance, special edition in collaboration with the Victoria & Albert Museum, Vol. 36, No. 3, August 2016.
  • ‘Soviet Cinema and the Age of Mechanical Reproduction’ in Elena Sudakova and Alexandra Chiriac (eds), Kino/Film: Soviet Posters of the Silent Screen, GRAD: London, 2014.
  • ‘Soviet Textiles: Between Communism and Commerce’in Elena Sudakova (ed), See USSR. Intourist Posters and the Marketing of the Soviet Union, GRAD: London, 2013.

 Conference papers:

  • ‘Oriental Constructivism? Romanian Modernism between East and West’. Borders of Modernism conference, Centre for European Modernism Studies, University of Perugia, December 2016.
  • ‘Oriental Constructivism? The Carpet Designs of M. H. Maxy’. Central European Art and Culture Seminar, Barber Institute of Fine Art, University of Birmingham, June 2016.
  • 'A Woman's Place: To be or not to be Avant-Garde’. Biennial conference of the European Network for Avant-Garde and Modernism Studies (EAM), Université Rennes 2, June 2016.
  • ‘How to Make Friends and Influence People. Hospitality as a Feminist Weapon’. Hospitable Modernisms conference, University of Sussex, May 2016.

Other activities:

  • In my capacity as Curator and Public Programmes Coordinator at GRAD: Gallery for Russian Arts and Design, London, I was involved in several exhibition projects. ‘Work and Play behind the Iron Curtain’, which I co-curated in 2014, was selected as one of the Guardian’s top 10 design exhibitions of the year.
  • Co-producer & editor of 'Bolt', an iPad app and website created to accompany an exhibition of the same name, December 2014.
  • Conference co-organiser for ‘A Game in Hell. The Great War in Russia’ held at the Courtauld Institute of Art, September 2014.

 Grants and awards:

  • Santander Research Mobility Award (2017)
  • German History Society DAAD Grant (2017)
  • AHRC Research Training Support Grant (2016)

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Christian Clarkson

Christian Clarkson profile photo

I have a BA in History of Art from the University of Cambridge and an MPhil in medieval Irish architecture from the same university. Alongside my studies I worked in the University Library’s Rare Books and Maps departments.

Thesis: Medieval Scottish Monastic Planning

Supervised by: Julian Luxford and by Kirsty Owen at Historic Environment Scotland; formerly supervised by Richard Fawcett

Funded by: the AHRC as part of the Collaborative Doctoral Partnership scheme between the AHRC and the Scottish Cultural Heritage Consortium; my research is supported by Historic Environment Scotland in partnership with the University.

My thesis examines Scottish monastic planning between the introduction of reformed monasticism to Scotland c.1070 and the Reformation in the late 16th century, with a particular focus on the buildings of the wider precinct. I am interested in the identification of these buildings and how they would have affected monastic experience of the precinct. The types of building which form the subject of my study can be grouped into four general categories: accommodation buildings, including abbots’ and commendators’ houses, guesthouses and almshouses; infirmaries; agricultural and industrial buildings including barns, bake- and brew-houses, doocots and mills, and networks and systems of enclosure, access, drainage and water supply. My project involves the collation of information on these types of building from abbeys, nunneries, priories and friaries across Scotland and to assess how what we know about these buildings affects our understanding of monastic life.

Publications and activities:

  • Member of editorial team for the North Street Review 2015-16
  • ‘An architecture of mortality: monastic and secular infirmaries in medieval Scotland’, Death and Identity in Scotland conference, Edinburgh, January 2016
  • Contributor to forthcoming Historic Environment Scotland guidebook to Melrose Abbey

 

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Jonah Coman

Jonah Coman

Jonah Coman has never completed his BA. He joined University of St Andrews for a MLitt and then a PhD in Medieval Studies, while living around Scotland. When he grows up, Jonah wants to become a creative practitioner or an events coordinator for a museum or LGBT organization.

Thesis: Liquid vision: Seeing blood & torture in late medieval crucifixions

Supervised by: Prof Kathryn M Rudy, Prof Bettina Bildhauer

Funded by: SGSAH AHRC Doctoral Training Partnership

Jonah’s work looks at pictorial and textual representations of late medieval (1300-1550) crucifixions and other bloody Christocentric devotion that circulated in the Northern European space and interrogates the workings of spectatorship and expression of pain within these images. The aim is to replace the traditional gendered methodological approach with one based on power, through the use of modern queer theory, especially BDSM work, and contextualize it in an increasingly heterodox Northern Europe. The visible and visualized medieval body therefore becomes the central issue, and its pains, as well as pleasures, are at the core of the investigation.

Publications and activities:

Publications:

  • No strings attached: emotional interaction with animated sculptures of crucified Christ, (journal paper), North Street Review 20 (2017), published online March 29, 2017, <https://northstreetreview.com/2017/03/29/no-strings-attached-emotional-interaction-with-animated-sculptures-of-crucified-christ/>

Conference papers and invited talks:

  • Emotions (public engagement talk), 28 November 2015, ‘Being human? An arts & humanities variety night’, part of University of Aberdeen’s Bringing the Humanities to Life events, Aberdeen
  • Grimestone's Book, Grimestone's Body: Freudian melancholy & creation of identity in the Advocates MS 18.7.21, (paper) 6-8 January 2016, Gender & Medieval Studies (GMS) Group conference on 'Gender & Emotions', Hull; 'Hybrids, Hybridity and Liminality’ Conference, 20-21 April 2017, Reading; ‘Bodies in Flux’ conference, 20 May 2017, Warwick
  • Queer looks: gazing at Christ in a Veronese panel painting, (talk) 11 March 2016, Art History Postgraduate Forum, St Andrews
  • Jesus Christ Super(Porn)Star: BDSM & Pornography as methodology for late-medieval religion, (Paper), Northern & Early Medieval Interdisciplinary Conference Series (NEMICS) 'Medieval sexualities', 11-12 June 2016, UCL London
  • Trans/Gender/Human – Rediscovering genderqueer narratives in medieval sanctity, (invited talk), ‘Not Just ‘Passing’ Through’ LGBTrans Talks, 18 Nov 2016, St Andrews
  • No strings attached: emotional interaction with animated sculptures of crucified Christ (Paper) ‘Embodiment and New Materialism’ conference, 25-6 Feb 2017, Lancaster; ‘Powerful Objects’, EMREM Annual Symposium and Images of Research Exhibition, 18-19 May 2017, Birmingham; ‘Curiosity and Cognition: Embodied Things 1400-1900’ conference, 16 June 2017, Cambridge
  • Trans/Gender/Human – Rediscovering genderqueer narratives in medieval sanctity, (Paper) 'Sexing the Past’ LGBT History Conference, 3-5 March 2017, Liverpool
  • 'His nakede bodi red himaked mid blode': The gore of the crucifixion in late medieval imagination, (Paper) ‘Fluid Physicalities’ conference, 10 March 2017, Birkbeck London; School of Art History Research Seminars, 12 April 2017, St Andrews; (paper and panel organizer), Leeds, International Medieval Congress, 'Otherness of God in Late Medieval Religion' panel, 3-6 July 2017
  • Glasgow UL MS Gen 1111 (manuscript presentation) 31 March 2017, University of Glasgow Library, Special Collections
  • History and the LGBT: Filling in the gaps (invited talk), LGBTed Talks, 10 April 2017, St Andrews
  • Human and trans-human experiences of pain in the late Middle Ages, (paper) Kalamazoo, International Congress of Medieval Studies, 'Gendered experiences of pain' panel, 11-14 May 2017

Other activities:

  •  Medieval Materialities conference, 1st ed, Re//Generate Materiality & the Afterlives of Things in the Middle Ages, 500-1500, (co-organizer) 6-7 May 2016, St Andrews
  • Methodologies & Practice in Medieval Early Modern Research, (organizer & panellist) 29th October 2016, Dundee
  • Medieval Materialities conference, 2nd ed, Encountering the Material Medieval, (organizer) 19-20 Jan 2017, St Andrews
  • Guest curator for @WeTheHumanities Twitter account, 20-27 March 2017
  • Gender and Transgression conference, 9th ed (co-organizer), 3-5 May 2017, St Andrews
  • Beyond Powerpoint: Native presentation skills for visual researchers, funded by KETIC, SGSAH (organizer and co-leader), and Beautiful sentences: enhancing your theoretical research through material creativity, all-day drop-in workshop (leader and organizer), SGSAH Summer School, 19-21 July 2017

Grants and awards:

  • John Drury Prize (University of Nottingham) for best dissertation at Undergraduate level in the School of Art History, 2013
  • St Andrews Postgraduate Accommodation Award, 2014
  • SAIMS Essay Prize (University of St Andrews) for best piece of writing at Master's level in the School of Medieval History, 2015
  • AHRC Doctoral Training Partnership Studentship (2015-ongoing)
  • SGSAH Cohort Development Fund travel bursaries for attending the SGSAH-organized training workshop, (2015-ongoing)
  • Kate Westoby Travel Bursary, Gender & Medieval Studies conference, 2016
  • SGSAH Collaborative Doctoral Training Network grant for setting up ScotMEMs, Scotland's Medieval and Early Modern Postgraduate Research Networks, and associated training event, 2016
  • SGSAH Knowledge Exchange, Training & Industry Committee Fund for workshop 'Beyond Powerpoint', 2016
  • CAPOD Graduate Conference grant, Medieval Materialities 2016 and 2017
  • St Andrews School of Art History funds for graduate Medieval Materialities conference 2016 and 2017
  • SAIMS Conference grant, Medieval Materialities 2017
  • SAIMS Conference grant, Gender and Transgression 2017
  • CAPOD Graduate Conference grant, Gender and Transgression 2017
  • International Medieval Conference Leeds, Travel Bursary
  • Society for Medieval Feminist Scholarship, Trans* Travel Fund

Society for the Study of Medieval Languages and Literature (SSMLL) Research Travel Bursary

Julia Faiers

Julia Faiers

I hold an MA in art history (first class) from the University of St Andrews (1995) and an MA in art history from the Courtauld Institute of Art (1997). Prior to starting my PhD I worked as a research assistant at a private Bond Street gallery, then for 15 years as a journalist in consumer magazines and national newspapers. For the past seven years I’ve worked as a social media marketing consultant for clients across a diverse range of industries.

Thesis: Power, prestige and piety: patronage of the d’Amboise family in fifteenth-century Languedoc

Supervised by: Dr Kathryn M Rudy

My doctoral research focuses on how Louis I d’Amboise, a wealthy 15th-century bishop of Albi, used architecture, painting and sculpture to reinforce the power of the church, promote his own personal brand and shape the visual culture of Languedoc. I investigate how he used his political and royal connections to command the finest artists from all over France and the Burgundian Netherlands. Framing my analysis using Sherry Lindquist’s social approach, I argue that Louis I d’Amboise was merely one agent in a larger web of influence that draws upon monarchic and ecclesiastical institutions, the former a national force of authority, the latter the dominating and driving culture in western Christendom. I intend to show how his involvement as a powerful prelate not only communicates his own agenda, and that of his ambitious family, but forcefully underpins and glorifies the power structures of the period.

Research interests: Performance theory; medieval ecclesiastical ritual; medieval women and gendered spaces.

Publications and activities:

I collaborated with Dr Catherine Spencer on the 2017 Art+Feminism Wikipedia Edit-a-thon.

Book: Exotic Retreats: Eco resort design from barefoot sophistication to luxury pad (Brighton: RotoVision, 2005)

Grants and awards: I crowdfunded my tuition fees for 2016/17.

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Claire Fisher

Claire Fisher

I hold an MA in Art History and Modern History from the University of St Andrews (2011-2015), and completed my MSt in the History of Art and Visual Culture (Distinction) at the University of Oxford (2016-7). In 2015, I undertook a research internship at the Henry Moore Institute on the 1972 City Sculpture Project, which was the subject of the Institute’s Winter exhibition in 2016-7.

Thesis: Monuments in the Wake of Minimalism

Supervised by: Dr Alistair Rider

My doctoral research explores the relationship between Minimalist sculpture and contemporary memorial design.  It will consider examples from North America and Europe to examine how and why a Minimalist aesthetic has come to dominate recent memorial projects, and assess its suitability for this purpose. In doing so, it seeks to address broader questions regarding the nature of memorialisation and how we use objects to navigate the past. The implications this trend on current understandings of Minimalism as a historical movement will also be explored.

Funded by: SGSAH AHRC Doctoral Training Partnership.  

Research interests: Modern sculpture, Minimalism, Monuments and memorials, Public art, Memory Studies.

Publications and Activities:

‘Memorials to Shattered Myths: From Vietnam to 9/11’ [Book Review]. The Sculpture Journal, 25:2, Liverpool University Press.

‘Monumental Protests: Sculpture and the Vietnam War’ at Place of Memory, Memory of Place International Conference (upcoming), London Interdisciplinary Foundation, Cambridge, UK. October 2017.

Grants and Awards:

Trinity College Academic Prize, University of Oxford, 2017.

Oxford-King Graduate Scholarship, University of Oxford, 2016-2017.

O.E Saunders Prize for Art History, University of St Andrews, 2013 and 2015.

Dean’s List Award, University of St Andrews, 2015.

School of History Book Prize, University of St Andrews, 2012. 

Henry Bloom Noble Scholarship, Isle of Man Government, 2011-2014.

Maria Golovteeva

Golovteeva

I hold an MLitt in Art, Style and Design: Renaissance to Modernism from Christie's Education London and the University of Glasgow. Prior to starting my PhD I worked as a research assistant for an art dealer in London.

Thesis: Fernand Khnopff: art and photography in the nineteenth century

Supervised by: Dr Linda Goddard

Funded by:

  • Van Gogh Museum Research Grant 2016
  • Elizabeth Gilmore Holt Scholarship 2016

My research looks into the early avant-garde discourse on art and photography and the late-nineteenth-century interactions between various forms of art using works of the Belgian Symbolist artist, sculptor and designer Fernand Khnopff. My project aims to bridge the gap in existing literature about his use of the medium at different stages of his creative process. It also investigates how his photographic practices influenced his exploration of his artistic identity, his artistic vision, and creative methods. Another aspect analysed in my work involves relations between Khnopff’s photographic and non-photographic works, how his application of photography influenced a public promotion of his œuvre. In a broader sense, my research addresses relations between art and photography and artists’ role in the nineteenth century. Furthermore, it looks into changing concepts of perception and observation resulting in a developing modernist paradigm of representation.

Research interests: the long nineteenth century, fin-de-siècle, decadence, photography, sculpture, literature, materiality, Impressionism, Symbolism, Modernism, Expressionism, Pre-Raphaelites, avant-garde

Publications and activities:

Conference presentations:

  • Conference ‘Domestic Space in France and Belgium’ (Queen’s University, Belfast, 16-17 September 2016) – Villa Khnopff: the Home of an Artist and the Palace of Art
  • Society of Dix-Neuviémistes Postgraduate Conference ‘Fragments’ (Trinity College, Cambridge, 10 September 2016) – “Souvenirs lointains, mais très précis”: memories, dreams and visions in the art of Fernand Khnopff
  • Conference ‘Books and the City’ (University of Maastricht, Van Eyck Academy, Maastricht, 22-24 June 2016) – The Symbolist City: The first edition of Georges Rodenbach’s Bruges-la-Morte
  • Conference ‘Visions of the North: Reinventing the Germanic North in the Nineteenth-Century Art and Visual Culture in Britain and the Low Countries’ (Compton Verney Museum, Warwickshire, 17 June 2016) – “Discoloured Memling”: Netherlandish and Germanic artistic traditions in works of Fernand Khnopff
  • Edinburgh Nineteenth-Century Research Seminars (University of Edinburgh, 28 January 2016) – “Illuminated by reciprocal reflections”: Fernand Khnopff and Georges Rodenbach’s Bruges-la-Morte

 

Publications:

  • Golovteeva, M., “Forming the Symbolist identity: materiality of Fernand Khnopff’s sculpture”, North Street Review: Arts and Visual Culture, Spring 2016
  • Golovteeva, M., I. Matveeva, “International Art Insurance Practice”, Insurance Law, No. 4, Moscow, 2011, p. 13-17

Golovteeva, M., I. Matveeva, “International and Russian Legal Regulations of Art Insurance”, Insurance Law, No. 3, Moscow, 2011, p. 8-20

 

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Valentina S. Grub

Valentina Grub photo

I have a BA in Medieval & Renaissance Literature and Classical Civilization (with Honors) from Wellesley College and an MA in Medieval Studies from the University of St. Andrews.

Thesis: "Ritual Opulence: Medieval English Embroidery in Motion"

Supervised by: Dr. Kathryn Rudy

My project looks at the dynamic aspects of opus anglicanum, embroidery made in England roughly between 1250-1350. Textiles were medieval England's greatest export and were instrumental in forging elaborate, pan-European networks of trade and commerce. English embroidery in particular was highly sought after, and extant examples can be found in collections across Europe to this day. I argue that English embroidery was essential to the development of these networks and to the propagation of the English aesthetic in countries as far flung as Sweden and Serbia.

Publications and activities:

conference papers and invited talks:

  • Anticipated paper about embroidered English relics (Leeds, 2016)
  • Anticipated paper about the material culture of medieval warfare (Kalamazoo, 2016)
  • ‘A Needle’s Breadth Apart: The Unexplored Relationship Between Medieval Embroidery and Manuscript Illumination’ (University of St. Louis, 2015)
  • ‘Sewing the Scene: Embroidery and Its Uses in Medieval Films’ (Queen’s University, Belfast, 2015)

publications:

  • 'Review: Gothic Wonder by Paul Binski' (Sequitur: Boston University Art History Journal, May 2015, vol. 1, issue 2).
  • ‘Letter To The Editor’ (Wellesley News, October 23, 2014)
  • ‘In Over My Head: Anxiety and Anemones’ (Counterpoint: Wellesley College Journal of Campus Life, October 2011, vol. 34, issue 2).
 

awards: 

  • Art History Research Support Fund, University of St. Andrews (2015)
  • Wellesley College Graduate Studies Grant for Higher Education, Wellesley College (2012)
  • Anne Wolf Scholarship for Music Students, Wellesley College (2010 and 2011)

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Nicola John

Nicola John

I have an undergraduate degree in Art History from the University of St Andrews and an MA from the University of Chicago, where I worked mostly in the field of Egyptology. Before coming back to St Andrews I spent three years on the curatorial team at the National Gallery Singapore.

Thesis: Self, Other, and Self as Other: Negotiating Identity in Southeast Asian Modernism

Supervised by: Dr. Jeremy Howard

Funded by: Carnegie PhD Scholarship

My research explores the role of traditional fabrics, ceramics and metalwork, as well as motifs inspired by these objects, in the work of Western-trained Southeast Asian artists of the late 19th and early 20th centuries. Focusing on visual art by artists from Indonesia and the Philippines, I will investigate the use of these objects and motifs firstly as an expression of local identity and even nascent nationalism and secondly as part of the wider interest in blurring the boundaries between the fine and applied arts during this period. I also consider the role of colonial-led archaeology, ethnography and art education in the development of these trends. In studying the use of vernacular motifs comparatively across various colonial contexts, I also seek to understand the impact of differing approaches to the documentation and administration of the region on artists trained within these separate systems.

Research interests: material culture, applied arts, colonialism and nationalism, cross-cultural communication, cultural appropriation and re-appropriation, mythology as motif, reception

Publications and activities:

Publication

‘Moulding Meaning: Iskandar Jalil’s Tile Murals’ in Iskandar Jalil: Kembara Tanah Liat (Clay Travels), National Gallery Singapore, 2016.

Exhibitions

Iskandar Jalil: Kembara Tanah Liat (Clay Travels)

Siapa Nama Kamu?: Art in Singapore since the 1900s

Between Declarations and Dreams: Art of Southeast Asia since the 1900s

Grants and awards:

2012-13: University of Chicago half-tuition scholarship, partial funding at Masters level

2008-12: Loke Cheng Kim Foundation Scholarship, full funding at undergraduate level

Kate Keohane

Kate Keohane

I completed my Undergraduate degree in the History of Art at the University of St Andrews (1st class hons) (2011-2015), and my MA in Art Theory at UCL under the tutelage of Professor Briony Fer and Professor Tamar Garb (Distinction) (2015-2016). Throughout my studies I have worked as a research assistant for a number of private contemporary art galleries and collections.

Thesis: Some Otherwhere: Migration of the Caribbean Landscape in Contemporary Art

Supervised by: Dr Karen Brown and Dr Catherine Spencer

Funded by: EU-LAC-MUSEUMS, Horizon 2020

My research focuses on theories surrounding ‘place’, ‘space’ and ‘landscape’ in relation to contemporary photography and film that reflects the ‘Caribbean’ region. Whilst it is difficult to dissociate the landscape from its cultural and metaphorical ‘signs’, such readings should not overlook the landscape as a historical/lived space with function dependent upon individual experience.

The analysis of work that conveys themes of migration, displacement and identity by ‘global’ contemporary artists like John Akomfrah, Isaac Julien, and Steve McQueen alongside work by artists from within the region, including Alberta Whittle, Ewan Aitkinson and Annallee Davis, allows for a more nuanced understanding of the narrativisation involved in the documentation of place. Through reference to the ideas of Caribbean writers and theorists, including Édouard Glissant, Derek Walcott and Stuart Hall, an alternative understanding of the experience of landscape will be offered, which bears implications for the theorization of the effects of contemporary globalisation on creative fields.

Research interests: Contemporary Art, the Caribbean, migration, landscape, photography, text and image

Publications and activities:

Writer in residence Fresh Milk, Barbados (September 2017)

Grants and awards:

Santander Research Mobility Award (2017)

Wilhelmina Barns-Graham Trust Award (2016)

Award for Undergraduate Research Assistantship Programme (2015)

Trethowan Bursary for Dissertation Research (2014)

St Andrew’s prize for the top student in the department of Art History (2014)

Cross Trust Vacation Scholarship (2014)

Nora Labo

Nora Labo

I have a BA in Philosophy from the Babeș-Bolyai University in Cluj-Napoca, Romania (2005-2008), during which I spent a year abroad at the Université Paris-Est Créteil in Paris. Following that, I studied fine-art photography for two years at the École nationale supérieure Louis Lumière in Paris (2008-2010) and then pursued an MPhil in Social Sciences with a focus on Arts and Languages at the École de hautes études en sciences sociales (EHESS) in Paris (2010-2012), with a final dissertation on early photography, which received the highest distinction (“mention très bien”).

Thesis: “Emotional attitudes, rational strategies, and aesthetic experiences of nature in late nineteenth-century botanical photography”

Supervised by: Dr Luke Gartlan

Funded by: The University of St Andrews (600th Year Scholarship)

My main interest is in analysing the way in which some aspects of early photographic production are symptomatic of the conflict and tensions between different attitudes to nature in the long nineteenth century, in the context of French cultural influence. I am especially trying to uncover the contradictions under the surface of apparently coherent iterations of then-dominant paradigms of representing and interacting with nature, and to bring to light other, more humble and less aggressive models for the relationship of humans to the natural world, which were expressed at the same time, but silenced by the colonial and positivist discourse. I am looking at anomalous, subversive images and texts produced in the first seventy years of photography, that deviate from the scientific or artistic norms of the period, whether purposely or in the manner of actes manqués that recur often enough to be significant beyond mere accident. At present I am structuring this research around six case studies, all connected, each representing a different type of natural environment: the iconographies of, respectively, familiar forests and tropical forests, common domestic gardens and colonial botanic gardens, laboratories and nascent nature reserves.

Research interests: history of environmentalism, representations of nature in science and art, history of emotions, indigenous/colonial/post-colonial attitudes towards nature and representations thereof, comparative study of the nature/culture divide in different cultures, critical studies of exoticism, poetics of receptivity/randomness and chance/loss of control in the context of artistic creation, women's history

Publications and activities:

May 2015: Attended the week-long workshop of the 13th International Springtime Academy of the International Consortium on Art History in Eichstätt, Germany, and also gave a talk there titled “Concealing While Revealing: Ambiguous Representations of Wilderness and Human Presence in Jacques Huber‘s Arboretum Amazonicum (1900-1906)”

April 2015: Presented a paper titled “Taming the Chaos: Strategies of Visual Representation in Jacques Huber's Arboretum Amazonicum” at the Encounters with Photography conference in Porto, Portugal

March 2015: Presented a paper titled “‘Can't See the Forest for the Trees’: Jacques Huber's Arboretum Amazonicum (1900-1906): The Difficulties of Representing Amazonian Complexity” at the 12th Annual Graduate Student Symposium of the Association of Historians of Nineteenth-Century Art in New York, USA

2013-2014: Editor and reviewer for the North Street Review (the peer-reviewed art history journal of the Art History department in the University of St Andrews)

2013: Published an article titled “Des échos de Jean-Jacques Rousseau chez les premiers photographes” (“Echos of Jean-Jacques Rousseau in early photography”) in the  Annual Review of the «George Bariţiu» History Institute in Cluj-Napoca, Humanistica Series, XI, 2013, p. 203-221

2012: Presented a paper at the annual conference of the Romanian Academy's Philosophy section in Cluj-Napoca, Romania, titled “«The Pencil of Nature». La photographie comme terrain d’institution de nouveaux rapports à la nature” (“«The Pencil of Nature». Photography as a Fertile Ground for Establishing New Relationships to Nature”)

2011: Speaker at the “Manifester avec l’écrit” (“Protesting through writing”) conference, organized by the Anthropology of writing research group at the EHESS, with the presentation “La temporalité dans les écrits des manifestations féministes” (“Time Frames in the Writings of Feminist Protests”), resulting from one year of field research

Meghan Livers

Meghan Livers

I received my BA from the University of Montana in History and Anthropology. After spending a year
working in Cultural Resource Management as an Archaeology Technician, I went back to school and
completed an MA in Art History at Montana State University. Before starting my PhD at St. Andrews, I
worked as a Collections Assistant at the Museum of the Rockies.

Thesis: Somaesthetics and the Enhancement of Meditation on Albertus Pictor’s Late Medieval Wall
Paintings

Supervised by: Dr. Kathryn Rudy and Dr. Julian Luxford

I began my investigation of meditation on Albertus’s wall paintings with my Master’s thesis. My doctoral
research will focus on one of the most undamaged churches out of the 32 Albertus decorated and further
investigate the meditative function of the paintings. The analysis of meditation will include an
Anthropological study of the Medieval people viewing Albertus’s work. Finally, I intend to apply the idea
of Somaesthetics and how the philosophy can be useful in studying the Medieval audience’s perception of
the wall paintings. The soma’s awareness in culture is often neglected in the Humanities discipline. I
intend to reevaluate the body’s involvement during inner reflection or meditation. The purpose is to
address the importance of the body in Medieval culture and how the body’s reactions would intensify the
meditative experience.

Research interests: Medieval Scandinavian Art, Medieval wall paintings, Cognitive Psychology,
Somaesthetics, Somatic style, Historical Anthropology

Publications and Conferences:

• “Meditative Qualities of the Pictorial Narratives in the Mural Paintings of Albertus Pictor: A Study of
the Jonah and the Whale Prefiguration and Christ’s Crucifixion.” Master’s thesis: Montana State
University (Bozeman), May 2016

• “A Discussion on Syncretic Iconography of a Medieval Swedish Church: Albertus Pictor’s Jonah and
the Whale” Fifth Annual Multi-Disciplinary Graduate Student Symposium: Montana State University
(Bozeman) November 2014

• Contributed to MacDonald, Douglas H., Jannifer W. Gish, Steven D. Sheriff, and Michael Livers.
“Fishing Bridge Point (48YE381): A Stratified Prehistoric Site at Yellowstone Lake, Wyoming.” Plains
Anthropologist. 2012

Ramsay Mackenzie-Dodds

Ramsay Mackenzie-Dodds

MA University of St Andrews, graduated 2015.

Awards: ‘Dean’s List’ for academic excellence 2013.

Thesis: A study of ornithological representation, exploring the relationship between the visual arts, natural science, and conservation.

Supervisors: Dr Alistair Rider (School of Art History) and Dr Sarah Easterby-Smith (School of History).

There is a mass of commentary on the advances made in the natural sciences during the last three centuries; equally, there is presently a surge of interest in the general notion of ‘conservation‘. There is, however, considerably less discussion about the fundamental role played by the artist in both these fields. It is this omission that my research would seek to rectify, for it is only by careful and detailed examination of the aims and intentions of the artists, by tracing the gradual shift over time from scientific dispassion to emotional compassion, that one may pinpoint the key factors in artistic representation that result in an awakening of all aesthetic and emotional understanding of the importance of the preservation of natural heritage. The focus on avian representation will allow me to study the proposed concepts in depth, with the intention not only of establishing in what way the arts may effectively increase the impact on public awareness in promotion of the aims of the conservation agencies, but also, whilst being of undoubted historical and educative value, of acting as a model of study that may be applied to a wider field in the future.

Other activities: I have been elected a Fellow of the Linnean Society of London, and am fortunate to have strong study connections with the Special Collections  Sections at the Natural History Museum, South Kensington and Tring. I am a part-time research student, otherwise employed in the local golf tourism industry.

Katherine McHale

Katherine McHale profile photo

I have a BA from the University of California, Santa Cruz; a JD from George Washington University; an MA in Art History from Hunter College, New York City; and a Certificate in Fine Arts Appraisal from New York University. Before starting my PhD, I was a Court Attorney in New York State Supreme Court for 26 years.

Thesis:  Ingenious Italians: Immigrant Artists in Eighteenth-Century Britain

Supervisor:  Brendan Cassidy

The topic of my dissertation is the eighteenth-century Italian artists who migrated to Britain, focussing on the crucial role played by them in disseminating their visual culture abroad. Italian influence on eighteenth-century Britain often has been studied in terms of the Grand Tour, as members of the intelligentsia travelled to Italy and took aspects of its culture home with them, while the diaspora of Italian artists who travelled from Italy to work in other countries has received only cursory attention. My dissertation addresses this lacuna in the study of British culture, and explores Italian artistic influences that reached across borders during the Age of Enlightenment.

Publications and activities:

Publications:

  • British Art Journal (publication pending): ‘George Vertue and the Case of the Counterfeit Paintings.’
  • Dieciocho 37.1 (Spring 2014) (University of Virginia): ‘Tiepolo, Inc.: Two Madonnas and the Master’s Hand.’
  • Master Drawings 50, vol. 1 (Spring 2012): ‘Child’s Play? Giandomenico Tiepolo’s Punchinello Drawings and the Fall of Venice.’

Conference Presentations:

  • Georgian Group, Robert Adam & His Brothers conference, London, September
  • 2015: ‘Adam and the Academicians: The Contributions of Leading Italian Artists.’
  • British Society for Eighteenth Century Studies, Encounters conference, Ca’ Forscari University, Venice, July 2014: ‘Encounters at Home and Abroad: International Venetian Artists.’
  • University of St Andrews, Department of Italian Studies conference, Invisible Empires: Italy and Economies of Exchange, June 2014: ‘Visions of Empire: Robert Adam and the Allegories of Italian Artists.’
  • College Art Association national conference, 2013: ‘Robert Adam and the Bel Composto.’ HECAA New Scholars session.
  • American Society of Eighteenth-Century Studies annual conference, 2013:
  • ‘The Madonnas of Settecento Venice: A Tradition Renewed.’

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Nicôle Meehan

Nicôle Meehan

I have degrees in Applied Mathematics and Archaeology from the University of Glasgow, an MLitt in Museum and Gallery Studies from the University of St Andrews and an MA in American Studies from Brown University.  I have previously worked at the National Galleries of Scotland, Historic Scotland and the Hunterian Museum and Art Gallery.

Thesis: Digital Memory Objects: Curating and creating digital memory in museums

Supervised by: Ms Ann V. Gunn

My research considers the role played by museums in constructing individual and group memory in the postdigital era. Through identifying and defining what I propose to term ‘digital memory objects’, I will trace and characterise networks of implicit and explicit visitor interaction with digital collections. 

In seeking to improve access for diverse audiences, museums are increasingly creating digital interventions in physical spaces whilst also emulating physical environments in digital spaces.  Through describing visitor interaction with digital objects in newly defined hybridised physical/digital spaces as an evolving network existing transculturally, I hope to interrogate the manner in which digital memory objects are consumed by the public.  This research will ultimately offer new ways in which to think about and display digital museum collections as objects in their own right and objects with the potential to articulate multi-perspective narratives of the past, present and possible futures.

Research interests:  Digital museum environments, digital access, memory, material culture

Publications and activities:

Conference papers:

  • July 2017 – Placeless memories: digital constructions of memory and identity, University of York, “Digital Memory Objects” in Museums: Explicit and Implicit Networked Interactions’.
  • March 2017 - Co-organiser of ”Measuring up”: ways of capturing social value and more intangible outcomes’, annual conference of the Visitor Studies Group.
  • October 2015 – Museums Galleries Scotland Fighting Fit: Ready for Anything, John McIntyre Centre, Edinburgh, ‘How to win at projects and influence people: the power of the trainee‘.
  • April 2015 – Museum Librarians and Archivists Group (MLAG) Conference 2015, Wellcome Collection, London, ‘Skills for All: The Tangential Benefits of Digitisation at the National Galleries of Scotland‘.
  • May 2014 – E(race)d But Not Forgotten, Brown University, ‘Contrasting Views of Chinese Immigrants in American from 1848-1910‘.

 Other activities:

  • December 2013, Exhibition - ‘Presence or Absence‘ in Ruins, Rubble, Relics, Ritual, John Nicholas Brown Center of Public Humanities (Video Installation). A study of the 9/11 memorial, Manhattan Island, NYC though Charles Sanders Peirce triad of symbol, index and icon.
  • November 2013, Exhibition - Monumentally Re-creating the Stones of Stenness, Main Green of Brown University, Providence, RI. An open air installation contextualising monumental structures and their construction in present day.

Grants and awards:

Museums Computer Group bursary (2017)

UK-US Elsevier Fulbright Award in Bibliometrics (2013-14)

 

 

Elisabetta Rattalino

Elisabetta Rattalino profile photo

I received my BA in Science of Cultural Heritage from the University of Turin, and an MA in Art History from the University of Urbino. After completing a Master in Art, Culture, Landscape Management in 2011 (Trentino School of Management, Trento), I collaborated as project manager and curator assistant with Cittadellarte – Fondazione Pistoletto ONLUS (Italy), and Deveron Projects (Scotland).

Thesis: The Seasons in the City. Artists and the Rural World in the Era of Calvino and Pasolini

Supervised by: Dr Alistair Rider

Italy underwent an unprecedented, yet uneven, industrialisation and urbanisation in the second post-war period. In the context of socio-political and cultural changes which accompanied and followed the transition from an agriculture-base to an industrial economy, the cityscape of the country changed, and so did the countryside landscape.

Intersecting with rural studies and considering the city-countryside relationship as culturally constructed, my research analyses experimental rural-themed artworks and art projects by Gianfranco Baruchello, Claudio Costa, Piero Gilardi, Maria Lai, Ugo La Pietra, Antonio Paradiso, Pino Pascali, Giuseppe Penone, and Superstudio, and assesses to what extent these works were a critical response to the topographical and social changes occurring in the country. Bringing together and discussing this diverse body of works, my thesis explores the unresolved relationship between the city and countryside in late1960s and 1970s Italy, with the aim of contributing an alternative narrative to the study of 1970s Italian experimental art.

Research interests: 1970s experimental art practices; socially-engaged art practices; art and anthropology; space navigation; urban and rural space perception and representation.

Publications and activities:

Conference papers:

  • 'Curating the invisible: Ecological implications in Maria Lai’s Legarsi alla Montagna', University of Huddersfield ('Putting Space into action' Symposium), September 2016  
  • 'Agriculture as political action? Gianfranco Baruchello’s Agricola Cornelia Spa (1973-1975)', University of Zagreb ('Art and Politics in Modern Europe'), July 2016
  • 'Critical dimensions of temporality: the concept of usura in Antonio Paradiso’s artistic production in post-war Italy', UAAC- University Art Association Conference 2015 (Halifax, Canada), November 2015
  • 'Maria Lai. Curating Immateriality', Edinburgh College of Arts ('Curating Materiality and Feminism' workshop), June 2015
  • 'Artists and the rural in Italy after the Economic Miracle', University of Glasgow ('Italian Studies PG Network' Symposium), October 2014.
  • 'Inside/Out. A proposal for the educational department of the Museo della Città in Urbino' March 2012, University of Urbino (Guest Speaker – Museology)

Other activities:

  •  “CROSSING PATHWAYS. Methods tra arte e cambiamento sociale”

a research project about participatory methodologies and community-based art, developed with Love Difference and the University of Turin, and founded by Master dei talenti della societá civile (2013)

Grants and awards:

  • Margaret and Alfred Forrest Trust Bursary (recipient in 2016, 2015, 2014)
  • Elizabeth Holt Studentship (recipient in 2016 and 2014)

Master dei Talenti della Società Civile (CRT &Fondazione Giovanni Goria, 2013)

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Emily N. Savage

Emily Savage cropped

I have a BA in Medieval and Renaissance Studies from New York University (2010) and an MA in Medieval Studies from the University of York (2012). Prior to starting my PhD I worked as a curatorial research intern at the Museum of Fine Arts Boston.

Thesis: Women, Marginality, and the Experience of Art in Late Medieval England, c. 1350-1500

Supervised by: Kathryn M. Rudy

Funded by: the University of St Andrews 600th Anniversary Scholarship

Since Michael Camille’s groundbreaking study of marginal art, Image on the Edge, scholars have tended to conflate marginal spaces with marginalized peoples; this has the effect of creating artificial categories and boundaries, which do not necessarily reflect the complexity of medieval culture. Moreover, it has resulted in limiting interpretations of what was undoubtedly a wide spectrum of art experience to a simple dichotomy of humor and/or didacticism.

My thesis comprises three large case studies spanning a range of media from late medieval England, united by several themes inspired by Camille: marginality, visual depictions of women, and women’s patronage of art. I aim to show how images of women in marginal spaces, images of marginalized women in the center, and women's patronage of art can co-exist in a complex society where individual experience (influenced by gender, status, education, etc.) will produce a multiplicity of meanings and experiences.

Research interests: illuminated manuscripts, medieval church art and furnishings, Last Judgement/Apocalypse iconography and literature, materiality, visual culture

Publications and activities:

July 2016: Paper, “i pray you remember your suster elizabeth: Fitzwilliam MS 48 and its Patrons,” International Medieval Congress (IMC), University of Leeds.

May 2016: Co-organizer, “Re/generate: Materiality and the Afterlives of Things in the Middle Ages, 500-1500,” a postgraduate conference at the University of St Andrews.

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Ana Sol Gonzalez Rueda

Ana Gonzalez picture

I have a BA in Art History from Universidad Iberoamericana and an MA in Curating Contemporary Art from the University of Essex. Prior to starting my graduate studies I worked as adjunct curator at Laboratorio Arte Alameda, Mexico City

Thesis: Radical Pedagogies and Curating

Supervised by: Dr Karen Brown and Dr Catherine Spencer

Funded by: Conacyt and Jumex Foundation

The educational dimension of the contemporary art exhibition and the positions it organises between curator, artists, works, and the public, remain mostly unnoticed even by those apparently attempting to question and move away from authoritative, explanatory or overly didactic models. My research seeks to bring these implicit educational relations to the foreground. Generally, education is not regarded as a curatorial responsibility, with most institutions having a separate department to that end. My thesis examines specific critical curatorial approaches and discerns their educational propositions as well as the contradictions they entail. Additionally, I aim to identify ideas from radical pedagogies that are relevant to curatorial practice. The thesis investigates the viability of resistant practices in the context of an educational crisis and looks for openings to propose a different kind of experience to that of entertained consumption.

Research interests: Curating, Contemporary art, Museum Studies, Education

Publications and activities:

-Project Coordinator and Mediation Strategies, Possessing Nature, Mexican Pavilion, Venice Biennale, 2015

-Guest-curator: Laure Prouvost: Mientras No Mirabas, Laboratorio Arte Alameda, Mexico City, 2014

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