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Individual entries on the register can be easily accessed using the links to people on the right hand side. Katy Ackrill Assistant, Swindon Museum and Art Gallery Rhian Addison Curator, The Whitworth Art Gallery Alternatively please press ‘CTRL-F’ on a PC or ‘command-F’ on a Mac to search the register using key terms. Kate Anderson Senior Curator, National Galleries

Dr Thomas Ardill Museum Of The following lists of key terms may be of use: Rina Arya Reader in Visual Communication, University of Wolverhampton Period Medium Genre 16th and 17th century Books; Portraiture; Industrial Revolution; Dr Kate Aspinall Independent art historian/writer British art; Costume; Landscape; ; Katy Barrett Curator of Art Collections, The Science Museum Documents; History painting; Neoclassicm; James Beighton Curator 18th century British art; Drawing; Still Life; Neo-Romanticism; Decorative/ applied arts; Sporting art; New Club; Geoffrey Bertram The Barns-Graham Charitable Trust, (Chairman), Bertram Arts, (Owner) 19th century British art; Furniture; Genre painting; New ; Installation; Marine painting; Norwich School; Sara Bevan Curator, London 20th century 1900-1945 Miniatures; Topography & ; Gemma Brace Head of Programmes and Exhibitions Curator, Royal West of Academy British art; Painting; mapmaking; Pop Art; Dr Christina Bradstreet Director of Career Services, Sotheby's Institute of Art Pastel; Caricature & satire; Popular Art; 20th century post-1945 Performance; Illustration; Pre-Raphaelitism; Claire Brenard Curator, Imperial War Museum London British art; Personal items; Monuments/ tomb Romanticism; Photography; sculpture; St Ives School; Kate Brindley Director of collections and exhibitions Chatsworth Prints & printmaking; ; Nicholas Brown Library and Information Manager, Iniva (Institute of International Visual Arts) Sculpture; Welsh Art; ; Scott Thomas Buckle Independent Art Historian Sound; ; Victorian Art; Tapestries & textiles; Irish Art; Unit One; Mary Bustin Conservator Video; Regionalism; ; Dr Ana Carden-Coyne Centre for the Cultural History of War, University of Manchester Watercolour; War Art; Works on paper; Empire; Women artists; Valeria Carullo Curator, The Elwall Photographs Collection, RIBA Race; Julia Carver Collections Officer, Visual Art, Bristol Museum and Art Gallery Gender; Patronage & collecting; Sexuality; Art institutions; Eleanor Clayton Curator, The Hepworth Wakefield Church art; Helen Cobby The Barber Institute of Fine Arts, The University of Aesthetic movement; Royal patronage; Amateur artists; Country Houses; Carly Collier Assistant Curator of Prints and Drawings, Trust, Windsor Castle Bloomsbury; Art education; Dr Elena Cooper Postdoctoral Research Fellow in Copyright, History and Policy CREATe, University of Glasgow Bristol School; Art criticism; Group; Art theory; Amy Concannon Assistant Curator 1790-1850, Britain ; Art & science; Chantal Condron Curator, Government Art Collection Constructivism; Edwardian Art; Conservation/ technical Alix Collingwood-Swinburn Euston Road School; art history; Alfredo Cramerotti Director, MOSTYN Folk Art; Learning & ; participation; Tim Craven Lead Curator (Art), Southampton City Art Gallery Gothic Revival; Sophie Cummings Curator, Swindon Museum and Art Gallery ; Ellie Dawkins Documentation Officer, Glynn Vivian Art Gallery Jane Davidson-Ladd PhD Candidate, University of Auckland Should you wish to print the register please note that it is formatted for landscape A3 paper. Maria Devaney Senior Curator, Perth Museum & Art Gallery, Perth & Kinross Council Prof Katy Deepwell Middlesex University, Founder and editor of KT press and n.paradoxa

Patrizia Di Bello Lecturer in History and Theory of Photography, Birkbeck Brett Dolman Curator of Collections, , Pip Dodd Senior Curator, Kirsty Sinclair Dootson PhD Candidate, Yale University

Martina Droth Head of Research and Curator of Sculpture, Yale Center for British Art Kirstine Brander Dunthorne Glynn Vivian Art Gallery Rosanna Eckersley Birkbeck College, University of London, and the Open University Karen Eslea Head of Learning, Turner Contemporary Magdalen Evans NADFAS Dr James Finch Independent Neil Firth Director, The Pier Arts Centre Elizabeth Fisher Curator, Kettle’s Yard Dr Claire Fitzgerald Community Activity and Heritage Officer for London Borough of Hillingdon Hilary Floe Hepworth Wakfield Susan Foister Deputy Director and Director of Collections, Dr Jenny Gaschke Collections Officer (Curator) of Fine Art, Bristol Museum and Art Gallery Alexandra Gent PhD Candidate, The Courtauld Institute of Art Elizabeth Gilmore Director, Jerwood Gallery, Hastings Anne Goodchild Freelance curator and writer Dr. Helen Gorrill Postdoctoral Research, Coventry University Visual Art Research Group Charlotte Gould Lecturer, Université Sorbonne Nouvelle, 3 Dr. Leanne Green Assistant Curator (Fine Art), Whitworth Art Gallery Clare Griffiths Professor of Modern History, University of Cardiff Aysegul Guchan Assistant Professor, Yeditepe University, , Katharina Günther Independent Art Historian Lydia Hamlett Leverhulme Early Career Fellow Martin Hammer Professor of History and Philosophy of Art, University of Sarah Hardy Assistant Registrar, National Portrait Gallery Colin Harrison Senior Assistant Keeper, , University of Elizabeth Heath Assistant Curator (Research) and PhD CDA Candidate, National Portrait Gallery Nadia Hebson Artist and Lecturer, Gill Hedley Independent Curator and Researcher Dr Brian Hinton Chairman & Curator, Dimbola Museum & Galleries ( Trust) Katie Herrington Postdoctoral Researcher and Network Facilitator, University of Nicky Hodge Curator of Information and Research, Government Art Collection Martin Hopkinson Former Curator at the Walker Art Gallery,

Victoria Howarth Jerwood Gallery, Hastings Carol Jacobi Curator , British Art 1850 – 1915, Dominic Janes Professor of Cultural History, Keele University Susan Jenkins Senior Curator, Peter Jones Associate Lecturer, Faculty of Creative Industries, Southampton Solent University Dr. Claire Jones Independent art historian and curator Jill Journeaux Professor, Coventry School of Art & Design Lesley Kerman Artist Dr Lucinda Lax Senior Curator, Eighteenth-Century Collections, Scottish National Portrait Gallery Dr Stephen Lloyd Curator of Derby Collection, Knowsley Hall Dr Laura MacCulloch Royal Holloway, University of London Karen MacKinnon Exhibitions Curator, Glynn Vivian Art Gallery Francis Marshall Senior Curator of Art, Sarah Martin Head of Exhibitions, Turner Contemporary Simon Martin Director, Pallant House Gallery Anne Massey Professor, Regent’s University London Rebecca Milner Curator, Manchester Art Gallery Anna Moore Curator, Sculpture, V&A Peter Moore English Heritage Stephanie Moran Library and Information Manager, Iniva, Stuart Hall Library Amy Mountney Artist, Curator, Writer: Visual Arts Development Melissa Munro Derek Williams Curator of Modern and Contemporary Art, National Museum Wales Felicity Myrone Lead Curator, Western Prints and Drawings, The Martin Myrone Lead Curator, pre-1800 British Art, Tate Britain Lynda Nead Professor and Pevsner Chair of , Birkbeck University of London Linda Norris Painter Marguerite Nugent Head of Curatorial Services, Wolverhampton Art Gallery Frédéric Ogée Professor of English Studies, Vice President International Affairs, Université Paris Diderot Michael Ohajuru Fellow Institute of Commonwealth Studies Independent Historian and Curator Susan Owens Independent Scholar Kerri Offord Watt’s Gallery – Artists' Village Sophie Orlando Associate Professor, Villa Arson, Nice Victoria Osborne Birmingham Trust Kathleen Palmer Head of Art, Department of Collections, Imperial War Museum London Andrew Parkinson Curator, The Pier Arts Centre Christiana Payne Professor of Art History, Oxford Brookes University Helen Pheby Curator, Yorkshire Sculpture Park Dr Barry Plummer Swansea Metropolitan University and Glynn Vivian Art Gallery Dr Laura Popoviciu Government Art Collection Rosie Razzall Curator of Prints and Drawings, Royal Collection Trust Imogen Racz School of Art and Design, Coventry University Anna Rhodes Assistant Collections Officer, Buxton Museum and Art Gallery Angeria Rigamonti di Cutò Independent Art Historian Diane Roe Independent Researcher Dr Pauline Rose Professor of Art History, The Arts University Bournemouth Emma Roodhouse Art Curator, & Ipswich Museum Service Christa Roodt Lecturer in Art Law and Business University of Glasgow and Christie's Education Luisa Santos Humboldt University (PhD) and FCT – Fundação para a Ciência e Tecnologia (PhD scholarship) Scott Thomas Buckle Independent Scholar Isabel Seligman Bridget Riley Art Foundation Exhibition Curator, The Jane Sellars Curator of Art, The Mercer Art Gallery Dr Samuel Shaw Yale Center for British Art Kirsten Simister Curator of Art, Ferens Art Gallery Colin Simpson Principle Exhibitions Officer, Wirral Museums Service Richard Slocombe Senior Curator, Art, Imperial War Museums Susan Sloman Independent Scholar Dr Joanna Soden Collections Curator (retired), Royal Scottish Academy Alison Smith Lead Curator -British Art to 1900, Tate Britain Sonia Solicari Director, Geffrye Museum Jenni Spencer-Davies Curator, Glynn Vivian Art Gallery Dr Andrew Stephenson Arts and Design Industry, University of Claire Stewart Curator, The Lowry Dr Greg Sullivan Curator 1750 - 1830, British Art, Tate Britain Dr Angela Summerfield Independent art historian and curator Dr Rachel Tait Curator, Dimbola Museum & Galleries (Julia Margaret Cameron Trust) (formly Rachel Flynn) Sarah Thomas Birkbeck, University of London Zoe Thomas Phd Candidate, Royal Holloway, University of London Melanie Vanderbrouck Curator of Art, Royal Museums Bernard Vere Lecturer in , Sotheby’s Institute of Art, London Dr. Rebecca Virag Fitzwilliam Museum, Cambridge Leon Wainwright The Open University Jonathan Waller Coventry University Lara Wardle Director, Jerwood Gallery Hannah Williamson Curator, Manchester Art Gallery Dr. Wolf Lecturer in British Modernism, School of Englih, University of Sally Woodcock Kerr Institute, Amina Wright Senior Curator, The Mike Wyeld Sound Designer and Instructor,

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current & Contact Details Displays Period Medium Genre Katy Ackrill 20th century 1900-1945 Drawing; Portraiture; Pop Art; I am currently writing my dissertation British art; Decorative/ applied arts; Landscape; Pre-Raphaelitism; (MA) on the feminist art criticism of Katie.ackrill[at]hotmail.co.uk 20th century post-1945 Painting; History painting; St Ives School; Rozsika Parker. This work has involved a British art Pastel; Still Life; Scottish Colourists; substantial investigation into feminist art Museum Assistant Prints and printmaking; Genre painting; Surrealism; in Britain and the London art world in the Sculpture; Unit One; 1970s. Swindon Museum and Art Gallery Watercolour; Works on Gender; Vorticism; Bath Road paper; Sexuality;; War Art; At Swindon Museum and Art Gallery I Swindon Women artists; have assisted the curator with two art SN1 4BA Bloomsbury; exhibitions ‘About Face’ and ‘Action’. I ; Art institutions; have also taken a keen interest in Euston Road School; Art education; Swindon’s collection of British Studio Modernism; Art criticism; Ceramics. New English Art Club; Art theory;

Rhian Addison 16th and 17th century Drawing; Portraiture; Industrial Revolution; Addison, R. & Underwood, H., Liberating The Whitworth I am currently a collaborative PhD student British art; Painting; Landscape; Neo-Romanticism; Fashion: Aesthetic Dress in Victorian Portraits Cozens and Cozens, The Whitworth with the University of York and Tate th Tate Britain 18 century British art; Photography; Topography & Romanticism; (Surrey: Watts Gallery, 2015) (June 2017-June 2018) Britain. My research is exploring th 19 century British art; Watercolour; Works on paper; mapmaking; Victorian Art; landscape artists’ studios in London 20th century 1900-1945 Aesthetic movement; Watts Gallery - Artists’ Village University of York Addison, R., Auctioning L.S. Lowry: A Sales between 1780-1850. The ‘golden age of British art; Patronage & Collecting; History, 1990-2012 (London: Piano Nobile, Watts Landscapes (opened Feb exhibitions’ has been investigated in detail [email protected] Art institutions; 2013) 2016), Liberating Fashion: over the last decade, but has overlooked [email protected] Aesthetic Dress in Victorian ‘The up-springing stem of the neck’ in G F Portraits (opened Feb 2015), Close the point of production for landscape Watts’s paintings [article submitted] Up & Personal: Victorians & Their painters. I’m investigating the irony of Photographs (opened June 2016) many rural landscapes being executed in ‘The ‘constructed’ breast in imagery of urban London. The research will include Elizabeth I’ [forthcoming] (and many more) statistical analysis and case studies.

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Kate Anderson 16th and 17th century Costume; Documents; Portraiture; Patronage & The Scottish Connection: John Michael John Erskine, 6th Earl of Mar Senior Curator at the SNPG with British art; Drawing; History painting; Collecting; Wright and the development of portrait and the 1715 Jacobite Rising, responsibility for the 16th and 17th century Kanderson[at] Early 18th century Decorative/ applied arts; Scottish Art; Royal patronage; painting in Scotland, 1660 – 1700’, Journal forthcoming 2015 collections which encompass paintings, nationalgalleries.org British art; Miniatures; Painting; regionalism; Country Houses; of the Scottish Society for Art History, (SNPG) miniatures, works on paper, sculpture and Prints and printmaking; Autumn 2014 medals. Research interests lie in the areas Senior Curator Sculpture; Gender; Learning and Minette: The Life and Letters of of Scottish and European visual and Works on paper; participation; A Companion Guide to the Scottish Henriette Anne Stuart 2013 material culture of the early modern National Galleries of Scotland National Portrait Gallery, (contributor) (SNPG), period. Scottish National Portrait Gallery National Galleries of Scotland, 2014 1 Queen Street, , EH2 Silver: The Aberdeen Story Current research for forthcoming 1JD Silver: The Aberdeen Story, Aberdeen Art 2012 (Aberdeen Art Gallery) exhibitions includes John Erskine, 6th Earl Gallery & Museums, 2012 of Mar and the Jacobite Rising of 1715, 0131 6242405 2015(SNPG) and The Tweeddales: Power, Politics and Portraits, 2016 (SNPG). Other areas of research include The Art Collection of James Hamilton, 1st Duke of Hamilton, The Life and Visual Representations of James VI & I, Costume and Jewellery of the early modern period.

Dr. Thomas Ardill 18th century British art; Drawing; Landscape; Industrial Revolution; ‘Loyd Grossman, Benjamin West and the Devised and curated: I look after the Museum of London’s 19th century British art; Painting; History painting; Popular Art; Struggle to be Modern, Merrell, London and Shaftsbury, or, Lost and , collection of 20,000 paintings, prints and Museum of London Prints and printmaking; Romanticism; New York, 2015’ book review, The display, Museum of London, drawings, and work on displays, research, 150 , EC2Y 5HN Watercolour; Works on Antiquaries Journal, The Society of May 2017. cataloguing, enquiries, acquisitions, loans, paper; Patronage & Antiquaries of London, 2016. object moves and documentation. As well 02078145652 Collecting; Co-curator on Watercolour, as specialising in London imagery, I have Art institutions; Between God, Art and Mammon, Religious exhibition, Tate Britain 2011. specialist knowledge of J.M.W. Turner, Tardill[at]museumoflondon.org.uk Church art; Painting as a Public Spectacle in Britain, Benjamin West, Benjamin Robert Haydon, c.1800-1832., unpublished PhD thesis, Curated Turner’s Studio (2011), John Martin and Thomas Hosmer Courtauld Institute, 2016 (available on Turner's Exhibited Works Shepherd. My doctorial research was on request). (2011), Turner’s Early Career exhibitions of religious painting in early (2010), Late Marine Painting 19th-century London, and the intersection Contributions to: David Blayney Brown (2009), Turner’s Painting of art, religion and money. My work (ed.), J.M.W. Turner: Sketchbooks, Techniques (2009): Clore focusses on exhibition culture, audience Drawings and Watercolours, 2008– Gallery displays, Tate Britain. response and reception history, 13, http://www.tate.org.uk/art/research- commercialisation of art, and tensions publications/jmw-turner/. between elite and popular audiences. ‘Turner in Scotland in 1834’, Turner Society News, Spring 2012, no.117, pp.6-9.

'Blake and the Bible' and 'Tempera', essays in Alison Smith (ed.), Blake and British Visionary Art, exhibition catalogue, Pushkin Museum 2011.

Catalogue entries in, Alison Smith (ed.), Watercolour, exhibition catalogue, Tate Britain 2011.

‘Turner in Liverpool in 1831’, Turner Society News, no.112, August 2009.

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Rina Arya 20th century post-1945 Books; Documents; Race; Modernism; Abjection and Representation: An I have published extensively on various British art Installation; Gender; Performance art; Exploration of Abjection in the Visual Arts, topics concerning Francis Bacon including r.arya[at]wlv.ac.uk Painting; Sexuality; Pop Art; Film and Literature, Palgrave Macmillan, constructions of homosexuality in his Performance; Popular Art; 2014. work; the influence of various thinkers Reader in Visual Communication Sculpture; Aesthetic movement; Surrealism; including Bataille and Bergson, the use of Video Conceptual art; War Art; Contemplations of the Spiritual in religious images in Bacon’s work. University of Wolverhampton Women artists; Contemporary Art, Peter Lang, March 2013. 07921 392525 Art criticism; Current research includes abjection in the Art theory Francis Bacon: Painting in a Godless visual arts and Black art in Britain. World, Lund Humphries, 2012.

Chila Kumari Burman: Shakti, Sexuality and Bindi girls, KT Press, 2012.

Francis Bacon: Critical and Theoretical Perspectives, Peter Lang, 2012.

Dr Kate Aspinall 20th century 1900-1945 Documents; Drawing; Portraiture; Modernism; ‘Creating Artists’, Review of The London Kate Aspinall is an independent historian, British art; Painting; Landscape; Neoclassicm; Art Schools: Reforming the Art World, writer, and artist. Her research looks to the Independent art historian/writer 20th century post-1945 Pastel; Performance; Prints History painting; Neo-Romanticism; 1960 to Now’ Art History, 40:1 (Feb role of drawing in early 20th century London British art and printmaking; Still Life; New English Art Club; 2017): 200-204 visual culture with a particular emphasis Sculpture; Caricature & satire; New Sculpture; on the intersections between institutional +44 (0)78005 18489 Watercolour; Works on Illustration; Norwich School; ‘True and Pure: Frank Dobson and and personal discipline. She is currently paper; Performance art; Drawing from Life, Review of Daniel Katz working on a monograph, The Paradox of Katherine.aspinall[at]gmail.com Gender; Pop Art; Gallery Exhibition, 3rd Dimension: The Medium Specificity: Drawing Practice and Sexuality;; Popular Art; PMSA Magazine (July 2016) Twentieth Century Modernism in Britain. St Ives School; Sections of this research have been and are Aesthetic movement; Surrealism; ‘A Signature of Our Race: and being developed for journal publications, Amateur artists; Unit One; the Line that Links Medieval Illumination particularly her on-going engagement with Bloomsbury; Vorticism; and 1930s British Modernism’, Visual the mythology and politics of key art Bristol School; War Art; Resources 32:1-2 (2016). educators and David Camden Town Group; Women artists; Bomberg. A parallel project is reassessing Conceptual art; ‘A Mark of : Charcoal and the the legacies of neglected female Constructivism; Patronage & Borough Group’. Online, Borough Road practitioners during the same period, Euston Road School; Collecting; Gallery (2016). including Dorothy Mead, Nancy Sharp, Glasgow School; Art institutions; Jean Cooke, Ithell Colquhoun and Clare Gothic Revival; Church art; ‘The Aesthetic of Scientific Authority in a Winsten. Kate holds a PhD in History of Group X; Royal patronage; Nuclear Age: Jacob Bronowski and Feliks Art from the University of , Country Houses; Topolski’. In British Art in the Nuclear Age, and additional degrees from the Courtauld Art education; edited by Catherine Jolivette. Aldershot: Institute of Art and St Andrews University. Art criticism; Ashgate, 2014. She regularly delivers gallery and museum Art theory; talks in addition to consulting for the Roy Art & science; Review of The Inspirational Genius of Lichtenstein Foundation. She is a trustee : British Art and Germanism, of the Association for Art History (AAH), Conservation/ 1850-1939, by Matthew Potter, representing freelancers and independents. Technical art history; Immediations, 3:2 (2013)

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Katy Barrett 18th century British art; Books; Drawing; Portraiture; Industrial Revolution; - 'Keep within Compass' in The Material Contributions to re-display of Responsible for historic and contemporary 19th century British art; Painting; Landscape; Modernism; Cultures of Enlightenment Arts and The Queen’s House, Royal art collections at the Science Museum. Katy.Barrett[at]ScienceMuseum.ac. 20th century 1900-1945 Pastel; Prints and History painting; Neoclassicm; Sciences (ed.) Adriana Craciun and Simon Museums Greenwich, re-opened Interested in art and science research, uk British art; printmaking; Genre painting; Neo-Romanticism; Schaffer (Palgrave, 2016) October 2016, including a particularly printed imagery as scientific Curator of Art Collections 20th century post-1945 Watercolour; Works on Marine painting; Victorian Art; - 'Looking for "the longitude"' in British Art Cabinet of Curiosities, ‘The knowledge making. Previous research on The Science Museum British art; paper; Topography & War Art; Studies Issue 2 (Spring, 2016) Allure of Science’ and arts of Pacific exploration, Hogarth and mapmaking; Women artists; - 'Personal Effects' in Apollo: The ‘Classical Cook’ longitude, Reynolds, history of collecting. Science Museum, Exhibition Road, Contemporary Caricature & satire; International Art Magazine (May, 2015), London, SW7 2DD Illustration; Patronage & pp.60-64 ‘Unseen: the Lives of Looking T: 020 7942 4800 Monuments/ tomb Collecting; - 'A Mechanic Art' with Richard Dunn by ’, The sculpture; Art institutions; in Apollo: The International Art Queen’s House, Royal Twitter: Royal patronage; Magazine (November, 2014), pp.82-86 Museums Greenwich, March- @SpoonsonTrays Art education; - 'A Sense of Wonder' in Apollo: The July 2015 Art criticism; International Art Magazine (February Art theory; 2014), pp.54-58 ‘The Art and Science of Art & science; - 'An Argument in Paint: Reynolds and Exploration, 1768-1770’, The Garrick between Tragedy and Comedy' Queen’s House, Royal Conservation/ in Visual Culture in Britain 13.3 (October, Museums Greenwich, July Technical art history; 2012) 2014-July 2015 (co-curated) Learning and participation; James Beighton 20th century 1900- Documents; History painting; Modernism; Forthcoming: mima’s collections remain at the heart of 1945 British art; Decorative/ applied arts; Regionalism; St Ives School; William Tillyer our artistic programme. The collections Curator Sculpture; Amateur artists; Patronage & collecting; St Ives International cover fine art, with a strength in post-war 20th century post-1945 Wendy Ramshaw British art and particularly drawing; British art; Art and Industry British ceramics, developing from the Tracing the century: Drawing early stages of the studio ceramics as a catalyst for change, 2013 movement in this country; and Julian Stair, Quietus: The international artist made jewellery, looking vessel, death and the human particularly at work from Britain, Germany body, 2012 and The Netherlands. Our British art To remind: works of memory collection specifically includes British and monument (mima modernist painting, drawing acquired collection), 2012 through the Cleveland Drawing Biennale, Richard Forster, Fast & Slow contemporary drawing acquired through time, 2011 the Contemporary Art Society Special The Modern Jewel: In time and Collections Scheme and British studio the mind of others (part of ceramics charting the development of the museumaker), 2011 movement throughout the twentieth One place to call home, 2009- century. 2010 Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Geoffrey Bertram 18th century British art Drawing; Landscape; 1 1 1 (particularly landscape I have written many articles for exhibition Exhibitions I have been My role with the Barns-Graham Charitable 1) The Barns-Graham Charitable art) Painting; Topography & catalogues including: Wilhelmina Barns- responsible for include: Trust is to initiate exhibitions on the life Trust mapmaking; Graham: Evolution, Sherborne House, W Barns-Graham at 80: A New and work of Wilhelmina Barns-Graham (Chairman) 20th century post-1945 Prints and printmaking; Dorset, 2007; Wilhelmina Barns-Graham: A View, London 1992, A whose art I have been involved with for British art Scottish Art; Survey of Works 1945-1995/In Perspective: Discipline of the Mind- The over twenty five years. I am working on a The Late Paintings, Art First, London, Drawings of Wilhelmina Barns- programme of public gallery exhibitions P.O.Box 29267 Modernism; 2014. Graham, Pier Arts Centre, that will take place over the next ten years. St Andrews Stromness with Mel Gooding, Fife St Ives School; 2 2007; I work also to ensure the security of, and KY16 6AT The Etchings of John Clerk of Eldin, Wilhelmina Barns-Graham: access to, Wilhelmina Barns-Graham’s Women artists; Enterprises Editions, 2012 Evolution, Sherborne House, legacy – her art. geoffrey.bertram[at]barns- Dorset 2007; Wilhelmina Barns- grahamtrust.org.uk Patronage & Graham-A Scottish artist in St 2 Collecting; Ives, with curator Lynne Green, My research on John Clerk of Eldin (1728- Fleming Collection London and 1812) involved me with 17th C & 18th C Edinburgh City Art Centre, British and European prints. As his prints 2) Bertram Arts 2012 and drawings were landscapes, I am (Owner) extending this research to investigate the 2 wider influences of European landscape 1 Knutscroft Lane The Etchings of John Clerk of prints on British printmakers. Thurloxton Eldin, Fleming Collection London and Edinburgh City Art TA2 8RL Centre, 2012 01823 413388 07712577934 geoffrey[at]bertram-arts.com

Dr Mandy Bentley Drawing; Portraiture; Modernism; Arts journalism for international newspaper, Currently researching the works of Mary 20th century 1900-1945 Decorative/ applied arts; Landscape; New English Art Club; magazines and European broadcasting Potter in the collection of Benjamin Britten Independent Researcher British art; Painting; Still Life; Pop Art; and Peter Pears at the Red House in 20th century post-1945 Personal items; Genre painting; Women artists; Aldeburgh, and assisting with a 020 8530 2947 (landline/messaging British art Photography; Prints and Gender; Patronage & collaborative project by three women service) printmaking; Sexuality;; Collecting; artists inspired by her work. 07718 044085 (mobile) Watercolour; Works on Amateur artists; paper; Bloomsbury; mj.bentley[at]talktalk.net

Sara Bevan Main: Contemporary Drawing; Portraiture; Modernism; ‘Conflict in Contemporary Art’, Despatches Loss, Golden Thread Gallery, Research interest in Contemporary Art British art; Installation; Landscape; Performance art; Magazine, Winter 2011 Belfast, 2012 that explores the relationship between sbevan[at]iwm.org.uk Painting; Still Life; War Art; : This Storm is What conflict and technology, alongside Also: Performance; Monuments/ tomb Women artists; Assisted with Women War Artists by we Call Progress, Imperial War interest in photography, history and Curator 20th century 1900- Photography; sculpture; Patronage & collecting; Kathleen Palmer, 2011, Tate Publishing, Museum London, 2012 memory. 1945 British art; Prints & printmaking; Welsh Art; Art institutions; London Re-enactors; Jim Naughten, Current projects: Curating an exhibition Imperial War Museum London Sculpture; Empire; Art theory; Imperial War Museum London, for Imperial War Museum North, Oct Lambeth Road 20th century post-1945 Sound; Race; Art & science; ‘The Trial of Adolf Eichmann’ , Despatches 2011-2012 2013 [title TBC], exploring artists’ London British art; Video Gender; Magazine, Winter 2009 Night Visions, Imperial War approaches to war and conflict since the SE1 6HZ Watercolour; Conceptual art; Museum London, 2010-2011 Gulf War, with a particular focus on the Works on paper; Contributor to Art from the First World Assistant Curator: relationship of this work to the media 020 7416 5228 War, 2008, Imperial War Museum London Women War Artists, Imperial response to conflict. War Museum London, 2011 Ongoing: Curating a new programme of Assistant Curator: contemporary art and photography at Witness: Women War Artists, Imperial War Museum London, IWM Imperial War Museum North, Contemporary; opening with Omer Fast, 2009 5000 Feet is the Best in July 2013. Ongoing: Contemporary collection development, acquisitions and collecting strategy.

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Gemma Brace 20th century 1900-1945 Drawing; Landscape; Brothers in Arms: John and Paul Nash, Air: Visualising the Invisible in Currently co-curating Air: Visualising the British art; Installation; Modernism; Paul Gough (Bristol: Sansom & Co, 2014) British Art 1768-2017, RWA Invisible in British Art 1768-2017 Editor Head of Programmes and 20th century post-1945 Painting; Neo-Romanticism; ,2017 co-curator and contributing author of accompanying Exhibitions Curator British art Prints and printmaking; New Sculpture; Air: Visualising the Invisible in British Art publication. Opening June 2017. Royal West of England Academy Sculpture; Unit One; 1768 -2017 (Bristol: Sansom & Co. 2017) Lines in the Landscape: Queens Road Watercolour; Works on War Art; Drawings from the Royal Co-supervisor for Collaborative Curatorial Bristol paper; Women artists; Collection, RWA, 2017, co- Unit with the University of Bristol taught BS8 1PX Art institutions; curator MA in Art History, delivered Feb-May Art criticism; 2017. 0117 906 7601 Art theory; Imagined Landscapes, 2016, Gemma.brace[at]rwa.org.uk Learning and RWA, 2016, co-curator Development of temporary exhibitions participation; programme including curation of selected Peter Randall-Page and Kate projects. MccGwire, 2015, RWA, curator Research interests in theory around Drawing On…The Ingram landscape, memory and site - developing Collection of Modern and personal research and writing projects. British Art’, 2015, RWA, curator

John and Paul Nash: Brothers in Art, 2014, RWA, curator

Eric Ravilious: Going Modern/Being British, 2014, RWA, curator Dr. Christina Bradstreet 19th century British Painting; The Senses in Art; Pre-Raphaelitism; ‘Wicked with Roses: Floral Femininity and Monograph near completion as of Sept. art; Visual culture; Gender; Victorian Art; the Erotics of Scent’, Nineteenth-Century 2013 with draft title: Scented Visions: c.bradstreet[at]sothebyinstitute.com Sexuality; Art Worldwide Smell in Nineteenth-Century Art. Aesthetic movement; Sotheby’s Institute of Art Edwardian Art;

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Claire Brenard 19th century British Drawing; Portraiture; Modernism; ‘Last chance to see People’s War’, co-curating art; Painting; Landscape; Neo-Romanticism; Despatches Magazine, 2012 'Visions of War 'Age of Terror: cbrenard[at]iwm.org.uk Pastel; History painting; New Sculpture Above & Below' Art since 9/11' 20th century 1900- Photography; Caricature & St Ives School; ‘ – Last Chance to See / Must- 2015 - 2017, opening Curator 1945 British art; Prints & printmaking; satire; Scottish Colourists; See’, 160grams.com, 2012 IWM Oct 17 Watercolour; Still Life; Vorticism; 'Architecture of Imperial War Museum London 20th century post-1945 Works on paper; Illustration; War Art; ‘ House – Guide to the Art and War' Research into Lambeth Road British art; Decorative/ Monuments/ tomb Women artists; Design’ booklet for House of Lords, 2012 2013, IWM IWM's second London applied arts sculpture; world war SE1 6HZ Contemporary British Installation Surrealism; Curated display of collection with art; Sculpture Welsh Art; Victorian Art; contemporary photographs by focus on 020 7091 3028 Sound Scottish Art; Unit One; Desiree Pfeiffer in House of emigre artists Video Irish Art; Vorticism; Lords visitor entrance, 2011 and British Watercolour War Art; national identity. Works on Paper Empire; Women artists; Wrote and devised Race; Patronage & accompanying graphic panels Content advice Gender; Collecting; for the exhibition of Speaker’s on contemporary Sexuality; Art institutions; Coach for the at hall of Diaspora; Patronage & collecting; Arlington Court, 2011 remembrance Post colonialism Art institutions; project with Art education; 59 Productions Bloomsbury; Art criticism; for IWM Bristol School; Art theory; Camden Town Group; Conservation/ technical Conceptual art; art history; Constructivism; Learning & Euston Road participation; School; Gothic Revival; Group X;

Aesthetic movement; Amateur artists; ;

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Kate Brindley 20th century 1900- Drawing; Portraiture; Industrial Revolution; Forthcoming: mima’s collections remain at the heart of 1945 British art; Decorative/ applied arts; Landscape; Modernism; Festivities & Fears: Post war our artistic programme. The collections Installation; History painting; Performance art; Britain cover fine art, with a strength in post-war Director of Collections and 20th century post-1945 Painting; Still Life; Pop Art; William Tillyer British art and particularly drawing; Exhibitions at Chatsworth House British art; Pastel; Genre painting; Popular Art; Chance Finds Us British ceramics, developing from the Performance; Photography; Marine painting; St Ives School; St Ives International early stages of the studio ceramics Prints & printmaking; Illustration; Scottish Colourists; Wendy Ramshaw movement in this country; and Sculpture; Surrealism; Art and Industry international artist made jewellery, looking Sound; Scottish Art; War Art; Stephen McKenna particularly at work from Britain, Germany Video; Regionalism; Women artists; Margaret Harrison and The Netherlands. Our British art Watercolour; Tracing the century: Drawing collection specifically includes British Works on paper; Empire; Patronage & collecting; as a catalyst for change, 2013 modernist painting, drawing acquired Race; Art institutions; Julian Stair, Quietus: The through the Cleveland Drawing Biennale, Gender; Art education; vessel, death and the human contemporary drawing acquired through Sexuality; Art criticism; body, 2012 the Contemporary Art Society Special Art theory; To remind: works of memory Collections Scheme and British studio Aesthetic movement; Art & science; and monument (mima ceramics charting the development of the Amateur artists; collection), 2012 movement throughout the twentieth Bloomsbury; Conservation/ technical Life, death & home in-between: century. As befits a resource that is so Conceptual art; art history; works from mima collection, central to our artistic policy the collection Constructivism; Learning & 2012 remains live and is still being developed. Glasgow School; participation; Richard Forster, Fast & Slow time, 2011 Carey Young: Memento Park, 2011 The Modern Jewel:In time and the mind of others (part of museumaker), 2011

One place to call home, 2009- 2010

Nicholas Brown 20th century post-1945 Books; Documents; Race; Performance art; A variety of library based I manage the Stuart Hall Library and British art Installation; Gender; Women artists; displays primarily of Archive, a research level resource for Stuart Hall Library, Iniva (Institute Painting; Sexuality; contemporary Black British contemporary visual art which engages of International Visual Arts) Performance; Photography; artists including Maud Sulter, with notions of cultural identity. I convene Textiles and Alia Syed. the library’s Research Network, a forum Rivington Place for artists, curators, academics, writers, London creative practitioners and activists to share EC2A 3BA an aspect of their work.

Library[at]iniva.org Scott Thomas Buckle 19th century British art; Drawing; Portraiture; Pre-Raphaelitism; 'Is this the face of Alessandro di Marco? Research interests: Painting; History painting; Victorian Art; The forgotten features of a well-known Victorian artists’ models; Frank Cadogan scottbuckle[at]btopenworld.com Pastel; Italian model', British Art Journal Autumn Cowper; Pre-Raphaelite drawings Watercolour; 2012 Independent art historian Works on paper; (1877-1958), Campbell-Wilson Fine Art, 2004

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Mary Bustin 20th century 1900-1945 Painting Material-based art Camden Town Group; Essays on the materials and working Materials and techniques Current research into material choices British art; history. Technical art Constructivism; methods of George Romney, Mary Beale, component in Mary Beale, influencing artists’ practice in 20th Century Conservation[at]marybustin.co.uk 20th century post-1945 history; Edwardian Art; , Alfred Wallis. curated by Tabitha Barber, Britain. ‘The Relevance of an artists British art Art & science; Euston Road School; Geffrye Museum, 1999 archive to the making, meaning and Mary Bustin Conservation Conservation and Folk Art; Catalogue essay on Gwen John’s later interpretation of 20th century oil preservation of easel Modernism; painting technique in Gwen John and paintings’: . Publ. www.marybustin.co.uk. paintings; New English Art Club; , ed David Fraser Jenkins, December 2014. Pop Art ; Chris Stevens, Tate Britain 2004 07726 330014 St Ives School Popular Art; Women artists Surrealism; International Vorticism; connections Portraiture; War Art; Landscape; Patronage & Still Life; Collecting; Marine painting; Art institutions; Empire; Amateur artists; Bloomsbury;

Dr Ana Carden-Coyne 20th century 1900- All media Portraiture; Camden Town Group; Reconstructing the Body: Classicism, Consultant: Curating an historical and contemporary 1945 British art; Landscape; Conceptual art; Modernism and the First World War, 2009 War and Medicine, Wellcome art exhibition with Manchester Art Gallery a.cc[at]manchester.ac.uk History painting; Constructivism; Trust, 2008-2009 and Whitworth Art Gallery, in reference to 20th century post-1945 Still Life; Edwardian Art the centenary of WW1 in 2014. Centre for the Cultural History of British art; Sporting art; Industrial Revolution; War in the North, Imperial War War, University of Manchester Modernism; Museum North, 2005 Illustration; Neoclassicm; Oxford Road Monuments/ tomb New Sculpture; Manchester, sculpture; Performance art; M13 9PL Pop Art; Welsh Art; Surrealism; 01612 753094 Scottish Art; Victorian Art; Irish Art; Unit One; Regionalism; Vorticism; War Art; Empire; Women artists; Race; Gender; Art criticism; Sexuality; Art theory; Art & science; Aesthetic movement; Amateur artists; Learning & Bloomsbury; participation; Bristol School;

Valeria Carullo 19th century British Photography Landscape; John Pantlin: Photographing I have recently delivered a paper on the art; Topography; the Mid-Century Home at the work of Dell & Wainwright, official valeria.carullo[at]riba.org 20th century 1900- Architecture; Geffrye Museum; Ordinary photographers of the Architectural Review 1945 British art; Modernism; Beauty: The Photography of from 1930 to 1946, which I hope will Curator, The Robert Elwall 20th century post-1945 Collecting; Edwin Smith at the RIBA develop into further research and a Photographs Collection British art. Conservation Architecture Gallery publication.

British Architectural Library, Royal Institute of British Architects 66 Portland Place London W1B 1AD

020 7307 3710

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Julia Carver 20th century 1900-1945 Books; Portraiture; Modernism; The Shape of Things: New Commissions City Lives: 2013-14, featuring I curate Bristol’s collection of modern and British art; Drawing; Landscape; Neo-Romanticism; from Alinah Azadeh and Rosa Nguyen, contemporary British artists contemporary art from the 20th and 21st Julia.carver[at]bristol.gov.uk Installation; Still Life; New English Art Club; Bristol Museum and Art Gallery, 2010, Sarah Dobai, Martin Parr and centuries, including British and overseas 20th century post-1945 Painting; Illustration; New Sculpture; introductory essay, editor Jem Southam alongside art. Collections Officer, Visual Art British art Pastel; Performance art; international artists. Performance; Race; Pop Art; Victorian Visions, National Museum Wales, Bristol Museum and Art Gallery Photography; Gender; Romanticism; 2004, artists’ biographies; The Shape of Things: New Queens Road Prints and printmaking; Sexuality;; St Ives School;; Commissions from Alinah Bristol, BS8 1RL Sculpture; Surrealism; Azadeh and Rosa Nguyen, Sound; Bloomsbury; ; Bristol Mueum and Art Gallery, 0117 9223591 Video; Bristol School; Vorticism; 2010 Watercolour; Camden Town Group; War Art; Works on paper; Conceptual art; Women artists; Constructivism; Edwardian Art; Art criticism; Euston Road School; Art theory;

Eleanor Clayton 20th century 1900-1945 Documents; Drawing; Gender; Art institutions; : Painting (Lund Howard Hodgkin: Painting Managing research and care of the British art; Installation; Sexuality; Art criticism; Humphries, 2017) India (The Hepworth Wakefield Permanent Art Collection, eleanorclayton@hepworthwakefiel 20th century post-1945 Painting; Wakefield, 2017) including the Hepworth Family Gift, d.org British art Performance; Photography; Conceptual art; Conservation/ ‘“The Whole Question of Plinths” in researching and developing temporary Sculpture; Sound; Constructivism; Technical art history; ’s 1968 Tate Stanley Spencer: Of Angels and exhibitions of modern and contemporary Curator, Video; Modernism; Learning and Retrospective’, Tate Papers, Spring 2016 Dirt (The Hepworth Wakefield, art, and associated publications. The Hepworth Wakefield, St Ives School; participation; 2016) Gallery Walk, Surrealism; ‘ and Architecture’ in Caro in Wakefield, Unit One; Yorkshire (published by The Hepworth Barbara Hepworth: A Greater WF1 5AW Wakefield and Yorkshire Sculpture Park, Freedom 1965-75 (The 2015) Hepworth Wakefield and Direct line: 01924 247386 Phillips, London, 2015-2016)

Caro in Yorkshire (The Hepworth Wakefield, 2015)

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Helen Cobby 19th century British art; Drawing; Decorative/ Landscape; Select list: Devised and organised the 20th century 1900-1945 applied arts; History painting; Ashmolean Museum’s I am currently working on the display of The Barber Institute of Fine Arts, British art; Painting; Prints and Topography & The British Art Journal forthcoming touring exhibition Monet’s painting Water Lily Pond, 1900, The 20th century post-1945 printmaking; mapmaking; Industrial Review of Tate Britain’s 2017 David of JMW Turner’s early on loan to The Barber from the Art British art Sculpture; textiles; Revolution; Hockney exhibition, for spring 2017 issue. architectural works. Touring Institute of Chicago. Other displays The Barber Institute of Fine Arts, Watercolour; Works on Modernism; Book review of ‘The Arborealists: The Art from June 2018 to five regional include German Expressionist works on The University of Birmingham paper Romanticism; of the Tree’, published by Sanson & Co. in venues, and includes a large- paper. The forthcoming exhibition, University of Birmingham, Scottish Colourists; April 2016, for autumn 2016 issue. scale loan from Tate. opening spring 2018 at The Barber, will be Birmingham B15 2TS Victorian Art; Review of ‘The Extraordinary Life and about the Scottish Colourists, which I am Women artists; Momentous Times of J.M.W. Turner’ by At Leamington Spa Art Gallery co-curating. [email protected] Patronage & Franny Moyle, published by Penguin in July & Museum I co-curated the Collecting; 2016, for autumn 2016 issue. exhibition ‘Concealment and Art institutions; Reviewed ‘The Diaries of Randolph Deception: The Art of the Art criticism; Schwabe’ edited by Gill Clarke, for the Camoufleurs of Leamington Spa Art & science; spring 2016 issue (vol. XVII, 1). The diaries 1939 – 1945’, open 22 July – 16 linked to ‘Circles of Influence’ exhibition at October 2016. the Otter Gallery, . I also curated the new Print Quarterly –review of the V&A’s permanent display of the catalogue accompanying its Gallery’s 18th-century English 2014 exhibition, ‘Style and Satire: Fashion drinking glasses. in Print 1777-1927’. This is published in the March 2015 issue. Assistant curator of ‘Interior Life: Portraits and Private this is tomorrow Space’, a temporary display at Review of Spike Island’s, Bristol, Andrea The Wilson, Cheltenham’s art Luka Zimmerman exhibition, June 2017. gallery and museum, open 1 July – 30 November 2015. Art UK –a guide about how to get the most out of a visit to an art gallery for Art UK, Assistant curator of ‘Captured‘, published May 2016. an exhibition of contemporary Native American Craft Arts International – photographers’ work at reviewed Richard Long’s exhibition at The Rainmaker Gallery, Bristol, Arnolfini, Bristol, for issue no. 96, June open 5 March – 30 May 2015. 2016. feature on sculptor Peter Randall-Page RA for issue no. 96, June 2016. review of the touring exhibition ‘Ahead of the Curve: new china from China’, published on a four page spread in their issue no. 94, July 2015.

Crafts Magazine: The Magazine for Contemporary Craft – attached to the Crafts Council. review of the RWA’s summer exhibition featuring international artists Kate MccGwire and Peter Randall-Page for September-October issue 2015. review of the exhibition at Northampton Museum and Art Gallery entitled ‘Palimpsest’, by shoe designer and artist Ellen Sampson for January-February issue 2015. review the ‘Make It Slow’ exhibition at Woodend Gallery in Scarborough for January-February issue 2014.

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Carly Collier 18th and 19th century Books; Documents; History painting; Victorian Art; Discovering Ancient and Modern Contributed to From Caledonia My work particularly focusses on 18th and British art; Drawing; Portraiture; Women artists; Primitives: The Travel Journals of Maria to the Continent: Scottish 19th century works on paper. I am Assistant Taste for early Italian Miniatures; Painting; Landscape; Patronage & Callcott, 1827-28, Walpole Society Journal, Artists 1750-1900 (Palace of currently researching a selection of our Curator of Prints and Drawings art Pastel; Prints and Genre painting; Collecting; 2016 (Co-authored with Caroline Palmer) Holyroodhouse, Edinburgh, Victorian watercolours, and focusing printmaking; Topography & Royal patronage; Aug 2015 – Feb 2016; The particularly on the issues of patronage, Royal Collection Trust Watercolour; Works on mapmaking; Art institutions; Three catalogue entries on paintings and Queen's Gallery, London, collecting and their display. I am also paper; Caricature & satire; Country Houses; drawings by in Deborah March – Oct 2016) cataloguing the Prince Consort's Raphael Windsor Castle, SL4 1NJ Illustration; Art criticism; Clarke and Vanessa Remington, From Collection, a corpus of prints and Amateur artists; Neoclassicm; Caledonia to the Continent: Scottish photographs from c.1520-1900 after the [email protected] Romanticism; Artists 1750-1900, 2015 work of Raphael. k William Dyce’s Lamentation over the dead Christ - a new discovery, Burlington Magazine, 2014

Review of ‘The English Prize: The Capture of the Westmoreland’ (Ashmolean Museum, Oxford), British Society for Eighteenth-Century Studies, online reviews, 2012

A Forgotten Collector of Early Italian Art: Horatio Walpole, 3rd Earl of Orford, Burlington Magazine, 2011

Dogs, Casts and Daguerreotypes in Two Letters to Horatio Walpole, 3rd Earl of Orford, History of Photography, 2008

Amy Concannon Late 18th century Drawing; Landscape; Industrial Revolution; , Salisbury Cathedral from Turner’s Urban Landscapes, I work mainly on the major ‘Romantic’ British art; Painting; History painting; Romanticism; the Meadows (Tate In Focus site, 2017: Clore Gallery, Tate Britain, artists in Tate Britain’s collection – Amy[dot]concannon[at]tate[dot]or Prints & printmaking; Genre painting; Victorian Art; http://www.tate.org.uk/research/publications 2016-18 Turner, Constable and Blake – however g[dot]uk 19th century British Watercolour; Topography & Art institutions; /in-focus/salisbury-cathedral-constable ) my interests are wide-ranging and I have a art; Works on paper; mapmaking; Art criticism; Late Turner: Painting Set Free particular interest in the period’s Assistant Curator 1790-1850 Illustration Art & science; Late Turner: Painting Set Free (exh.cat, (Tate Britain and North watercolourists, including amateurs. I am Conservation/ Tate, 2014) American venues 2014-2016) currently working towards a PhD on urban Tate Britain Technical art history landscape representations, c.1800–50, Millbank Ruin Lust, Tate Britain, 2014 which takes in maps, guidebooks, SW1P 4RG souvenirs and prints as well as paintings The Nature of Common Life: and drawings. 020 7887 3921 genre drawings from the Oppé Collection, Tate Britain 2013-4 I am a co-convenor of the British Drawings subgroup of the British Art Network.

Dr Elena Cooper 19th century British art; Painting; ‘Art and Modern Copyright: The Contested N/A Copyright history relating to painting, Photography; Prints and Image’, (CUP, forthcoming 2018), engraving and photography 1850-1911; the CREATe, Glasgow University printmaking; monograph drawing on extensive original history of the role of the criminal law in Sculpture; archival work exploring the relation the combat of intellectual property between copyright and art (painting, infringement from 1800 to the present day. CREATe, School of Law, Glasgow engraving and photography) between 1850 University, 10 The Square, and 1911. Glasgow, G12 8QQ

Elena.cooper[at]glasgow.ac.uk Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Chantal Condron 20th century 1900- Books; Portraiture; ; Profile on Catherine Yass for The British Murder and Madness, Modern and contemporary art research of 1945 British art; Costume; Landscape; Gothic Revival; Ambassador’s Residence in Paris, Tim Government Art Collection, Government Art Collection (GAC) works chantal.condron[at]culture.gsi.gov. Documents; History painting; Group X Industrial Knox, Flammarion, 2011 2012 of art. uk 20th century post-1945 Drawing; Still Life; Revolution; British art; Decorative/ applied arts; Genre painting; Modernism; Text for Postcards from the Future A Degree of Excellence, Write/edit interpretative texts for Curator Furniture; Marine painting; Neoclassicm; commissioned by artists Didier Madoc- University of London Library, exhibitions, displays and online content. Installation; Topography & Neo-Romanticism; Jones and Robert Graves, Museum of 2000 Government Art Collection Miniatures; mapmaking; New English Art Club; London, 2011 Promote GAC to government and external Queen’s Yard Painting; Caricature & satire; New Sculpture; audiences. 179a Pastel; Illustration; Norwich School; Works of Art from the GAC at the British London Performance; Monuments/ tomb Performance art; Ambassador’s Residence, Washington DC, Present public talks. W1T 7PA Personal items; sculpture; Pop Art; Crown Copyright, 2004 Photography; Popular Art; Manage collaboration with schools 020 7580 9139 Prints & printmaking; Welsh Art; Pre-Raphaelitism; towards supporting literacy skills with Sculpture; Scottish Art; Romanticism; visual arts. Sound; Irish Art; St Ives School; Tapestries & textiles; Regionalism; Scottish Colourists; Audience research. Video; Surrealism; Watercolour; Empire; Victorian Art; Social media planning. Works on paper; Race; Unit One; Gender; Vorticism; Sexuality; War Art; Women artists; Aesthetic movement; Patronage & collecting; Amateur artists; Art institutions; Bloomsbury; Church art; Bristol School; Royal patronage; Camden Town Group; Country Houses; Conceptual art; Art education; Constructivism; Art criticism; Edwardian Art; Art theory; Euston Road School; Art & science; Folk Art; Learning & Glasgow School participation;

Alix Collingwood-Swinburn 20th century 1900- Drawing; Portraiture; Modernism; Forthcoming: mima’s collections remain at the heart of 1945 British art; Painting; Landscape; Pop Art; Festivities & Fears: Post war our artistic programme. The collections Durham University Works on paper; Still Life; Britain cover fine art, with a strength in post-war 20th century post-1945 Women artists; Chance Finds Us British art and particularly drawing; British art; Regionalism; Margaret Harrison British ceramics, developing from the Patronage & collecting; Stephen McKenna early stages of the studio ceramics Amateur artists; movement in this country; and Bloomsbury; Tracing the century: Drawing international artist made jewellery, looking Conceptual art; as a catalyst for change, 2013 particularly at work from Britain, Germany and The Netherlands. Our British art Life, death & home in-between: collection specifically includes British works from mima collection, modernist painting, drawing acquired 2012 through the Cleveland Drawing Biennale, contemporary drawing acquired through Carey Young: Memento Park, the Contemporary Art Society Special 2011 Collections Scheme and British studio ceramics charting the development of the movement throughout the twentieth century.

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Ms Jo Cottrell British art; Books; Empire; Modernism; I am a mature student commencing my 20th century 1900-1945 Documents; Race; Vorticism; PhD research focusing on three female Jo[at]jocottrell.com Drawing; Gender; Women artists; British artists - , Helen Decorative/ applied arts; Sexuality Saunders and Dorothy Shakespear, with MPhil/PhD student Painting; Edwardian Art; the working title ‘As a Woman My Personal items; Country is the Whole World. Nationalism, School of Arts Photography; Cosmopolitanism and the gender of Birkbeck, UoL Sculpture; Vorticism’. Watercolour; Works on paper; Alfredo Cramerotti 20th century post-1945 Books; Portraiture; Art education; Photocinema: The Creative Edge of Forthcoming: Adam Broomberg Director, MOSTYN; British art; Installation; Landscape; Art criticism; Photography and Film (ed.), 2013 & Oliver Chanarin, 2014 alfredoc[at]mostyn.org Performance; Art theory; Research Scholar, eCPR European Centre Photography; Aesthetic movement; Art & science; Contingency in Madagascar (ed.), 2012 Curator of: Bedwyr Williams: for Photography Research, University of Director Prints & printmaking; Amateur artists; The Starry Messenger, Wales in Wales, Newport; Sound; Conceptual art; Learning & Photography and Landscape (ed.), 2012 Venice, 2013 MOSTYN Video; participation; Editor, Critical Photography book series 12 Vaughan Street Works on paper; Modernism; Unmapping the City: Perspectives of Keith Arnatt and YOU, 2013 (Intellect Books); Llandudno Performance art; Flatness (ed.), 2010 Conwy Pop Art; All That Fits: The Aesthetics of Expertise: LL30 1AB Women artists; Aesthetic Journalism: How To Inform Journalism, 2011 Interdisciplinary curating (cross-media without Informing, 2009 work i.e. art and science, law, mass media 01492 879201 Matt Stuart: The Great British – TV, radio, Internet, newspapers, cinema Weekend, 2010-11 Performative symposia Manifesta 8: The Rest is History?, Expanded Photography (a visual alphabet 2010-11 and database that acts as agent of translation rather than representation) Dinu Li: Yesterday is History, Tomorrow is Mystery, 2010 Aesthetic Journalism (the mutual convergence of art and media into a new Ian Breakwell: The Elusive cross discipline of Aesthetic Journalism) State of Happiness, 2010

Bill Drummond / The17, 2008

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Tim Craven 16th and 17th century Books; Portraiture; Group X; Euston Road School, exhibition catalogue, Exhibitions on: Curation and touring exhibitions drawn British art; Costume; Landscape; Industrial Revolution; 1999 Camden Town group; from the permanent collection to outside tim.craven[at]southampton.gov.uk Documents; History painting; Modernism; Euston Road School; venues including British surrealists, works 18th century British Drawing; Still Life; Neoclassicm; A Clean and Solid Mosaic, Malcolm Derummong on paper and British watercolours, 18th – Lead Curator (Art) art; Decorative/ applied arts; Sporting art; Neo-Romanticism; and William Ratcliffe, exhibition catalogue, exhibition; 20th. Curation of permanent collection Furniture; Genre painting; New English Art Club; 2002 Harold Gilman and William displays in the art gallery. Development of Southampton City Art Gallery 19th century British Installation; Marine painting; New Sculpture; Ratcliffe exhibition; the permanent collection through art; Miniatures; Topography & Norwich School; Thelwell Country, 70 years of Norman British Abstraction in 20th acquisitions. Leading the curatorial team Painting; mapmaking; Performance art; Thelwell, exhibition catalogue, 2003 century exhibition; for Southampton’s arts and heritage 20th century 1900- Pastel; Caricature & satire; Pop Art; Systems group exhibition; centuries. 1945 British art; Performance; Illustration; Popular Art; Elements of Abstraction, exhibitions Robert Bevan and the Personal items; Monuments/ tomb Pre-Raphaelitism; catalogue, 2006 Group 20th century post-1945 Photography; sculpture; Romanticism; exhibition; British art; Prints & printmaking; Welsh Art; St Ives School; A Countryman in Town Robert Bevan and British Surrealists exhibition; Sculpture; Scottish Art; Scottish Colourists; the Cumberland Market Group, exhibition A Hundred years of 20th Sound; Irish Art; Surrealism; catalogue, 2008 century British Prints Drawings Tapestries & textiles; Regionalism; Victorian Art; and Watercolours exhibition; Video; Empire; Unit One; Ancient Landscapes, Pastoral Visions, Watercolour; Race; Vorticism; exhibition catalogue, 2008 Many and various permanent Works on paper; Gender; War Art; collection displays. Sexuality; Women artists; A Rational Aesthetic: The Systems Group, Aesthetic movement; Patronage & collecting; exhibitions catalogue, 2008 Amateur artists; Art institutions; Bloomsbury; Church art; Bristol School; Royal patronage; Camden Town Group; Country Houses; Conceptual art; Art education; Constructivism; Art criticism; Edwardian Art; Art theory; Euston Road School; Art & science; Folk Art; Conservation/ technical Glasgow School; art history; Gothic Revival; Learning & participation;

Sophie Cummings 20th century 1900-1945 Drawing; Portraiture; New English Art Club; Action: from the Developing a five year exhibition British art; Painting; Landscape; St Ives School; Swindon Collection programme focusing on the strengths of Scummings[at]swindon.gov.uk 20th century post-1945 Prints and printmaking; History painting; Unit One; (forthcoming, 2014) our 20th century art collection; acquiring British art Watercolour; War Art; 21st century art to develop the scope and Curator Works on paper; Bloomsbury; Women artists; depth of the collection; working towards Camden Town Group; the relocation of Swindon Museum and Swindon Museum and Art Gallery Art criticism; Art Gallery Art theory; Swindon Museum and Art Gallery Bath Road, Swindon SN1 4BA

(01793) 466556

Ellie Dawkins 19th century British Documents; Portraiture; Amateur artists; Head of Documentation and Archives at art; Drawing; Landscape; Edwardian Art; Glynn Vivian Art Gallery, supporting ellie.dawkins[at]swansea.gov.uk Painting; History painting; Neo-Romanticism; research into Welsh artists and collectors 20th century 1900- Prints & printmaking; Still Life; Victorian Art; of the 19th and 20th centuries. Documentation Officer 1945 British art; Sculpture; Genre painting; Women artists; Watercolour; Marine painting; Patronage & collecting; Also interested in 20th century émigré Glynn Vivian Art Gallery 20th century post-1945 Works on paper; Topography & Art institutions; artists in Wales. Swansea British art; mapmaking; Learning & My role includes providing academic 01792 516900 Welsh Art; participation; researchers with primary material on Welsh art.

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Jane Davidson-Ladd 18th century British art; Documents; Drawing; Portraiture; Pre-Raphaelitism; “Watering Place: New Zealand Art 1642- Picturing History: Goldie to The provisional title for my PhD thesis is 19th century British art; Miniatures; History painting; Romanticism; 1920”, p 2-7, in Ron Brownson (ed), Art Cotton, Auckland Art Gallery "Louis John Steele and the construction of jdav003[a]aucklanduni.ac.nz Painting; Sporting art; Victorian Art; Toi: New Zealand Art at Auckland Art Toi o Tamaki, 25 Apr 2009 – 21 a European art tradition in New Zealand". Pastel; Genre painting; Gallery, Auckland: Auckland Art Gallery, Feb 2010 It considers the influence English-born PhD Candidate Prints and printmaking; Illustration; Patronage & 2011 artist Louis J. Steele (1842-1918) had on Watercolour; Empire; Collecting; New Zealand art in the period from his University of Auckland Works on paper; Race; Art institutions; arrival in 1886 to his death in 1918. I Gender; Art education; believe he was quite a significant figure The University of Auckland and the extent of his influence is yet to be Private Bag 92019 fully acknowledged. As New Zealand’s Auckland 1142 first art histories are revised and New Zealand questioned it is my belief that his place within the canon needs to be reassessed. My research builds on an ongoing interest in New Zealand history paintings and colonial art.

Little is known of Steele’s career prior to coming to New Zealand aside from brief details about his training at the Royal Academy, London (enrolled 1860 on the recommendation of “Keyl”) and subsequently Ecole des Beaux Arts, Paris, and his involvement in reproductive etching in the late 1870s to mid 1880s. He associated with noted Royal Academicians and artists of the time including: W. Q. Orchardson, Briton Riviere, Marcus Stone, John Pettie, Mrs Allingham, S. E. Waller and Andrew Stone. I am particularly interested in finding out about this early part of his career.

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Professor Katy Deepwell 20th century Books; Documents; Portraiture; Modernism; Women Artists Between the Wars: ‘A Fair Ten Decades: The Careers of The majority of my work is on Drawing; Landscape; New English Art Club; Field and No Favour’ (Manchester Ten Women Artists born 1897- contemporary art, post-1970, Middlesex University 1900-1945 British art; Installation; History painting; New Sculpture; University Press, 2010) ISBN 978-0-7190- 1906, Exhibition Catalogue of internationally. Painting; Still Life; Performance art; 8080-7. Arts Council Touring Founder and editor of KT press and 20th century post-1945 Performance; Personal Genre painting; Pop Art; 355 pages, This book, based on my PhD, is Exhibition, Norwich Gallery, I continue to publish from my PhD n.paradoxa: international feminist British art items; Photography; Prints Topography & St Ives School; supported by two publication grants from NIAD, research on the interwar period in Britain, art journal and printmaking; mapmaking; Scottish Colourists; the Paul Mellon Centre for Studies in April 1992, ISBN 1-872482-05- periodically. Sculpture; Sound; Monuments/ tomb Surrealism; British Art and was completed during my 8 (Tour 1992: Morley College, [email protected] Tapestries and textiles; sculpture; Victorian Art; time as a Leverhulme Research Fellow. London & Howard Gardens ‘Women Artists in/out of Vorticism’ in G. Video; Welsh Art; Unit One; Gallery, CIAD) Exhibition Berghaus (ed) International Yearbook of [email protected] Scottish Art; Vorticism; Editor of Women Artists and Modernism designed and selected to form Studies (2015) ISBN: 978-3-11- Irish Art; regionalism; War Art; (Manchester University Press, June, 1998). part of the ‘Marginalisation & 040850-8 pp. 21-43 Empire; ISBN 0-7190-5082-0. 150pp.11 essays Alienation’ series. (10,000 word Race; Women artists; catalogue essay, plus ‘Women War Artists in the First World Gender; biographies, drawn from PhD War in Britain’ in Karen Brown (ed) Sexuality;; Art institutions; research, ) Agency and Mediation amongst Women Bloomsbury; Art education; Artists between the Wars (Ashgate Press, Camden Town Group; Art criticism; 2008) pp.11-36 Conceptual art; Art theory; Constructivism; Art & science; Euston Road School; Glasgow School; Group X;

Maria Devaney Scottish and British Drawing; Portraiture; Modernism; Mountain, Meadow, Moss and Moor: Picture Perthshire, 2013 Collections management for the fine and 19th-20th century art Painting; Landscape; Neoclassicm; Joseph Denovan Adam, 1996 ARTIST ROOMS Robert applied art collections of Perth Museum & mdevaney[at]pkc.gov.uk and post war to Prints & printmaking; History painting; Neo-Romanticism; Mapplethorpe, 2012 Art Gallery incorporating development of contemporary Scottish Sculpture; Still Life; New English Art Club; R H Morton Stirling’s Forgotten Artist Romantic Scotland, 2011 collections through collecting policies, Senior Curator with a particular Sporting art; New Sculpture; (published Stirling Smith Art Gallery & Birds & the Bees, 2011 acquisitions, documentation, research, emphasis on Perth & Genre painting; Norwich School; Museum) Stella Steyn, 2010 storage, conservation, interpretation and Perth Museum & Art Gallery Kinross Marine painting; Pop Art; ARTIST ROOMS , display. Managing loans and collection Perth & Kinross Council Topography; Popular Art; Henry Morley A Stirling Artist (published 2010 enquiries. Lead curator on all art focussed Caricature & satire; Pre-Raphaelitism; Stirling Smith Art Gallery & Museum) Scottish Masters, 2010 exhibitions. Perth Museum & Art Gallery Illustration; Romanticism; La Serenissima, 2009 78 George Street St Ives School; French Connections, 2009 Perth Scottish Art; Scottish Colourists; A Glimpse of the Floating PH1 5LB Regionalism; Surrealism; World, 2008 (Perth & Kinross) Victorian Art; Sea Pictures, 2008 01738 632488 Vorticism; Painted Ladies, 2007 Amateur artists linked War Art; Derrick Guild, 2007 to Perth & Kinross; Women artists; Gillies to Bellany, 2007 DY Cameron, 2007 Conceptual art; Patronage & collecting; Blairgowrie Boys, 2006 Edwardian Art; Art institutions; Poetic Visions, 2006 Church art; Glasgow School; Edinburgh School; Country Houses; St Andrews School; Art education; Art criticism; Modern Scottish Art theory; printmaking; Japanese woodblock prints;

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Patrizia Di Bello 19th century British art; Books; Portraiture; Industrial Revolution; '"Multiplying Statues by Machinery": I am currently working on a book on the 20th century 1900-1945 Photography; Prints and Monuments/ tomb Modernism; Stereoscopic Photographs of at technical and conceptual relationships p.dibello[at]bbk.ac.uk British art; printmaking; sculpture; New Sculpture; the 1862 International Exhibition' in The between photography and sculpture, 20th century post-1945 Sculpture; Performance art; Sculptural Photograph in the Nineteenth focusing on a number of case studies Lecturer in History and Theory of British art Gender; Pre-Raphaelitism; Century, a special issue of History of including British ones. Photography Sexuality;; Surrealism; Photography guest edited by Patrizia Di Victorian Art; Bello, Volume 37, Issue 4, November 2013 Birkbeck University of London Aesthetic movement; Vorticism; Amateur artists; War Art; Patrizia Di Bello, Colette Wilson and History of Art Department Bloomsbury; Women artists; Shamoon Zamir (eds), The Photobook from 43 Gordon Square Conceptual art; Talbot to Ruscha and Beyond (London: I.B. London Constructivism; Patronage & Tauris, 2012) WC1 H 0PD Collecting; Art institutions; 'Elizabeth Thompson and 'Patsy' Cornwallis 020 76316125 Royal patronage; West as carte-de-visite Celebrities' in Country Houses; History of Photography 35:3 (2011), 240- Art education; 249 Art criticism; Art theory; Patrizia Di Bello and Gabriel Koureas eds, Art & science; Art, History and the Senses, 1830 to the present (Aldershot, UK and Burlington, Technical art history; USA: Ashgate 2010) Luisa Cale and Patrizia Di Bello eds, Illustrations, Optics and Objects in Nineteenth-Century Literary and Visual Cultures (Houndsmill, Basingstoke: Palgrave Macmillan, 2009)

Patrizia Di Bello, Women's Albums and Photography in Victorian England: Ladies, Mothers and Flirts (Aldershot, UK and Burlington, USA: Ashgate 2007)

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Brett Dolman 16th and 17th century Books; Portraiture; Patronage & collecting; Brett Dolman, David Souden and Olivia The current painting hang at Court portraiture and the projection of the British art; Documents; Landscape; Art institutions; Fryman, Beauty, Sex and Power: A Story of Hampton Court Palace royal image (1500-1750). Especially, at brett.dolman[at]hrp.org.uk Drawing; History painting; Church art; Debauchery and Decadent Art at the Late present, the art and culture of the early 18th century British Miniatures; Still Life; Royal patronage; Stuart Court (1660-1714), 2012; The Wild, the Beautiful and the Hanoverian period (1714-1737) in Curator of Collections, Hampton art; Painting; Sporting art; Country Houses; Damned, Hampton Court, 2012; preparation for an exhibition on the early Court Palace Pastel; Genre painting; ‘Antonio Verrio and the royal image at Georgian Court in 2014; Personal items; Marine painting; Art education; Hampton Court’, British Art Journal, 2010; Henry’s Women, Hampton Historic Royal Palaces Prints & printmaking; Topography & Art criticism; Court, 2009; Baroque murals. Research into the Sculpture; mapmaking; Art theory; David Souden, Lucy Worsley and Brett commissioning, iconography and reception Hampton Court Palace Tapestries & textiles; Caricature & satire; Art & science; Dolman, Royal Palaces of London, 2009; of the work of Antonio Verrio and James Apt 25 Watercolour; Illustration; Thornhill at Hampton Court and Surrey Works on paper; Monuments/ tomb Conservation/ technical ‘Everything Curious: Samuel Hieronymus elsewhere. Linked to the re-presentation KT8 9AU sculpture; art history; Grimm & Sir Richard Kaye’, British plans for the baroque areas of Hampton Learning & Library Journal, 2003; Court, and prospective partnership projects Empire; participation; with other baroque sites. Sexuality; ‘Beauty’ in late 17th century England. Writing up research pursued during the preparation for The Wild, the Beautiful and the Damned, the 2012 exhibition at Hampton Court, particularly the meaning and reception of the female portraiture of Peter Lely, Godfrey Kneller, Benedetto Gennari and William Wissing

Generally, the historiography of portraiture across all periods.

Pip Dodd 18th century British Costume; Drawing; Portraiture; Industrial Revolution; I work extensively with military art, art; Miniatures; Painting; Landscape; Pre-Raphaelitism; including portraiture, battle, history and pdodd[at]nam.ac.uk Pastel; Prints and History painting; Victorian Art; genre paintings. Currently researching 19th century British printmaking; Genre painting; War Art; British painting in India. Senior Curator, National Army art; Watercolour; Works on Marine painting; Women artists; Museum paper Topography & 20th century 1900- mapmaking; Patronage & Royal Hospital Road 1945 British art; Caricature & satire; Collecting; London SW3 4HT Country Houses; Empire; Race; Conservation/ Technical art history; Amateur artists; Edwardian Art;

Kirsty Sinclair Dootson, Yale 19th century British art; Painting; My current dissertation project is titled University (PhD Candidate) 20th century 1900-1945 Prints and printmaking; Aesthetic movement; “Industrial Colour: chromatic technologies British art; Video; Edwardian Art; in Britain, 1856-1971”. [email protected] Industrial Revolution; Modernism; Popular Art; Pre-Raphaelitism; Victorian Art; Vorticism; Conservation/ Technical art history;

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Martina Droth 19th century British Decorative/ applied arts; Monuments/ tomb Modernism; M. Droth, Sébastien Clerbois, eds, Revival Victorian Sculpture, Yale Victorian sculpture; and Bill art; Sculpture; sculpture; Neoclassicm; and Invention: Sculpture and its Material Center for British Art, 2014, and Brandt. martina.droth[at]yale.edu New Sculpture; Histories, Peter Lang, 2011 Tate Britain, 2015 20th century 1900- Empire; Victorian Art; Yale Center for British Art 1945 British art; Patronage & ‘Leighton House: Art in and beyond the Caro Close Up, Yale Center for Aesthetic movement; Collecting; Studio’, Journal of Design History, 2012 British Art, 2012 1080 Chapel Street 20th century post-1945 Art institutions; New Haven British art; Royal patronage; Taking Shape: Finding CT 06250 Art education; Sculpture in the Decorative Art criticism; Arts, Henry Moore Institute. 2008, and J. Paul Getty Museum, 2009

Bronze: The Power of Life and Death, Henry Moore Institute, 2005

Kirstine Brander Dunthorne 19th century British Documents; Portraiture; Amateur artists; A passion for art. Friends of the Glynn A passion for art: Friends of the Research on paintings, prints and drawings art; Drawings Landscape; Edwardian Art; Vivian Art Gallery 1858-2008, 2008 Glynn Vivian Art Gallery 1858- from the collection of Richard Glynn hkdunthorne[at]btinternet.com Painting; History painting; 2008, Glynn Vivian Art Gallery, Vivian (1835-1910), founder of the Glynn 20th century 1900- Pastel; Still Life; Industrial Revolution; Drawn from Wales: a School of Art in 2008 Vivian Art Gallery, Swansea. Glynn Vivian Art Gallery 1945 British art; Personal items; Genre painting; Victorian Art; Swansea 1853-2003, (Ed.), 2003 Documentary archival research on Richard Swansea Photography; Marine painting; Women artists; Drawn from Wales: a School of Glynn Vivian. 20th Century post-1945 Prints & printmaking; Topography & Artists Exhibited in Wales 1945-74, 1976 Art in Swansea, 1853-2003, Broader interest in 19th and 20th century 01792 516900 British art; Watercolour; mapmaking; Patronage & collecting; Glynn Vivian Art Gallery, 2003 Welsh art and artists, particularly those in Works on paper; Illustration; Art institutions; the collection of the Glynn Vivian Art Art education; Gallery. Welsh Art; Art criticism; Regionalism; Learning & participation; Empire; Race; Gender;

Rosanna Eckersley 1900-1945 British art; Drawing; Portraiture; Women artists; Forthcoming: ‘An Awkward Fit? Winifred Working on women artists and developing 20th century post-1945 Painting; Landscape; Patronage & Knights’ Scenes from the Life of Saint material from my PhD ‘A Study of Birkbeck College, University of British art Pastel; Photography; Prints History painting; Collecting; Martin of Tours, Canterbury Cathedral’, in , 1915-1933’, (awarded London, and the Open University and printmaking; Still Life; Art institutions; Visual Culture in Britain. in 2015). Sculpture; Genre painting; Church art; ‘Foreword’ to Christopher Campbell- [email protected] Watercolour; Works on Illustration; Art education; Howes, Evelyn Dunbar: A Life in Painting, paper; Gender; Learning and 2016. Sexuality; participation; Modernism; Slade School of Art Vorticism; War Art;

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Karen Eslea 20th century 1900- Fine art and literature; Learning & Working on interpretation and learning 1945 British art; participation; programmes as well as curatorial projects. keslea[at]turnercontemporary.org Currently devising an exhibition linked to 20th century post-1945 the Wasteland to link in to 1914-18 Head of Learning British art; commemorations.

Turner Contemporary Contemporary British Rendezvous art; Margate Kent CT9 1HG

01843 233001

Magdalen Evans 19th century British Drawing; Portraiture; Industrial Revolution; “Utmost Fidelity” (Sanson & Co, 2009) The life of the sculptor and puppet maker art; Decorative/ applied arts; Landscape; Modernism; William Simmonds 1876 - 1968 NADFAS Furniture; History painting; Neo-Romanticism; Obituaries for the Times, Guardian & 20th century 1900- Painting; Still Life; New English Art Club; Independent Magdalenevans[at]yahoo.co.uk 1945 British art; Pastel; Genre painting; New Sculpture; Prints & printmaking; Illustration; Norwich School; 20th century post-1945 Tapestries & textiles; Regionalism; Pop Art; British art; Watercolour; Popular Art; Works on paper; Aesthetic movement; Pre-Raphaelitism; Bloomsbury; Romanticism; Camden Town Group; St Ives School; Constructivism; Victorian Art; Edwardian Art; Vorticism; Euston Road School; War Art; Folk Art; Women artists; Gothic Revival; Patronage & collecting; Art in prisons Art institutions; Church art; Royal patronage; Art education; Art criticism; Art theory; Art & science;

Learning & participation; Dr James Finch 18th century British art; Painting; Modernism; ‘’A Wisful Dream of Far-Off Californian Cataloguing 18th century prints at Royal Independent 20th century post-1945 Prints and printmaking; Pop Art; Glamour’: David Sylvester and the British Academy of Arts; research assistant to Sir J.Finch-420[at]kent.ac.uk British art Sculpture; Surrealism; View of American Art’ (Tate Papers, ; teaching on MA Curating Works on paper; Art criticism; forthcoming) course at University of Kent; writing essay Art theory; on John Berger and realism in the 1950s

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Neil Firth 20th century 1900- Drawing; Landscape; Modernism; Neil Firth, Mel Gooding, Sir Nicholas The Pier Arts Centre Collection Collection development including research 1945 British art; Painting; Still Life; New Sculpture; Serota, Margaret Gardiner et al, An focussing on new acquisitions: on contemporary Northern European neil.firth[at]pierartscentre.com Photography; Marine painting; St Ives School; Unfolding Gift – The Pier Arts Centre New work by artists and small sculptural works. 20th century post-1945 Prints & printmaking; Scottish Art; Unit One; Collection, 2010 2012 Director British art; Sculpture; New work by Jim Lambie 2011 Current temporary exhibitions include Video; Patronage & collecting; sculptural work by Nathan Coley; The Pier Arts Centre Watercolour; Art education; Other recent solo exhibitions contemporary British craft and Zoe Walker Victoria Street Works on paper; and projects by British artists & Neil Bromwich. Stromness Learning & include – Orkney participation; Roger Ackling,; Richard KW16 3AA Deacon and ; Annie Cattrell; Ian Stephen; Wilhelmina Barns-Graham; Adam Barker-Mill; Robin Gillanders; Ian Hamilton Finlay and Hannah Rickards.

Elizabeth Fisher 20th century 1900-1945 Documents; Drawing; Aesthetic movement; On Not Knowing: How Artists Think (co- : Music of Independent curator British art; Decorative/ applied arts; Constructivism; edited with Rebecca Fortnum), Black Dog Colour, Kettle’s Yard 2012 PhD candidate, University of Cambridge. Clare College, Cambridge CB2 20th century post-1945 Installation; Modernism; Publishing 2013 Doctoral research project: Kettle’s Yard: a 1TL British art; Painting; Unit One; Christopher Wood, Kettle’s curatorial genealogy. [email protected] Contemporary Performance; Personal Women artists; Christopher Wood (Kettle’s Yard Yard 2013 items; Photography; Prints Patronage & University of Cambridge, 2013) ACE-funded collaborative research project and printmaking; Collecting; Gustav Metzger: Lift Off! with artist Sarah Dobai leading to a touring Sculpture; Sound; Curatorial practice; Winifred Nicholson: Music of Colour Kettle’s Yard, 2014. exhibition & public programme, 2018-19. Video; Watercolour; Works Art institutions; (Kettle’s Yard University of Cambridge, on paper; Art education; 2012/2017) Series editor, Kettle’s Yard Artists. Aesthetic theory; Forthcoming titles: (Jan Art criticism; The Experimental Generation: networks of 2018), David Jones (June 2018). Post-war interdisciplinary praxis in British Art 1950- interdisciplinary art 70. eds. Elizabeth Fisher & Bronac Ferran practice; Interdisciplinary Science Reviews issue no. 42.1-2, Mar-Jun 2017. Dr Claire FitzGerald mid/late 19th and early Books; Decorative/ applied Portraiture; Industrial Revolution; Doctoral research which investigated 20th century arts; Works on paper; Landscape; Modernism; craftswomen active between the 1880s and Community Activity and Heritage Illustration; Tempera Genre painting; Pre-Raphaelitism; 1930s in the fields of book-illustration, Officer for London Borough of painting; ; Illustration; Romanticism; tempera painting, stained glass and Hillingdon, alumni of University of Embroidery regionalism; Victorian Art; embroidery. The work of artists Georgie Warwick Women artists; Gaskin, Celia Levetus, Kate Bunce, Gender; Margaret A. Rope, Florence Camm and c.d.fitzgerald[at]warwick.ac.uk Patronage & Mary Newill were examined in depth. Collecting; Trained at the progressive Birmingham Arts and Crafts Art institutions; Municipal School of Art at the turn of the movement; Church art; century, these women made the ideals of Edwardian Art; Art education; the Arts and Crafts movement their own Art theory; and carried this tradition beyond the First Art history World War. Integrating Their professional collaborations and social ties cut across the concept of region-specific Schools, shedding light on some of the exchanges amongst a wider artistic community. Still largely overlooked, these women have left a rich material legacy behind - whether embedded in the fabric of church buildings, in museum collections, archives, or treasured by private collectors. The close study of these artworks proves a fertile ground to question preconceptions about gender, society, collaborative production, and methods of chronicling the past. Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Hilary Floe 20th century 1900- Gender; Modernism; ‘Are you afraid of the light?’ Spectacular Archigram Beyond Architecture DPhil candidate and Collaborative 1945 British art; Sexuality; Performance art; Aesthetics at the , REMIX 2013, Modern Art Doctoral Award holder. Thesis HilaryFloe[at]hepworthwakefield.o Conceptual art; Pop Art; Oxford 1967-8, Modern Art Oxford, 2013 Oxford, 2013 provisionally titled The Museum of rg 20th century post-1945 Patronage & Modern Art, Oxford (1965-1990): British art; Collecting; Exhibitions, Spectatorship and Social Assistant Curator Art institutions; Change. Art education; Hepworth Wakfield Art criticism; Gallery Walk Art theory; Wakefield Learning & West Yorkshire WF1 5AW participation;

Susan Foister 16th and 17th century Painting; Portraiture; Patronage & Holbein and England, New Haven and Holbein in England, Tate Curator of Early Netherlandish, German [email protected] British art; Landscape; Collecting; London, 2004 Britain, 2006 and British Paintings at the National National Gallery History painting; Art institutions; Gallery. 18th century British Church art; art; Royal patronage; London Country Houses; WC2N 5DN 19th century British art; Conservation/ Technical art history; Learning and participation;

Dr. Jenny Gaschke British art; Books; Portraiture; Neoclassicm; Edward Lear. Egyptian Sketches, 2009 Re-display of the Art for I am currently working on the re-display of 18th century British art; Documents; Landscape; Popular Art; London 2009. the Nation galleries at the the fine art collection at Bristol Museum jenny.gaschke 19th century Drawing; History painting; Pre-Raphaelitism; Queens House, Greenwich and Art Gallery, including Victorian and [at]bristol.gov.uk Miniatures; Still Life; Romanticism; Perseus und das Schreckenshaupt. (permanent art collection, Edwardian gallery (completed Nov.2013), Painting; Genre painting; Victorian Art; Edward Burne-Jones und die ) Old Master and Enlightenment galleries Fine Art Curator, (British and Pastel; Marine painting; Standhaftigkeit des Schönen, in:Nicole (2014). European pre-1900) Personal items; Topography & Patronage & Hegener (ed.): Curiosa Poliphili, Photography; mapmaking; Collecting; Leipzig 2007, pp.239-246. Bristol Museum and Art Gallery Prints and printmaking; Caricature & satire; Art institutions; Queens Road Sculpture; Illustration; Church art; “Hellas…in one living picture”. Bristol, BS8 1RL Watercolour; Royal patronage; Britische Reisende und die visuelle Works on paper regionalism; Country Houses; Aneignung Griechenlands 0117 922 3571 Art education; im frühen19. Jahrhundert, Empire; Art criticism; Frankfurt 2006 Art & Travel Art theory; Aesthetic movement; Art & science; Amateur artists; Bristol School; Conservation/ Edwardian Art; Technical art history; Gothic Revival; Learning and participation Industrial Revolution;

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Alexandra Gent 18th century British art; Painting; Portraiture; Patronage & Gent, A. with contributions from L. Davis, Joshua Reynolds Experiments in I am currently a PhD candidate at the 19th century British art; Landscape; Collecting; ‘Reynolds Paint, The , Courtauld Institute of Art, supervised by The Courtauld Institute of Art 20th century 1900-1945 History painting; Art institutions; as Restorer: Prince Baltasar Carlos in Black 2015. Co-curated with Lucy Professors Aviva Burnstock and David British art; Genre painting; Country Houses; and Silver’ in Davis and Mark Hallett Solkin. My thesis will examine replication Alexandra.gent[at]courtauld.ac.uk 20th century post-1945 Art & science; Painting Techniques, and repetition in Joshua Reynolds’s studio British art History, Materials and Studio Practice, practice through the technical examination Conservation/ forthcoming. of selected subject pictures where more Technical art history; than one version survives. I also work as a Gent, A, R. Morrison and N von Aderkas, freelance paintings conservator. ‘‘1st olio after Capivi’: Copaiba Balsam in the paintings of Sir Joshua Reynolds’ in Studying 18th- Century Paintings and Art on Paper , 2015.

Gent, A, ‘Reynolds, Paint and Painting: A Technical Analysis ’ in Experiments in Paint: Reynolds at the Wallace Collection , L. Davis and M. Hallett (eds.), 2015.

Gent, A., A. Roy and R. Morrison, National Gallery Technical Bulletin 35 Reynolds at the National Gallery and the Wallace Collection A. Roy (series ed.), 2014. Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Elizabeth Gilmore 18th century British Art Documents; Portraiture; Industrial Revolution; Jerwood Gallery Exhibition and collection Rose Wylie: Big Boys sit in the The Jerwood Collection of 20th and 21st 19th century British Art Drawing; Landscape; Modernism; catalogues: Front, Jerwood Gallery (in Century British art is a key area of liz[at]jerwoodgallery.org 20th century 1900-1945 Decorative/ applied arts; Still Life; Neoclassicm; collaboration with Union research, particularly St Ives, Royal British art; Installation; Marine painting; Neo-Romanticism; Jerwood Collection, 2012, ISBN: 978-0- Gallery) Academician and contemporary painters in Director 20th century post-1945 Painting; Caricature & satire; New English Art Club; 9571892-0-1 : Flashback, the collection. British art Pastel; Illustration; New Sculpture; Jerwood Gallery (in Jerwood Gallery Performance; Personal Aesthetic movement; Norwich School; Rose Wylie, Big Boys Sit in the Front, collaboration with Arts Council Manage the presentation of the Jerwood items; Amateur artists; Performance art; 2012, ISBN: 978-0-9571892-1-8 England) Collection (including painting, Jerwood Gallery Photography; Bloomsbury; Pop Art; Gillian Ayres: Works from the photography, works on paper, sculpture, Rock-a-Nore Road Prints and printmaking; Bristol School; Popular Art; Gillian Ayres, Paintings from the ‘50s, ‘50s, Jerwood Gallery (in and maquettes). Hastings, East Sussex Sculpture; Camden Town Group; Pre-Raphaelitism; 2012, ISBN: 978-0-9571892-2-5 collaboration with Alan Cristea TN34 3DW Sound; Conceptual art; Romanticism; Gallery) Identify, and curate temporary exhibitions Video; Constructivism; St Ives School; Knock Knock, 7 Artists in Hastings, 2013, Jerwood Drawing Prize 2012, and displays, with a focus on Watercolour; Euston Road School; Scottish Colourists; 978-0-9571892-3-2 Jerwood Gallery (in contemporary British painting. Works on paper; Surrealism; collaboration with Parker Harris Victorian Art; Jeffery Camp, The Way to Beachy Head, and Drawing Projects Uk) Unit One; 2013, ISBN: 978-9571892-4-9 Knock Knock: Seven Artists in Vorticism; Hastings, Jerwood Gallery (in War Art; collaboration with Professor Women artists; Gerard Hemsworth) William Scott: Divided Figure, Patronage & Jerwood Gallery (in Collecting; collaboration with the William Art institutions; Scott Archive and Tate) Church art; Craigie Aitchison Display, Royal patronage; Jerwood Gallery (in Country Houses; collaboration with Timothy Art education; Taylor Gallery) Art criticism; Exquisite Corpse, Chapman Art theory; Brothers, Jerwood Gallery Jeffery Camp: The Way to Conservation/ Beachy Head, Jerwood Gallery Technical art history; (in collaboration with Art Space Learning and Gallery) participation; Basil Beattie: Promises, Promises, Jerwood Gallery (in collaboration with Mel Gooding) , display Marlow Moss Display (a touring exhibition, in partnership with Jerwood Collection Displays 2012-2014

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Anne 20th century 1900-1945 Painting; Photography; Portraiture; Pop Art; Exhibition catalogues William Strang Goodchild British art; Sculpture; Landscape; St Ives School; (Graves Art GallerySheffield’ 20th century post-1945 Watercolour; Works on Still Life; Scottish Colourists; Dear Winifred A correspondence between 1982) Freelance curator and writer British art; paper; artists; Surrealism; Christopher Wood and Winifred Nicholson, Bloomsbury; Unit One; 2013 A Dream of Fair Women – the 10B Summerfield Camden Town Group; Vorticism; art of Gerald Brockhurst Ashdell Road Conceptual art; War Art; (Graves Art Gallery and NPG Sheffield Constructivism; Women artists; 1986/7)) S10 3DD Edwardian Art; 0114 2664002 Euston Road School; The Absent Presence – The uninhabited interior in British [email protected] art c. 1850 – date. (Graves Art Gallery, Geffrye Museum, 1990)

Between Poetry and Art – Christopher Wood and his Circle Graves Art Gallery, 2004)

Without from Within (Djanogly Art Gallery, 2010)

Towards a New Reality – The art of (Djanogly Art Gallery, Pallant House, 2016/7)

Clare Griffiths 20th century 1900-1945 Books; Documents; Portraiture; Modernism; 20th century landscape; art and visual British art; Drawing; Landscape; Neo-Romanticism; culture during the Second World War; 20th Professor of Modern History 20th century post-1945 Decorative/ applied arts; Still Life; St Ives School; century wood engraving, especially the British art Painting; Sporting art; War Art; work of Clare Leighton. Cardiff University Photography; Prints and Illustration; Women artists; School of History, Archaeology printmaking; and Religion, Watercolour; Works on Welsh Art; Patronage & John Percival Building, paper; regionalism; Collecting; Colum Drive, Art institutions; Cardiff Bloomsbury; Art education; CF10 3EU Art criticism

Griffithscvj[at]cardiff.ac.uk Charlotte Gould 20th century post-1945 Painting; Modernism; Marketing Art in the British Isles, 1700 to . I work on contemporary British art. I have British art Performance; Performance art; the Present Day. Gould, Mesplède eds. focused more specifically on Young charlotte.gould[at]univ-paris3.fr Personal items; Popular Art; Ashgate, 2012. British Art and the question of the Photography; Women artists; contemporary art medium. I am currently Université Sorbonne Nouvelle, Prints and printmaking; "What's in a Name? Les Young British looking into British public and semi-public Paris 3 Sculpture; Patronage & Artists : du branding à l'ontologie" in Au art commissioning since the nineteen- Sound; Collecting; nom de l'art. Enquête sur le statut ambigu eighties Institut du Monde Anglophone, Tapestries and textiles; Art institutions; des appellations artistiques de 1945 à nos 5 rue de l’école de médicine, Video; Art criticism; jours. Dir. par Katia Schneller et Vanessa 75006 Paris, Watercolour; Art theory; Théodoropoulou. Paris : Publications de la France Works on paper; Sorbonne, 2013.

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Helen Gorrill 20th century post-1945 Painting; Portraiture; Folk Art; Numerous conference papers and papers in Drawn Conversations: an Dr Gorrill’s work contributes to research British art Watercolour; Landscape; Glasgow School; press. Monographs and edited collections international exhibition of in Coventry University Visual Art Name: Dr. Helen Gorrill Works on paper; Still Life; Gothic Revival; include: collaborative drawing. The Research Group’s key strand of Art, Welsh Art; Group X; Institute for Creative Enterprise, Transnationalism and Cultural Memory. Drhelengorrill[at]hotmail.com Scottish Art; Neoclassicm; Gorrill, H. (2018) Women Can’t Paint: Coventry University 2015.Solo Her postdoctoral work aims to explore Irish Art; regionalism; Neo-Romanticism; Gender, the Glass Ceiling and Values in curated show Dei-cide, The patterns of creativity in northern European Postdoctoral Research New English Art Club; Contemporary Art. London: I.B. Tauris Execution Room Vyner St aesthetics and identities through Empire; Pop Art; London E2 9DG (2011) contemporary painting in national Visual Arts Research Race; Popular Art; collections (1990 to present). It will Journeaux, J., & Gorrill, H. (2018) Drawing Gender; Women artists; Co-curator Drawn facilitate the development of the group’s Conversations: Collective and Coventry CV1 5FB Sexuality;; Conversations, an international collaborations with international galleries Collaborative Drawing in Contemporary Patronage & Practice. Newcastle upon Tyne: Cambridge exhibition to accompany the and institutions in Northern Europe, and Aesthetic movement; Collecting; symposium Drawing crosses disciplinary boundaries through the Scholars Publishing Amateur artists; Art institutions; Conversations, Coventry merging of visual arts and mathematics Bloomsbury; University CV1 5FB (2015). applications. She is motivated by the Bristol School; Art education; Sequels forthcoming. identification of transnational aesthetics Camden Town Group; Art criticism; and cultural identities through a new Conceptual art; Art theory; Drawn Conversations: an methodology developed during her PhD Constructivism; international exhibition of research in contemporary British painting, Euston Road School; collaborative drawing. The and seeks to establish a next generation Institute for Creative Enterprise, tradition in art historical analysis through Coventry University 2015. the use of statistics programming of aesthetic and biographical details. Dr Gorrill has been the recipient of 8 external research awards, she is the UK coordinator for the Feminist Art Project based at Rutgers University USA, and her artwork is digitally archived by the Brooklyn Museum in New York.

Dr Leanne Green War art, 20th century 'Advertising War: Picturing Assistant Curator (Fine Art), women artists, Belgium in First World War Whitworth Art Gallery modernism, art theory Publicity', Media War and The University of Manchester Conflict, November 2014 Oxford Road, Manchester, M15 6ER

0161 275 8450 Leanne Green [email protected]

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Aysegul Guchan 18th century British Books; Portraiture; Industrial Revolution; Widely published on the 19th, 20th and 21st 2004-2012 student exhibitions Currently writing a book on how London art; Documents; Landscape; Modernism; century art. in Curatorial Studies course came to the fore in the early 1990s, and Ayguchan[at]yeditepe.edu.tr Drawing; History painting; Neoclassicm; how newly emerged art changed the art 19th century British Installation; Still Life; Neo-Romanticism; Recently delivered papers on British art, Fatma Tülin exhibition, scene and market in London. Beginning Yeditepe University art; Painting; Sporting art; New English Art Club; Government Art Collection and YBAs. Yeditepe University, 2004. with the art scene in Paris in mid- Pastel; Genre painting; New Sculpture; Aiming to turn a quite relevant nineteenth century and showing that a Yeditepe Universitesi Guzel 20th century 1900- Performance; Marine painting; Norwich School; space into an art space with a city’s being the centre of art was a quite Sanatlar Fakultesi 1945 British art; Photography; Topography & Performance art; high-profile exhibition of a complicated fact and the result of a series 26 Agustos Yerlesimi Prints and printmaking; mapmaking; Pop Art; notable contemporary artist and of interrelated occurrences. 34755 Atasehir 20th century post-1945 Sculpture; Caricature & satire; Popular Art; make students familiar with Istanbul British art Sound; Illustration; Pre-Raphaelitism; contemporary art (there are Turkey Video; Monuments/ tomb Romanticism; 20,000 students at the Watercolour; sculpture; St Ives School; university). +90 216 5780869 Works on paper; Scottish Art; Surrealism; Irish Art; Victorian Art; Regionalism; Vorticism; Empire; War Art; Race; Women artists; Gender; Patronage & Sexuality;; Collecting; Aesthetic movement; Art institutions; Amateur artists; Church art; Bloomsbury; Royal patronage; Camden Town Group; Art education; Conceptual art; Art criticism; Constructivism; Art theory; Edwardian Art; Art & science; Glasgow School; Conservation/ Gothic Revival; Technical art history; Learning and participation;

Katharina Günther 20thcentury ,post-1945 Painting; Francis Bacon Metamorphoses, The Estate Francis Bacon A Terrible Working on a PhD thesis on Francis Bacon British art, Photography; Film of Francis Bacon (ed.), Dorchester 2011 Beauty, The Dublin, which explores the artist’s relationship to guenther.katharina[at]yahoo.de contemporary art October 2009 – March 2010, photography Francis Bacon ibook with The Estate of curated accompanying (2014) Independent Art Historian, M.A., Francis Bacon and ArtFinder screening programme fine art researcher and writer

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Dr Lydia Hamlett 16th and 17th century Books; Documents; History painting; Patronage & Forthcoming: Discoveries: Art, Science and Writing book on murals in 17th and 18th British art; Drawing; Industrial Revolution; Collecting; Exploration from the University centuries in Britain lkh25[at]cam.ac.uk 18th century British art Mural painting; Neoclassicism; Art institutions; Book chapter, ‘Rupture through Realism: of Cambridge Museums, Two Painting; Neo-Romanticism; Church art; Louis Laguerre’s Murals at Marlborough Temple Place, London and The Leverhulme Early Career Fellow Prints and printmaking; Royal patronage; House’, in M. Hallett, M. Myrone and N. Fitzwilliam Museum, Tapestries and textiles; War Art Country Houses; Llewellyn (eds), expected 2015 Cambridge 2014 (co-curator) University of Cambridge Watercolour; Works on Art theory; paper Art & science Published: Sketches for Spaces: History Painting and Architecture 1630- Essays on The Art of the Sublime Tate 1730, Tate 2013-14 (curator) website (‘Longinus and the Baroque Sublime in Britain’; ‘Sublime Literature: Genres and Transformations: William Hogarth’s Satan, Sin and Death (A British Art 1660-1735, Tate Scene from Milton’s ‘Paradise Lost’)’; 2010-11 (co-curator) ‘Sublime Portraiture: Jonathan Richardson’s Portrait of the Artist’s Son, Jonathan From Reason to Revolution: Art Richardson Junior, in his Study and and Society in Eighteenth- Anthony van Dyck’s Portrait of Mary Hill, Century Britain, The Lady Killigrew’; ‘Sublime Rhetoric: Two Fitzwilliam Museum, versions of St Paul Preaching at Athens by Cambridge 2007 (assistant James Thornhill’; ‘Sublime History: Louis curator) Chéron’s Vulcan Catching Mars and Venus in his Net, Henry Gibbs’s Aeneas and his Paul Mellon: A Cambridge Family Fleeing Burning Troy and Godfrey Tribute, The Fitzwilliam Kneller’s Elijah and the Angel’; ‘Sublime Museum, Cambridge 2007 Effect: James Thornhill’s A Ceiling and (assistant curator) Wall Decoration and The Apotheosis of Romulus: Sketch for a Ceiling Decoration and Peter Paul Rubens’s Apotheosis of James I’; ‘Sublime Religion: Benjamin Robert Haydon’s The Raising of Lazarus’), N. Llewellyn and C. Riding (eds), January 2013

Book chapter, ‘The Longinian Sublime, Effect and Affect in “Baroque” British Visual Culture’, in Translations of the Sublime: the early modern reception and dissemination of Longinus' Peri Hupsous in rhetoric, the visual arts, architecture and the theatre, C. van Eck et al. (eds), Intersections: Brill, Leiden 2012

Exhibition-accompanying booklet, From Reason to Revolution: Art and Society in Eighteenth-Century Britain, Cambridge 2008

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Martin Hammer 20th century 1900- Drawing; Portraiture; Romanticism; Francis Bacon, Phaidon Art in Focus series, Graham Sutherland, British Art in the mid 1960s, with 1945 British art; Painting; Landscape; St Ives School; 2013 /Danogly Nottingham, particular reference to transatlantic cultural m.a.hammer[at]kent.ac.uk Photography; History painting; Surrealism; 2005 exchange. 20th century post-1945 Prints and printmaking; Still Life; Unit One; Francis Bacon and Nazi Propaganda, Tate Professor of History and British art; Sculpture; Camden Town Group; Vorticism; Publishing, 2012 The Naked Portrait, Scottish Philosophy of Art Watercolour; Constructivism; War Art; National Portrait Gallery; Works on paper; Euston Road School; Women artists; The Naked Portrait, National Galleries of Compton Verney, 2007 Jarman Building Art institutions; Scotland, 2007 University of Kent Modernism; Art criticism; Canterbury Neo-Romanticism; Art theory; Bacon and Sutherland, Yale University CT2 7UG Pop Art; Art & science; Press, 2005 01227 823639 Learning and participation; Graham Sutherland: Landscapes, War Scenes, Portraits 1924-1950, Scala, 2005

Constructing Modernity: the Art and Career of Naum Gabo, Yale University Press, 2000. Co-author Prof. C. Lodder.

Sarah Hardy 19th century British art; Books; Drawing; Portraiture; Industrial Revolution; Sublime Symmetry: The mathematics Curator of Sublime Symmetry: Curator and exhibition organiser of the Decorative/ applied arts; Landscape; Pre-Raphaelitism; behind De Morgan’s designs The mathematics behind De Sublime Symmetry exhibition for the De The National Gallery / The De Painting; History painting; Romanticism; Morgan’s designs Morgan Foundation Morgan Foundation Prints and printmaking; Still Life; St Ives School; (http://www.demorgan.org.uk/s The National Gallery, Trafalgar Tapestries and textiles; Genre painting; Victorian Art; ublime-symmetrytouring- Registrar and regular contributor to the Square, London, WC2N 5DN Watercolour; Works on Illustration; Women artists; exhibition) ‘Ten Minute Talk’ lecture series at the paper; Empire; National Gallery Race; Patronage & Curator's House, Watts Gallery Gender; Collecting; Estate, Down Ln, Compton, Sexuality; Art institutions; Guildford GU3 1DQ Learning and Aesthetic movement; participation; Sarah.hardy[at]ng-london.org.uk Glasgow School; Gothic Revival; Colin Harrison 18th century British Books; Portraiture; Neo-Romanticism; John Malchair of Oxford: Artist and The Pissarro Family at Home, Monograph entitled and art; Drawing; Landscape; New English Art Club; Musician, 1998 2004-5 the Poetical Landscape, 2013 colin.harrison[at]ashmus.ox.ac.uk Miniatures; History painting; Pre-Raphaelitism; 19th century British Painting; Genre painting; Romanticism; Turner’s Oxford, 2000; Happy Birthday, Edward Lear, Exhibition: Manet and Britain, 2016 Senior Assistant Keeper art; Pastel; Illustration; Victorian Art; 2012 Prints & printmaking; Amateur artists; ‘The Artistic Rediscovery of Samuel Palmer’, Ashmolean Museum, University of 20th century 1900- Watercolour; Camden Town Group; Patronage & collecting; Samuel Palmer 1805-1881: Vision and Exhibitions associated with Oxford 1945 British art; Works on paper; Art education; Landscape, 2005; catalogues listed under Modernism; ‘Publications’ 01865 278044 Neoclassicm; The Pre-Raphaelites and Italy, 2010

Elizabeth Heath 19th century British art Painting; Portraiture; Industrial Revolution; Later Victorian Catalogue, NPG website William Nicholson: Radical Currently undertaking an AHRC-funded Pastel; Empire; Modernism; (online publication). Comprehensive Woodcuts, National Portrait collaborative PhD with the NPG/Sussex Eheath[at]npg.org.uk Performance; Aesthetic movement; Victorian Art; Art portrait entries for sitters including: Frederic Gallery, 2013 University. Interrogating the archive of Personal items; Collecting history; institutions; Leighton, Henry Morton Stanley, Octavia the Gallery’s first Director Sir George Assistant Curator (Research) and Photography; Display history; Art education; Hill and Ellen Terry. Stuck & Cast: Nineteenth- Scharf (1820-95) in order to establish the CDA PhD candidate. Prints and printmaking; Victorian art Art criticism; Century Portrait Medals, extent of his professional practice, his Sculpture; world/networks Art theory; ‘Octavia Hill: The Reluctant Sitter’ (a National Potrait Gallery, 2013 position within the Victorian public art National Portrait Gallery, Research Watercolour; chapter in a collection of essays on Octavia world and his contribution to portraiture Office Works on paper; Hill, published by the Institute of Historical studies. St Martin’s Place, Research, forthcoming 2014). London, WC2H 0HE Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Nadia Hebson 20th century 1900- Costume; Portraiture; Women artists; ‘Winifred Knights’, Persona, Yale Union, Moda WK, Lokaal 01, Antwerp, Re-examination and repositioning of the 1945 British art; Drawing; Landscape; 2013 2013 expanded oeuvre of British artist, Winifred nadia.hebson[at]ncl.ac.uk Decorative/ applied arts; History painting; Art education; Knights, via visual practice and curatorial Furniture; Still Life; ‘Winifred Knights’, Cadavere Quotidiano, Moda WK, Vane, Newcastle response. Raising questions about the School of Arts and Cultures Painting; Learning and X-Tra, 2013 upon Tyne, 2013 stability of the 20th Century painting canon The Quadrangle Gender; participation; and its on-going exclusion of off-format Newcastle University legacies. -By extension its affect on Newcastle upon Tyne women artist and students- as both an NE1 7RU impoverished contemporary resource and incomplete historical document. 0191 222 8013

Gill Hedley 20th century 1900-1945 Drawing; regionalism; Modernism; An essay, A Pint of Exhibition: Richard Pioneers of Pop, co-curated Currently writing biographies of Arthur British art; Installation; Pop Art; Hamilton in Newcastle 1953-66, in with Dr Anne Massey for Jeffress and Lady (Peter) Norton Gill[at]gillhedley.net 20th century post-1945 Painting; Patronage & publication to accompany Pioneers of Pop, Hatton Gallery, Newcastle upon British art; Photography; Prints and Conceptual art; Collecting; Hatton Gallery and UAL, October 2017. Tyne October 2017; Completing history of Incorporated webmail[at]gillhedley.co.uk printmaking; Constructivism; Art Institutions; On the Grid: Recent Work by Church Building Society 1818-2018 Contemporary Sculpture; Church art Free Seats for All: the church building Ann Sutton, Gallery Oldham; www.gillhedley.co.uk Video; Watercolour; Works boom after Waterloo, published Umbria The Potteries Museum and Continuing research into Richard on paper; Press, May 2018; School of Art Hamilton’s time in Newcastle 1953-66. 2017/8; Working as adviser to John Deakin The friend I have/is a passionate Archive and with artists Alasdair friend: Jyll Bradley, London, Hopwood, Elpida Hadzi-Vasileva Ann September 2104 Sutton Dillwyn Smith and Nicola Naismith Dirty Linen: Dillwyn Smith Paintings: London, October Organising exhibitions, writing 2014 contemporary art strategies as a consultant. Sir : Babies & Bloomsbury, , London, January 2015 Curatorial adviser to View- point: Li-yuan Chia retrospective, Taiwan, 2014 The False Memory Archive, Warwick, Edinburgh, Dr Brian Hinton 19th century British Books; Portraiture; Author of Immortal Faces: Julia Margaret Numerous exhibitions at Currently writing major text on Mrs art; Photography; Aesthetic movement; Cameron in the Isle of Wight, 1992 Freshwater Library (1978- Cameron and the Freshwater Circle, for hintondrbrian[at]aol.com Bloomsbury; 1992). her bi-centenary. 20th century 1900- Pre-Raphaelitism; The Albert Louis Cotton Album, 2009 Chairman & Curator 1945 British art; Victorian Art; Dimbola (1993- today) Women artists; Idylls of the King: Original Images by Julia including shows by Patti Smith, Dimbola Museum & Galleries 20th century post-1945 Margaret Cameron, 2008 Julian Bell, Graham Ovenden. (Julia Margaret Cameron Trust) British art;

Terrace Lane Freshwater Bay Isle of Wight PO40 9QE

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Katie Herrington 19th century British art; Mainly: Painting; Genre painting; Victorian Art; Curatorial Assistant for Pioneering Spirit: My main research interest lays 20th century 1900-1945 Watercolour; History painting; Edwardian Art; Maud MacCarthy – Mysticism, Music and in the material qualities of katie.tyreman.herrington[at]york.ac British art; Intermedial and The Nude; Pre-Raphaelitism; Modernity at the Borthwick Institute for nineteenth-century British .uk interdisciplinary practices. Portraiture; Aesthetic movement; Archives, University of York, 7 Feb – 9 painting and its situation in Landscape; Symbolism; May 2014. relation to broader European Postdoctoral Researcher and Also: Illustration; Women artists; developments. I am concerned Network Facilitator (for the Books; Drawing; Gender; Modernism; both with the work of women Enchanted Modernities Network) Decorative/ applied arts; Sexuality; artists and their male Literature/art writings; Art criticism; contemporaries and University of York Miniatures; Art education; predecessors. My work Department of History of Art, Photography; Art institutions; explores women artists’ University of York, Heslington, Sculpture; textiles; Art theory; intermedial and interdisciplinary York, YO10 5DD visual culture; practices, and their formation of specific artistic identities through their art.

I am currently developing my doctoral thesis Between Women: Visualizing Victorian Women Artists’ Identities through Art Movements, Media and Scale, c. 1848-1898 for publication. I am also continuing work that I began during my AHRC funded postdoctoral Cultural Engagement Fellowship Three Graces: Victorian women, visual art and exchange. In particular, I am researching the art and crucial roles of three Anglo-Greek women artists active in the Circle and pursuing a publication about nineteenth- century British women’s diverse work in the visual arts. Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Nicky Hodge 20th century 1900- Books; Portraiture; Industrial Revolution; Nicola Hodge and Libby Anson, A-Z of Art, The Glass Border, exhibition Writing and editing information about 1945 British art; Documents; Landscape; Modernism; 1997 co-curated at Danielle Arnaud modern and contemporary works of art in nicky.hodge[at]culture.gsi.gov.uk Drawing; History painting; Neoclassicm; Gallery, London, 2000 the Government Art Collection (GAC). 20th century post-1945 Installation; Still Life; Neo-Romanticism; Preparing editorial content for the website Curator of Information and British art; Miniatures; Sporting art; New English Art Club; Close at Hand, exhibition co- also giving talks and tours about the GAC. Research Painting; Genre painting; New Sculpture; curated at Contemporary Art Performance; Marine painting; Norwich School; Projects, London, 2007 Government Art Collection Personal items; Caricature & satire; Performance art; Photography; Illustration; Pop Art; Grave Passions, 0207 580 9133 Prints & printmaking; Welsh Art; Popular Art; event/performance, co-curated Sculpture; Scottish Art; Pre-Raphaelitism; at Cemetery and the Sound; Irish Art; Romanticism; Ivy House Ballroom, London, Video; Regionalism; St Ives School; 2012 Watercolour; Empire; Scottish Colourists; Works on paper; Race; Surrealism; Gender; Victorian Art; Sexuality; Unit One; Aesthetic movement; Vorticism; Amateur artists; War Art; Bloomsbury; Women artists; Bristol School; Camden Town Group; Patronage & collecting; Conceptual art; Art institutions; Constructivism; Country Houses; Edwardian Art; Art education; Euston Road School; Art criticism; Folk Art; Art theory; Glasgow School; Art & science; Gothic Revival; Learning & Group X; participation;

Martin Hopkinson 18th century British Documents; Portraiture; Neoclassicism; - Whistler and Sir Garnet Wolseley in The Currently working on the 1850s London art; Drawing; Landscape; Neo-Romanticism; British Art Journal, XVII, 1, 2017, pp. 43-7 exhibiting organisation , The National lee-hop[at]tiscali.co.uk Painting; Townscape; New English Art Club; Institution 19th century British Prints and printmaking; Riverscape; New Sculpture; Former Curator at the Walker Art art; Sculpture; History painting; Romanticism; The Dudley Gallery’s Winter Exhibitions; Gallery, Liverpool Watercolour; Scottish Art; Scottish Colourists; 20th century 1900- Works on paper Regionalism; Victorian Art; Gambart’s French and Flemish And at the Hunterian Art Gallery, 1945 British art; Patronage & exhibitions; University of Glasgow Aesthetic movement; Collecting; 20th Century post-1945 Constructivism; Art institutions; The British career of Victor Mottez; British art; Edwardian Art; Art criticism; Glasgow School; Prints and drawings in the early ISSPG exhibitions;

British screenprints before 1945 Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Dr Lucy Howarth 20th century 1900-1945 Documents; Drawing; Gender; Modernism; ‘Marlow Moss: Dress Address Name’, Reflections on Marlow Moss: A Forgotten Maverick, I am currently writing a monograph on Marlow Moss. th Independent scholar British art; Painting; Sexuality; St Ives School; Female and Trans* Masculinities and Other Queer Museum Haus Konstruktiv, Zürich, 9 20th century post-1945 Photography; Conceptual art; Unit One; Crossings, Nina Kane and Jude Woods (eds.), Feb – 7th May 2017. British art Sculpture; Constructivism; Women artists; Newcastle upon Tyne: Cambridge Scholars, 2017. [email protected] Works on paper; Art education; Tate display: Marlow Moss, toured Tate Art criticism; ‘The Double-Line of Miss//Moss’, Marlow Moss: A St Ives, the Jerwood Gallery Hastings, Art theory; Forgotten Maverick, Sabine Schaschl (ed.), : Art Gallery and Tate Britain, Art & science; Hatje Cantz, 2017. 2013-2015

‘Building: the New Chelsea’, pp.97-114, The London Art Schools, Nigel Llewellyn (ed.), London: Tate, 2015.

‘Art School Building: the Old/New Chelsea’, pp.258- 271, The International Journal of Art and Design Education, volume 33, issue 2, 2014.

‘Marlow Moss: Space, Movement, Light’, curatorial essay, Tate website, 13th November 2014.

‘The Lonely Radical’, pp.27-29, Tate Etc, issue 28, Summer 2013.

Victoria Howarth 20th century 1900- Documents; Drawing; Portraiture; Industrial Revolution; This is ': Inselaffe exhibition Jerwood Gallery Exhibitions: (200 words max) 1945 British art; Decorative/ applied arts; Landscape; Modernism; catalogue, Jerwood Gallery', published Exhibitions Curator, 20th century post-1945 Installation; Still Life; Neoclassicm; 2016. Rose Wylie: Big Boys Sit in the The Jerwood Collection of 20th and 21st British art Painting; Marine painting; Neo-Romanticism; Front, Century British art, and Modern British Victoria[at]jerwoodgallery.org Contemporary art Pastel; Performance; Caricature & satire; New English Art Club; ‘Keith Tyson: Turn Back Now – 20 Years Gillian Ayres: Paintings from and contemporary artists working in oil Personal items; Illustration; New Sculpture; of Studio Drawings’ exhibition catalogue, the ‘50s, paint are key areas of my research, Jerwood Gallery Photography; Prints and Aesthetic movement; Norwich School; Jerwood Gallery, published 2017 William Scott: Figure Divided, particularly St Ives, women artists and printmaking; Amateur artists; Performance art; Craigie Aitchison Display, contemporary painters in the collection. Jerwood Gallery, Rock-a-Nore Sculpture; Sound; Bloomsbury; Pop Art; We are in the process of writing a catalogue Jeffery Camp: The Way to My work at the gallery encompasses Road, Hastings, East Sussex, TN34 Video; Watercolour; Works Bristol School; Pre-Raphaelitism; for our Paula Rego Exhibition, which will Beachy Head, curating temporary exhibition and displays 3DW on paper; Camden Town Group; Romanticism; be published in the autumn of 2017 Basil Beattie: Promises, of the Jerwood Collection, conducting Conceptual art; St Ives School; Promises (in collaboration with collection research, as well as researching, Constructivism; Scottish Colourists; Mel Gooding) developing, curating and administering Euston Road School; Surrealism; Philip Guston Display, temporary exhibitions and displays. Victorian Art; Marlow Moss Display (in Unit One; collaboration with Tate St Ives Vorticism; and Dr Lucy Howarth), War Art; In Focus: Alfred Wallis (in Women artists; collaboration with Jenny Powell, Kettle’s Yard), Patronage & Ansel Krut: Verbatim, Collecting; : In the Art institutions; Realm of the Unmentionable, Church art; A Scottish Selection, Paintings Royal patronage; from the Fleming Collection, Country Houses; Rachel Howard at Sea, Art education; Lowry by the Sea, Art criticism; Horizons: Kettle’s Yard at Art theory; Jerwood Gallery John Bratby: Everything but the Conservation/ Kitchen Sink, Technical art history; Keith Tyson: Turn Back Now – Learning and 20 Years of Studio Drawings, participation; Eileen Agar: Bride of the Sea, Quentin Blake: The Only Way to Travel, Kath Thompson: Yesterday and Tomorrow, Jean Cooke: Delight in the Thing Seen

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Carol Jacobi 19th century British Costume; Portraiture; Industrial Revolution; ‘British Painting and Picasso’s War’ Tate Isabel Rawsthorne: Moving Forthcoming exhibitions at Tate Britian art; Drawing; Landscape; Modernism;Neoclassic Papers, spring issue, 2014 Bodies, New Art Gallery include Stereoscopes: Poor Man’s Picture carol.jacobi[at]tate.org.uk 20th century British art Decorative/ applied arts; History painting; m; Walsall, 2012 Gallery (2014); the salt-print exhibition Furniture; Still Life; Neo-Romanticism; 'A kind of cold war feeling,' British Art in Francis Frith Photographs, Tate Salt and Silver Early Photography (2015) Curator, British Art 1850 – 1915 Miniatures; Sporting art; New English Art Club; the Nuclear Age, ed. Catherine Jolivette, Britian, 2012 and Artist and Empire (2015) lead by Painting; Genre painting; New Sculpture; Farnham: 2014 Sin and Salvation: William Alison Smith. Tate Britain Pastel; Marine painting; Norwich School Holman Hunt and the Pre- Academic studies pursue an Millbank Photography; Topography & Popular Art; 'Sugar, Salt and Curdled Milk, Millais and Raphaelite Vision, Manchester interdisciplinary approach to Victorian London, SW1P 4RG Prints & printmaking; mapmaking; Pre-Raphaelitism; the Synthetic Subject', Tate Papers, autumn Art Gallery, Art Gallery of painting, embracing scientific and literary Sculpture; Caricature & satire; Romanticism; issue, 2012 Ontario, MinneapolisArt aspects; to British art of the mid-twentieth Tapestries & textiles; Illustration; Victorian Art; Gallery, 2008-9 century, particularly its connections with Watercolour; Monuments/ tomb War Art; and the Pre- the continent; and to woman artists, Out of Works on paper; sculpture; Women artists; Raphaelite Vision, the Cage: The Art of Isabel Rawsthorne Welsh Art; Patronage & collecting; with Katherine Lochnan, Ontario: 2008 recently completed for Yale University Scottish Art; Art institutions; William Holman Hunt, painter, painting, Press. Irish Art; Church art; paint, Manchester: 2006 Regionalism; Royal patronage; Empire; Country Houses; Race; Art education; Gender; Art criticism; Sexuality; Art theory; Aesthetic movement; Folk Art; Amateur artists; Art & science; Bloomsbury; Conservation/ technical Bristol School; art history; Camden Town Learning & Edwardian Art; participation Glasgow School; Gothic Revival;

Dominic Janes 18th century British art; Costume; Documents; Caricature & satire; Pop Art; Picturing the Closet: Male Secrecy and I research the history of contested, 19th century British art; Decorative/ applied arts; Illustration; Pre-Raphaelitism; Homosexual Visibility in Britain allegedly immoral and queer forms of th d.janes[at]keele.ac.uk 20 century 1900-1945 Furniture; Monuments/ tomb Victorian Art; (, 2015) visibility and display. My focus is on British art; Painting; sculpture; Unit One; Britain from the eighteenth to the twentieth

Professor of Cultural History 20th century post-1945 Photography; Prints and Church art; centuries, but I am also interested in links British art printmaking; Gender; Visions of Queer Martyrdom from John between British cultures and those of School of Humanities, Sculpture; Sexuality;; Henry Newman to Derek Jarman Continental Europe and the United States. Keele University, (University of Chicago Press, 2015) I am particularly engaged with study of the Staffordshire, ST5 5BG Aesthetic movement; ways in which patterns of display and Bloomsbury; Victorian Reformation: The Fight over concealment have acted as fields for Gothic Revival; Idolatry in the Church of England, 1840-60 contestation. In particular I am interested in the ways in which disputes between (Oxford University Press, 2009) Protestants and Catholics over the moral role of imagery can be seen to prefigure, God and Gold in Late Antiquity influence and intersect with the (Cambridge University Press, 1998) development of depictions and conceptions of the sexual self.

Susan Jenkins 16th and 17th century Books; Portraiture; Church art; I am currently preparing an article for I am currently working with Cataloguing 17th-19th century portraits at British art; Costume; Landscape; Royal patronage; publication on Edward Penny’s major group colleagues on the planned Audley End. susan.jenkins[at]english- Documents; History painting; Country Houses; portrait Lord Clive Explaining rehang of the Scottish galleries heritage.org.uk 18th century British Drawing; Still Life; Art education; to the Nabob the Situation of the Invalids in at the Scottish National Gallery. art; Decorative/ applied arts; Sporting art; Art criticism; India (1772). Senior Curator Furniture; Genre painting; Art theory; 19th century British Marine painting; Art & science; English Heritage art; Topography; Conservation/ technical 020 7973 3000 Patronage & collecting; art history; Art institutions; Learning & participation;

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Dr. Claire Jones 19th century British art; Decorative/ applied arts; Portraiture; Industrial Revolution; ‘A Creative Engagement with Historic and ‘Taking Note: William Hamo Completing a monograph on Victorian Furniture; Painting; Monuments/ tomb Modernism; : Waldo Story's Fallen Thornycroft’s Education outside sculpture, provisionally entitled Sculpture Lecturer, History of Art, University Sculpture; Works on paper; sculpture; Neoclassicm; Angel’, Sculpture Journal, 23:2 (2014), pp. the Studio’, The Henry Moore and Modern Life in Britain, 1837-1901, for of Birmingham New Sculpture; 145-158. Institute, Leeds, Institute Manchester University Press. Empire; Pre-Raphaelitism; Library Display, 2012 Department of Art History, Gender; Victorian Art; Contributions to Martina Droth, Jason Co-editing a collection on Sculpture and Curating and Visual Studies, The Women artists; Edwards and Michael Hatt (eds), Sculpture the Decorative, with Imogen Hart, which Barber Institute of Fine Arts, Amateur artists; Victorious: Art in an Age of Invention, will include essays on British art. University of Birmingham, Gothic Revival; Patronage & 1837-1901 (Yale University Press, 2014), B15 2TT Collecting; cat. 45-46, 48-51, 144. Interested in intersections across the arts Art institutions; (in particular sculpture and the decorative), c.jones.4[at]bham.ac.uk Church art; and across national schools (in particular Country Houses; Anglo-French and Anglo-Italian Art education; exchange). Also developing a project on Art criticism; sculpture and childhood. Art & science; Peter Jones British art Painting; Modernism; ‘The Road is wider than Long: Roland ‘1960s Collection Display’, Researching collage in post-war Britain 20th century Collage/Photomontage; Pop Art; Penrose and the British Surrealists’. Southampton City Art Gallery, and links to popular culture, junk art, Op peter.jones[at]solent.ac.uk Photography; Surrealism; Papers of Surrealism. No. 10, Summer 2006 Art, Constructivism and Abstraction Post-modernism; 2013, pp.1-6. 1960s-70s. Associate Lecturer, Faculty of Art criticism; Creative Industries Art theory; ‘Bacon and Bataille’, in Arya, R. (ed) Francis Bacon: Critical and Theoretical Southampton Solent University Perspectives. Peter Lang, Oxford, 2012, pp. JM209. Faculty of Creative 49-80. Industries. East Park Terrace ‘Size Matters: The “Collage-Paintings” of Southampton Gwyther Irwin 1957-61’. The British Art SO14 0YN Journal. Vol. XIII, No.1, 2012, pp. 46-53.

023 80319000 ‘Bladdersticks and Fools: William Nicholson (1872-1949) and the Morris’. The British Art Journal. Vol. IX, No.3, 2009, pp. 55-61.

‘Britain’s first ’. The Burlington Magazine. Vol. CLI, No. 1270, January 2009, pp. 31-32.

‘Notes on British Surrealism at Southampton City Art Gallery’, Papers of Surrealism. No.5, Spring 2007, pp. 1-14.

‘Anxious Images: Linder’s Fem-Punk Photomontages’, Women: A Cultural Review. Vol. 13, No. 2, 2002, pp. 161-178.

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Dr. Claire Jones 19th century British art Decorative/ applied arts; Monuments/ tomb Neoclassicm; ‘William Dyce’, ‘Charles Eastlake’, ‘Taking Note: William Hamo Victorian sculpture. I am completing a Furniture; sculpture; New Sculpture; ‘Ornament’ and ‘Richard Redgrave’ in Thornycroft’s Education outside new monograph on Victorian sculpture, Independent art historian and Sculpture; Amateur artists; Victorian Art; Clive Edwards (ed.), Bloomsbury the Studio’, The Henry Moore provisionally entitled Sculpture and curator Gothic Revival; Patronage & Encyclopaedia of Design (London: Institute, Leeds, Institute Modern Life in Britain, 1837-1901. Collecting; Bloomsbury Academic, 2015) Library Display, 2012 jones.claire[at]gmail.com Art institutions; Anglo-French artistic exchange, with a Church art; ‘A Creative Engagement with Historic and focus on 19th century sculpture and the Country Houses; Modern Sculpture: Waldo Story's Fallen decorative arts. Angel ’, Sculpture Journal, 23:2 (2014), pp. 145-158

‘G.G. Scott, Model, Tomb of Philippa of Hainault (1851)’, ‘Anon., Cast of tomb of Eleanor of Aquitaine (1852-4)’, ‘A.W.N. Pugin and Hardman and Co., Brass Rubbing (1850)’, H.N. Humphreys, Parables of Our Lord (1847) and A Record of the Black Prince (1849)’, ‘J.D. Sedding, Pastoral staff (1883)’ and E. Burne-Jones, Perseus and the Graiae (1877-88)’, in Martina Droth, Jason Edwards and Michael Hatt (eds), Sculpture Victorious: Art in an Age of Invention, 1837-1901 (Yale University Press, 2014), cat. 45-46, 48-51, 144; pp. 157-62, 167-72, 396-99.

‘Sculpture c.1840-1901’, in Dee Dyas (ed.), English Cathedrals and Monasteries through the Centuries: History, Community, Art, Architecture, Worship, Spirituality, Music, DVD-ROM (York: The Centre for the Study of Christianity and Culture, 2013)

Jill Journeaux 20th century 1900-1945 Books; Documents; Portraiture; Industrial Revolution; Journeaux, J. (2014) The Art Schools; Jill Journeaux is Professor of Fine Art British art; Drawing; Landscape; Modernism; questioning the studio, special edition of the Education and Research Degree Leader at j.journeaux[a]coventry.ac.uk 20th century post-1945 Decorative/ applied arts; History painting; Popular Art; Journal of Visual Arts Practice, Ed. Coventry School of Art & Design, British art Miniatures; Painting; Still Life; Pre-Raphaelitism; Journeaux, J., with Hannon, A. Ball, J., Coventry University. She is an artist and Professor Pastel; Performance; painting; Romanticism; Dennis, M., Cornford, M., Diab, S., Quinn, educator with particular interests in the Personal items; Topography & Surrealism; M., McHugh, C. Routledge, Abingdon, UK representation of physical, emotional and Coventry School of Art & Design Photography; Prints and mapmaking; Victorian Art; psychological realities through printmaking; Gender; War Art; Journeaux, J. and Mottram, J. (2013) autobiographical narrative. Her key Coventry University, Sculpture; Tapestries and Sexuality; Women artists; ‘Creativity and Art Education: gaps interests are the female body as an Priory Street, textiles; between theory and practice’ Chapter in experience of inhabitation, the crafts and Coventry CV1 5FB Video,Watercolour; Works Aesthetic movement; Art education; the Science of Creative Thinking, Springer artifacts of domesticity as content and on paper; Amateur Art criticism; 2015 process for fine art practice, and notions of Folk Art; Art & science; beauty. Her research in pedagogy Glasgow considers the evolving nature of the fine art curriculum and the shifting place of the art school within the academy.

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Lesley Kerman British art; Books; Documents; Portraiture; St Ives School; ‘The Memory of an Art School’ 2013 I am currently working with Since winning a Year of the Artist 20th century 1900-1945 Drawing; Landscape; Scottish Colourists; Advice to Women in Management’ colleagues on the planned Commission from the Arts Council in 200, Lesleykerman[at]blueyonder.co.uk British art; Installation; History painting; Surrealism; 2012 rehang of the Scottish galleries I have been working on a series of public 20th century post-1945 Painting; Still Life; Victorian Art; ‘The Secrets of St Anne’s’ ‘Clifford at the Scottish National Gallery. art works – named ‘Public Secrets’ Artist British art Performance; Personal Marine painting; Unit One; Fishwick and Michael Garton’ Commissioned by SAFLE, The Arts items; Photography; Prints Topography & Vorticism; 2010 Council, and printmaking; mapmaking; War Art; ‘The Secrets of Cardiff’ 2009 Sculpture; Sound; Gender; Women artists; ‘A Case Study’ – in ‘Fictions’ University of Local Councils, SUSTRANS and the Video; Works on paper Plymouth 2008 Environment Agency. I remove a brick Aesthetic movement; Art education; ‘The Secrets of Bideford’ from a building and replace it with a Bloomsbury; Art criticism; 2005 transparent resin brick containing items Conceptual art; Art theory; ‘Nature –Culture’ 200 associated with the history of the site. I Constructivism; Learning and ‘Graham Rich – A Memoir’ involve the public in the selection of what Euston Road School; participation The Metamorphosis of Daphne 1997 is to be included. I have made 67 Public ‘Feminist Academics’ Eds. Walsh and Secrets so far. Each brick has an Modernism; Morley 1995, Taylor and Francis. accompanying book. Neoclassicm; Reviews in and Art Review I am bringing this body of work together Neo-Romanticism; Aspects, Artists Newsletter Making a publication and an exhibition. New English Art Club; Editor ‘The Northerner’ University of The experience of making the work has led New Sculpture; Durham Literary Magazine 1964 to conclusions regarding the place and the Norwich School; scale of Public Art, The ethnography of the Performance art; site, defacement, and Iconoclasm. Pop Art; I have been reflecting on my Art Education with Hamilton and Pasmore and bringing together the archive of my work as a lecturer in Art History in Fine Art Departments from 1965 – 1992 With reference to the recent Richard Hamilton show at ,

I am working on a series of paintings of interiors. Dr Lucinda Lax 18th century British art Costume; Portraiture; Amateur artists; I am currently preparing an article for The Rise of Women Artists, My particular area of specialism at the Decorative/ applied arts; Landscape; publication on Edward Penny’s major group Walker Art Gallery, Liverpool, SNPG covers the period 1700-1830. As Llax[at]nationalgalleries.org Miniatures; History painting; Neoclassicm; portrait Lord Clive Explaining 2009-2010) well as being responsible for the care of a Painting; Genre painting; Patronage & to the Nabob the Situation of the Invalids in wide range of objects, I am currently Senior Curator, Eighteenth-Century Sculpture; Scottish Art; Collecting; India (1772). British Art 1880-1950, pursuing research on a number of related Collections Works on paper; Regionalism; Art institutions; permanent collection Gallery, topics, including the material culture of the Art education; Walker Art Gallery Jacobite cause; the careers of Allan Scottish National Portrait Gallery Empire; Art theory Ramsay and Sir ; early art 1 Queen Street Gender; education in Scotland and the role played Edinburgh EH2 1JD by the Academy of St Luke and the Trustees’ Academy, Edinburgh; and cross- cultural and artistic networks. In addition, having recently completed a PhD on the subject paintings of Edward Penny, the Royal Academy’s first Professor of Painting, I retain a strong interest in British genre painting of the period and the work of such artists as Francis Hayman, Francis Wheatley, William Redmore Bigg and David Wilkie.

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Dr Stephen Lloyd, FSA 16th and 17th century Books; Documents; Portraiture; Industrial Revolution; Richard and Maria Cosway; Regency Richard and Maria Cosway Curating, researching and publishing the British art; Drawing; Landscape; Neoclassicm; Artists of Tate and Fashion (SNPG and (SNPG & NPG 1995-6) Derby Collection at Knowsley Hall: s.lloyd[at]knowsley.com 18th century British Decorative/ applied arts; History painting; Neo-Romanticism; NPG 1995-6) art; Furniture; Still Life; New English Art Portrait Miniatures from the After a successful Study Day held t the Curator of the Derby Collection, 19th century British Miniatures; Painting; Sporting art; Victorian Art; Portrait Miniatures from the Collection of Collection of the Duke of Hall in October 2013, ‘Art, Animals and Knowsley Hall art; Pastel; Performance; Genre painting; War Art; the Duke of Buccleuch (SNPG 1996-7) Buccleuch (SNPG 1995-6) Politics; Knowsley Hall and the Earls of Personal items; Marine painting; Women artists; Derby’, the papers by ten leading art Curator of the Derby Collection, Photography; Prints and Topography & Raeburn’s Rival: Archibald Skirving (1749- Raeburn’s Rival Archibald historian, natural historians and historians, Knowsley Hall, Prescot, printmaking; mapmaking; Patronage & 1819) (SNPG 1999) Skirving (1749-1819) (SNPG will be published by Unicorn Press in the Merseyside, L34 4AG Sculpture; Caricature & satire; Collecting; 1999) summer of 2015; current research is Watercolour; Works on Illustration; Art institutions; Richard Cosway: Portrait Miniatures focussed on the history of the collection paper; Monuments/ tomb Royal patronage; (Unicorn Press 2004) Portrait Miniatures from the and the conservation of paintings, sculpture; Country Houses; National Galleries of Scotland sculpture, furniture, watercolours, books Art criticism; Portrait Miniatures from the National (SNPG 2004) and the archive; documentary regionalism; Gallery of Scotland (SNPG 2004) collaborations have been made with the art Portrait Miniatures from historical website, ‘The British Art World Empire; Conservation; Portrait Miniatures from Scottish Private Scottish Private Collection 1660-1735’, Manx National Heritage, Learning and Collections (SNPG 2006) (SNPG 2004) Liverpool Library and Archive and the Amateur artists; participation; Lancashire Record Office; current focusses Bloomsbury; The Intimate Portrait: Drawings, Miniatures Portrait Miniatures from of research include a series of paintings in and Pastels from Ramsay to Lawrence Scottish Private Collections gilt-leather by Borgognone, Edward Lear Constructivism; (SNPG and BM 2008-9, co-curated with (SNPG 2006) watercolours and World War One papers. Edwardian Art; Kim Sloan) Euston Road School; The Intimate Portrait: Drawings, Folk Art; Miniatures and Pastels from Glasgow School; Ramsay to Lawrence (SNPG Gothic Revival; and BM 2008-9, co-written with Group X; Kim Sloan)

Henry Raeburn: Context, Reception and Reputation (EUP 2012, co-edit with Viccy Coltman)

Dr Laura MacCulloch 19th century British Painting; History painting; New Sculpture; Pre-Raphaelites Treasures at National Exhibitions relating to I am currently researching the Lady art; Prints & printmaking; Genre painting; Pre-Raphaelitism; Museums Liverpool, 2013 contemporary Welsh and British Herringhamm collection which is part of laura.macculloch[at]rhul.ac.uk Sculpture; Illustration; Romanticism; art. the Royal Holloway and Bedford New 20th century 1900- Works on paper; St Ives School; ‘ “Fleshing Out” ’ Time: Ford Madox College Art Collections. Lady Christina Royal Holloway, University of 1945 British art; Empire; Victorian Art; Brown and the Dalziels’ Bible Gallery’.in Herringham founded the Art Fund with her London Gender; Women artists; Reading Victorian Illustration, 1855–1875 own money and was well-known in artistic (Eds. Paul Goldman and Simon Cooke), circles (even gaining praise from Sickert). Curator Japonisme; Art education; 2012 Her eclectic collection includes works by Founder’s South Aesthetic movement; Learning & female artists, Indian miniatures and Room 303 Camden Town Group; participation; : The Unofficial Pre- Japanese woodblock prints. Royal Holloway, University of Raphaelite, exhibition catalogue, 2008 London Egham Surrey TW20 0EX

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Karen MacKinnon 20th century 1900- Drawing; Portraiture; Modernism; Edited and contributed to catalogues on Estuary, Museum of London The off site programme for Glynn Vivian 1945 British art; Installation; Landscape; Neo-Romanticism; Welsh and British artists, including Wales at Docklands, 2013 Art Gallery during its closure for karen.mackinnon[at]swansea.gov.u Painting; History painting; Popular Art; the in 2005. refurbishment. Also working on post k 20th Century post-1945 Performance; Still Life; Romanticism; John Davies: Highways, refurbishment exhibition programme. British art; Photography; Genre painting; Surrealism; Museum of London, 2013 Exhibitions Curator Prints & printmaking; Welsh Art; Victorian Art; Sculpture; Scottish Art; Women artists; Henry Moore and the East End, Glynn Vivian Art Gallery Sound; Irish Art; Museum of , Video; Regionalism; Patronage & collecting; 2012-2013 01792 516900 Watercolour; Race; Art institutions; Works on paper; Gender; Art theory; Suki Chan: Sleep Walk Sleep Sexuality; Talk, Museum of London, 2011- Conceptual art; 2012

Thomson & Craighead: London Wall, Museum of London, 2010

Creative Tension, Harris Museum & Art Gallery, Preston, 2005

Northern Lights, Harris Museum & Art Gallery, Preston, 2003 Francis Marshall 20th century 1900- Painting; Conceptual art; ‘Adumbrations of the Modernist Spirit: the Currently writing a DPhil at Sussex 1945 British art; Photography; Modernism; screenprints of RB Kitaj’, in The British Art University on the painter, RB Kitaj. This fmarshall[at]museumoflondon.org. Prints & printmaking; Pop Art; Journal, forthcoming focuses on his engagement with uk 20th century post-1945 Sculpture; Modernism and 20th century European British art; Video; ‘Conrad Atkinson, Garbage Strike; history. More generally, I am interested in Senior Curator of Art Works on paper; Hackney’, Photomonitor, May 2012 the relationship between painting, photography and film, particularly in the Museum of London ‘The Avant-garde and Tradition’ in Creative 1960s and 1970s. For the Museum of 150 London Wall Tension: British Art 1900-1950, London: London I am curating a show about recent London Paul Holberton, 2005 artists’ responses to the Thames Estuary. EC2Y 5HN Called simply Estuary it features the work Northern Lights: 100 Years of the NACF in of filmmakers, painters and photographers, the North West, exhibition catalogue, including William Raban, John Smith, Preston: Harris Museum & Art Gallery, Michael Andrews, Jock McFadyen and 2003 Simon . A significant element of the show is a new film commission about the Thames by the Danish artist Nikolaj Larsen. I am also interested in digital media and, in 2010, curated an installation by Thomson & Craighead for the Museum of London’s entrance hall.

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Sarah Martin 19th century British Fine art; Gwen John and Celia Paul: Working on a broad range of exhibitions. art; Painters in Parallel, 2012 Current interests include JMW Turner, smartin[at]turnercontemporary.org Peter Blake and Pop Music, Carl Andre, Helen Frankenthaler and 20th century 1900- 2012 . Head of Exhibitions 1945 British art; Keith Vaughan: Romanticism to Turner Contemporary Abstraction, 2012 20th century post-1945 David Dawson: Working with 01843 233001 British art; Lucian Freud, 2012 The Radev Collection: Contemporary British Bloomsbury and Beyond, 2011- art; 2012 , 2011-2012 Anna Fox: RESORT, 2011 Robin & Lucienne Day: Design & the Modern Interior, 2011 Cézanne to Picasso: European Masters from the Collection, 2011 Contemporary Eye: Crossovers, co-curated with Artwise, 2010- 2011 Spencer Finch: The Evening Star & Passing Cloud after Constable, 2010–2012 St Ives and Beyond, 2010 Jeremy Gardiner: A Panoramic View, 2010 John Tunnard: Inner Space to Outer Space, 2010 Toby Paterson: New New Festival, 2010 Patrick Caulfield: Between the Lines, 2009 Lee Miller and Friends, 2009 Colin Self: Art in the Nuclear Age, 2008

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Scottish Art; Simon Martin 20th century 1900- Contemporary Books; regionalism; Patronage & John Minton: A Centenary (Chichester: John Minton: A Centenary (July 1945 British art; Drawing; Collecting; Pallant House Gallery, 2017) – October 2017) Decorative/ applied arts; Race; Art institutions; Trustee of Charleston Trust and Chair of Head of Curatorial Services 20th century post-1945 Furniture; Gender; Church art; The Mythic Method: Classicism in British The Mythic Method: Classicism Exhibition and Collections Committee British art; Painting; Sexuality: Art education; Art 1920-1950, (Chichester: Pallant House in British Art 1920-1950 Photography; Prints and Art criticism; Gallery, 2016), 128 pages (October 2016 – February 2017) Trustee of HOUSE Biennial () Simon Martin printmaking; Aesthetic movement; Art theory; Pallant House Gallery Sculpture; Amateur artists; John Piper: The Fabric of Modernism, John Piper: The Fabric of Member of Courtauld Association 9 North Pallant Watercolour; Works on Bloomsbury; (Chichester: Pallant House Gallery, 2016), Modernism (March – June Committee Chichester paper; Portraiture; Camden Town Group; Conservation/ 56 pages, with a foreword by Frances 2016) Landscape; Conceptual art; Technical art history; Spalding Member of Fabric PO19 1TJ Still Life; Constructivism; Learning and Leon Underwood: Figure and Advisory Committee Illustration; Euston Road School; participation; ‘Wonder and Horror: The Head, the Rock, Rhythm (March – June 2015) www.pallant.org.uk Folk Art; Flesh’ in Clare Woods: Strange Meetings, Board Member of Visit Chichester s.martin[at]pallant.org.uk Glasgow School; (London: Art / Books Publishing, 2016), Conflict and Conscience: British Modernism; pp.10-19 Artists and the Spanish Civil Member of the University of Chichester Neo-Romanticism; War (October 2014 - February Special Collections and Archives New English Art Club; Leon Underwood: Figure and Rhythm, 2015), touring to the Laing Art Committee New Sculpture; (Chichester: Pallant House Gallery, 2015), Gallery, Newcastle-upon-Tyne Pop Art; general editor and author of the Popular Art; Introduction, pp.8-35, and ‘Making an Stanley Spencer: Heaven in a Romanticism; Impression: Underwood the Printmaker’, Hell of War (March – June St Ives School; pp.48-73 2014), venue curator after Scottish Colourists; Surrealism; Conscience and Conflict: British Artists and Unit One; the Spanish Civil War, (Chichester: Pallant Sean Scully: Triptychs (October Vorticism; House Gallery, 2014), 160 pages, with a 2013 – February 2014) War Art; foreword by Paul Preston Women artists; : Collaging ‘Painting the End; British Artists and the Culture (July – October 2013) Nuclear Apocalypse 1945-1970’, in Catherine Jolivette (ed.), British Art in the Peter Blake and Pop Music Nuclear Age (Farnham: Ashgate, 2014), pp. (June – October 2012), touring 217-233 to The Lowry Salford

‘‘What Ho, Giotto!’ Stanley Spencer’s Holy Keith Vaughan: Romanticism to Box and the influence of the Italian Abstraction (March – June Primitives’, in Amanda Bradley (ed.) 2012) Stanley Spencer: Heaven in a Hell of War (Chichester: Pallant House Gallery in Robin Ironside: Neo-Romantic association with the National Trust, 2013), Visionary (February – April pp. 53-63 2012), touring to Grosvenor Museum, Eduardo Paolozzi: Collaging Culture (Chichester: Pallant House Gallery, 2013), Edward Burra (22 Oct 2011-19 128 pages Feb 2012), touring to Djanogly Art Gallery, Nottingham ‘The Process of Finding Out: On Jeremy Gardiner’s Working Methods’ in The Art of Robin & Lucienne Day: Design Jeremy Gardiner (Farnham: Lund & the Modern Interior (co- Humphries, 2013), pp. 120-148 curated with Shanna Shelby, March – June 2011) Mark Hearld: Work Book (London: Merrell, 2012), 192 pages Cézanne to Picasso: European Masters from the Collection ‘Questions of Affinity: Gwen John and (January – March 2011) Celia Paul’ in Gwen John and Celia Paul: St Ives and Beyond (March – Painters in Parallel, (London: Marlborough June 2010) Fine Art, 2012), unnumbered

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre

Simon Martin CONTINUED ‘Robin Ironside 1912-1965: Neo-Romantic St Ives and Beyond (March – Visionary’ in Robin Ironside: Neo- June 2010) Romantic Visionary, (Chichester: Pallant Head of Curatorial Services House Gallery, 2012), pp. 8-13 Jeremy Gardiner: A Panoramic View (March – May 2010) : Seven Decades of Simon Martin Watercolour, (Saffron Walden: Fry Art John Tunnard: Inner Space to Pallant House Gallery Gallery, 2012), unpaginated Outer Space (March – June 9 North Pallant 2010) Chichester ‘ and Church Patronage’ in West Sussex Patricia Jordan-Evans ed.), John Piper and Patrick Caulfield: Between the PO19 1TJ The Church, Dorchester Abbey/ The Bohun Lines (March – June 2009) Gallery, 2012 www.pallant.org.uk Lee Miller & Friends (January - s.martin[at]pallant.org.uk ‘Pop goes the Art School: British Art March 2009) Schools in the 1950s and 1960s’ in Christopher Breward and Ghislaine Wod : Revelations, (eds.), British Design 1948 - 2012, (London: Discoveries, Communications Victoria & Albert Museum Publishing, (September 2008 – January 2012), pp.156-175 2009)

Edward Burra, (Farnham: Lund Humphries, Colin Self: Art in the Nuclear 2011), 165 pages, with contributions by Age (June – October 2008) Andrew Lambirth and Jane Stevenson Peter de Francia: The Ship of Bouke de Vries: Metamorphosis Fools (October – January) (Signs),(Milan: Gloria Maria Gallery, 2011) Ivon Hitchens (April – October Barnaby Barford: Love is…, catalogue 2008) essay, (London: David Gill Galleries, 2011), unnumbered Poets in the Landscape: The Romantic Spirit in British Art John Tunnard: Inner Space to Outer Space, (March – June 2007) exhibition catalogue, (Chichester: Pallant House Gallery, 2010), 128 pages William Roberts: England at Play (January– March 2007) Foreword to Jeremy Gardiner: A Panoramic View, Paisnel Gallery, March 2010, Modern British Art: The First unnumbered 100 Years (co-curated with Frances Guy; June 2006 – Shozo Michikawa: Natural Intentions’, opening displays) catalogue essay, Galerie Besson, London 2009 (re-printed in SOFA Chicago British Studio Pottery: From catalogue 2009), unnumbered Bernard Leach to Lucie Rie (Chichester Cathedral, July - Mark Hearld’s Visual Menagerie, catalogue October 2005) essay, Godfrey & Watt, Harrogate, Sept 2009, unnumbered Magic Realities: The Artistic Marriage of Mary Fedden & Salthouse 09: Salt of the Earth, (ed.) (Petworth exhibition catalogue, 28 pages, North House, July 2006) Norfolk Exhibition Project, 2009 Richard Hamilton (The Gallery, Colin Self: Art in the Nuclear Age, (ed.), Chilgrove, June 2005, co- exhibition catalogue, (Chichester: Pallant curated with Frances Guy) House Gallery/ AVA Publishing, 2008), 128 pages, with a foreword by Marco Livingstone Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre

Modern Spirit: Artworks from Simon Martin CONTINUED ‘Poets in the Landscape: The Romantic the Collection of Pallant House Spirit in British Art - An Introduction’ Gallery in Chichester Cathedral (pp.19-16); ‘Everything except the Poetry: (26 June - 6 Dec 2004) Director William Hayley and Romantic Patronage 1775-1805’ (pp.17-40); and ‘The Balm of Culture: Romantic Art and Literary Simon Martin Publications of the 1940s’ (pp.83-114); and Pallant House Gallery all catalogue entries, in Poets in the 9 North Pallant Landscape: The Romantic Spirit in British Chichester Art, (ed.), exhibition catalogue, (Chichester: West Sussex Pallant House Gallery, 2008), 120 pages PO19 1TJ Modern British Art at Pallant House www.pallant.org.uk Gallery, Simon Martin and Frances Guy, s.martin[at]pallant.org.uk collection guide, (London: Scala Publishers, 2004) Author of chapters on Sickert and the Camden Town Group, Post-Impressionism in Britain, International Modernism, Post- War Abstract Art, the Independent Group and Post-War Figurative Art, 120 pages

Professor Anne Massey 20th century post-1945 Books; Costume; Sporting art; The Independent Group: Modern and Mass Writing a biography of Dorothy Morland, British art Documents; Drawing; regionalism; Culture in Britain, 1945-59, MUP, 1995 Parallel of Art & Life: The IG at the first Director of the ICA for Liverpool Regent’s University Decorative/ applied arts; Empire; the ICA, ICA, 2013 University Press, 2019 London Furniture; Installation; Race; Out of the Ivory Tower: The IG and Popular Painting; Gender; Culture, MUP, 2013 Pioneers of Pop, Hatton [email protected] Pastel; Performance; Sexuality; Gallery, Newcastle, 2017 Personal items; Modernism; The ICA 1946-68, ICA 2014 Regent’s University, Photography; Prints and Neo-Romanticism; Co-editor with Alex Seago Inner Circle, printmaking; Pop Art; Regent’s Park, Sculpture; Sound; Popular Art; Pop Art & Design, Bloomsbury, 2017 London Tapestries and textiles; Unit One; NW1 4NS Video; Watercolour; Works on paper; Patronage & Collecting; Art institutions Rebecca Milner 18th century British Costume; Portraiture; Industrial Revolution; Chelmsford Arts Trail Curatorial responsibility for 18th and 19th art; Drawing; Landscape; Neoclassicm; Century art collections and displays. r.milner[at]manchester.gov.uk Decorative/ applied arts; History painting; Pre-Raphaelitism; Summer of Art Working on changes to displays including 19th century British Furniture; Genre painting; Romanticism; contemporary interventions and displays of Curator art; Painting; Gender; Victorian Art; Affordable Art Fairs costume with fine art. Prints & printmaking; Aesthetic movement; Women artists; Manchester City Galleries Watercolour; Edwardian Art; Research and development on artists Mosley Street Works on paper; Gothic Revival; Patronage & collecting; frames. Manchester Art institutions; M2 3JL Country Houses; Research on women artists in collection. Art & science;

Learning & participation;

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Anna Moore 18th century British art; Drawing; Portraiture; Industrial Revolution; Catalogue entries in: Birchall, H. (ed.) The ‘Watercolour’ Tate Britain 2011 I work across the collection of eighteenth Decorative/ applied arts; Landscape; Neoclassicm; Real and the Imagined: Watercolours from and nineteenth century sculpture at the a.moore[at]vam.ac.uk 19th century British art; Miniatures; Painting; History painting; the Whitworth Art Gallery (University of John Martin: Apocalypse Tate V&A with a particular responsibility for Prints and printmaking; Genre painting; New Sculpture; Manchester Press, 2012) Britain 2011 the wax collection. I am presently writing Curator, Sculpture Sculpture; Topography & Pre-Raphaelitism; an article on the late eighteenth century Watercolour; Works on mapmaking; Romanticism; Catalogue entries in: Myrone, M. (ed.) John Pre-Raphaelites: Victorian portrait wax modeller, Samuel Percy. I am Victoria and Albert Museum paper; Monuments/ tomb Victorian Art; Martin: Apocalypse exh. cat. (Tate Avant-Garde Tate Britain 2012 part of the project team working on the re- Cromwell Road sculpture; Publishing, London, 2011) development of the V&A’s historic Cast London Patronage & Courts. SW7 2RL Irish Art; regionalism; Collecting; ‘Intimate Knowledge’ essay, and catalogue Art institutions; entries, in: Smith, A. (ed.) Watercolour exh. 020 7942 2615 Amateur artists; Royal patronage; cat. (Tate Publishing, London, 2011) Folk Art; Country Houses;

Peter Moore 17th century British art; Books; Drawing; Portraiture; Dialogues in Paint and Print:: Mezzotint Gravelot::Designing Georgian and printmaking; Painting; Prints and Landscape; Portraiture and Intermedial Exchange, Britain, Gainsborough’s House early eighteenth century provincial artistic Peter.Moore[at]english- 18th century British art; printmaking; Sporting art; chapter in Court, Country, City (February 2016) practices; landscape and topography heritage.org.uk Works on paper; Genre painting; British Art and Architecture, 1660-1735 (painting, drawing, printing, theories and Marine painting; (2016) concepts); portraiture; intermediality in Curator of Collections Topography & eighteenth century British art. mapmaking; John Collett’s Temple Bar at Osterley, and English Heritage Empire; Folk Art; the rediscovery of a preparatory study, The Burlington Magazine July 2015

John Wootton: painter of ‘Landscapes and other Subjects’. The Procession of Lionel Sackville to Dover Castle, at Knole, National Trust Historic Houses & Collections Annual 2015

Conflicting Perspectives: The Siege of La Rochelle and The Demolishing of , at Dyrham Park, National Trust Historic Houses & Collections Annual 2014

British Graphic Art: 1660-1735, unpublished PhD thesis, University of York (2013)

Stephanie Moran 20th century 1900- Books; Documents; Postcolonialism; Performance art; Catalogue essay for ‘Obscure Secure’ ‘Myth Material’ at TAP | Managing the Stuart Hall Library 1945 British art; Drawing; Race; Women artists; Black Project: Temporary Arts Project, collection; Programming the Stuart Hall Iniva, Stuart Hall Library 20th century post-1945 Installation; Gender; and Asian British https://obscuresecureproject.files.wordpress. Southend 2016: Library Research Network, currently British art Painting; Sexuality; artists; Diaspora com/2014/08/os-booklet-design-aw.pdf http://www.marmalade- around the theme of ‘Virtualities’; Stuart Hall Library, 1 Rivington Performance; Photography; Decolonisation; undertaking.com/mythmaterial. Current research includes artistic research Place, Shoreditch EC2A 3BA Prints and printmaking; Intersectionalism Art institutions; html case studies around artists responding to Sculpture; Sound; Textiles; Art education; the Media Art Collection of Kathy Rae [email protected] Video; Works on paper; Movements: Black Arts Art criticism; ‘domain of sensible knowledge’ Huffman at Goldsmiths Library. dematerialised practices; Movement; New Art theory; at ASC Gallery, 2017: artist zines Internationalism http://www.marmalade- undertaking.com/sensibleknowl edge.html

Art Editor, ‘The Ecological Citizen’: http://www.ecologicalcitizen.net / Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Amy Mountney 20th century post-1945 Books; Gender; Pop Art; Nothing is What it is because My current work focuses on text found in British art; Documents; Sexuality; Women artists; Everything is what it isn’t by daily routine, presenting interpretations of amy.mountney[at]ymail.com Installation; Feminism; Holly Davey, Landing contemporary society through the use of Painting; Patronage & Commission, National Museum conceptual poetry and mixed media Freelance Artist & Curator Photography; Aesthetic movement; Collecting; Cardiff collage. Consumer society, gender roles Prints and printmaking; Amateur artists; Art education; and political conflict are key themes. Hive Artist Studios Video; Conceptual art; Art criticism; Pop and Abstract, new 13R Beehive Lane Works Art theory; collections display, National In addition I am seeking to research a Beehive Lane Art & science; Museum Cardiff, 2013 suitable proposal for MA studies. Chelmsford Essex Learning and John Piper: The Mountains of CM2 9JY participation; Wales, National Museum Cardiff, 2012; Oriel y Parc, St Davids, 2012; Whitworth Art Gallery, Manchester, 2013

The Derek Williams Trust Collection, Pier Arts Centre, Stromness, 2012; City Art Centre, Edinburgh, 2012-2013

Lifetime to Legacy: the Derek Williams Trust Collection, National Museum Cardiff, 2011

Melissa Munro 20th century 1900- Installation; Landscape; New English Art Club; David Fraser Jenkins and Melissa Munro, Derek Williams Trust Collection 1945 British art; Painting; Still Life; New Sculpture; John Piper: The Mountains of Wales, development through acquisitions and melissa.munro[at]museumwales.ac. Pastel; Performance art; Amgueddfa Cymru – National Museum displays. Modern and Contemporary Art uk 20th century post-1945 Performance; Welsh Art; Pop Art; Wales, Cardiff, 2012 collections development and care through British art; Photography; St Ives School; acquisitions and displays. Derek Williams Curator of Modern Sculpture; Bloomsbury; Surrealism; A Companion Guide to the Welsh National and Contemporary Art Sound; Camden Town Group; Unit One; Museum of Art, Amgueddfa Cymru – Video; Conceptual art; Vorticism; National Museum Wales, 2011 Amgueddfa Cymru - National Constructivism; War Art; Museum Wales Edwardian Art; Women artists; Euston Road School; National Museum Cardiff Patronage & collecting; Cathays Park Modernism; Cardiff Neo-Romanticism; CF10 3NP Felicity Myrone 18th century British Books; Portraiture; Amateur artists; art; Drawing; Landscape; Church art; felicity.myrone[at]bl.uk 19th century British art Painting; Topography & Royal patronage; Prints & printmaking; mapmaking; Country houses. Lead Curator, Western Prints and Watercolour; Illustration; Drawings Works on paper; Monuments/tomb sculpture; The British Library, 96 Euston Road, London NW1 2DB

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Martin Myrone 18th century British Drawing; Portraiture; Industrial Revolution; (Ed.) John Martin: Apocalypse, 2011 art; Painting; Landscape; Neoclassicm; ‘"Something Too Academical": The martin.myrone[at]tate.org.uk Prints & printmaking; History painting; Romanticism Problem with Etty’, in Sarah Burnage, Mark 19th century British Sculpture; Genre painting; Hallett and Laura Turner eds, William Etty: Lead Curator, pre-1800 British Art art; Works on paper; Caricature & satire; Popular Art; Art & Controversy, exhibition catalogue, Illustration; 2011 Tate Britain Monuments/ tomb Patronage & collecting; ‘The Body of the Blasphemer’ in Helen P. Millbank sculpture; Bruder and Tristanne Connolly eds., Queer London Welsh Art; Art institutions; Blake, 2010 SW1P 4RG Scottish Art; Church art; ‘James Barry's "Hairbreadth niceties": Risk, Irish Art; Reward and the Reform of Culture around Regionalism; Art education; 1770’ in Tom Dunne and William Pressly Empire; Art criticism; eds James Barry 1741-1806: History Race; Art theory; Painter, 2010 Gender; The Blake Book, 2007 Sexuality; Gothic Nightmares: Fuseli, Blake and the Amateur artists; Romantic Imagination, 2006 Folk Art; Bodybuilding: Reforming Masculinities in British Art, 1750-1810, 2005

Lynda Nead 19th century British art; Costume; Documents; Empire; Art criticism; Myths of Sexuality, 1988 The Fallen Woman, The I am currently working on a study of visual 20th century post-1945 Painting; Race; Art theory; The Female Nude, 1992 Foundling Museum Sept. 2015 media in Britain c. 1945-60. Called The l.nead[at]bbk.ac.uk British art Personal items; Gender; Art & science; Victorian Babylon, 2000 – January 2016 Tiger in the Smoke, it is a study of black Photography; Sexuality; The Haunted Gallery, 2008 and white media and colour and their Professor and Pevsner Chair of Film And other books and articles meanings and uses in the wider culture of History of Art Interdisciplinary studies the period. It looks at painting, film and in the history of British photography and exhibitions and events. 43 Gordon Square visual culture I am also curating an exhibition on the London nineteenth century Fallen Woman which WC1H 0PD opens at the Foundling Museum in September 2015. 02076316152

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Linda Norris [email protected] I have worked as a painter for over 30 years. www.linda-norris.com I came to glass as a painter eight years ago and has since won a number of awards for my work including The Warm Glass Prize, 2012 and the Adrian Henri Poetry in Art Prize 2013. In 2015 my work was selected for The British Glass Biennale. In collaboration with Rachel Phillips I have undertaken a number of major architectural glass commissions including making 3 windows for The Royal Chapel at Conwy Castle, a 13th century castle in North Wales. I am interested in making architectural glass work which responds to the history and the current use of buildings.

I am interested in exploring aspects of the culture, science and natural history of landscape and in finding ways to make contemporary artwork using traditional methods. The dialogue which occurs between science and art integral to working with glass is central to my work.

In 2015 I undertook a residency at Skokholm Island Bird Observatory in Pembrokeshire with the support of the Arts Council of Wales. As part of this project, entitled ‘ob•serve’, I am investigating observation as the root of scientific and artistic research. I am interested in making work in response to historic collections and am currently working on a commission from Contemporary Art Society Wales for which I am making cast glass work in response to the collection of Narberth Museum in Pembrokeshire.

Alongside my studio practice, I have pioneered the use of glass for creative participatory projects in community settings, and have a special interest in working with hard-to-reach children and those with additional learning needs.

Marguerite Nugent Pop and Contemporary Drawing; Portraiture; Pop Art; Art; Installation; Landscape; marguerite.nugent[at]wolverhampt Painting; History War Art; on.gov.uk Northern Irish work of Pastel; Irish Art; Women artists; the Troubles; Performance; Race; Head of Curatorial Services Photography; Gender; Middle East Prints & printmaking; Sexuality; Wolverhampton Art Gallery contemporary art; Sculpture; Lichfield Street Sound; Wolverhampton Video; WV1 1DU Watercolour; Works on paper;

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Frédéric Ogée 18th century British Books; Portraiture; Industrial Revolution; William Gilpin, Observations on the River Women War Artists, Imperial - Exhibition in Paris and Bordeaux on art; Documents; Landscape; Neoclassicm; Wye, etc., French translation and critical War Museum London, 2011 Thomas Lawrence (2019) frederic.oge[at]univ-paris-diderot.fr Painting; History painting; Pre-Raphaelitism; edition, Presses Universitaires de Pau, 2009 - Exhibition catalogue 19th century British Pastel; Still Life; Romanticism; Jonathan Richardson: Traité sur la Transformed: Artists books and - Book on Thomas Lawrence (Cohen & Professor of English Studies, Vice art; Performance; Sporting art; Victorian Art; peinture, etc., a critical edition if the bookworks, Imperial War Cohen, Paris, 2019) President International Affairs Prints and printmaking; Genre painting; War Art; original 1728 French translation, with Museum London, 2010 - Anthology of British artists’ writings Sculpture; Marine painting; Patronage & collecting; I. Baudino, 2008 Université Paris Diderot Watercolour; Topography & Art institutions; Diderot and European Culture, a Witness: Women War Artists, UFR Etudes Anglophones Works on paper; mapmaking; Royal patronage; collection of essays, with Anthony Imperial War Museum North, Bât Olympe de Gouges Caricature & satire; Country Houses; Strugnell, 2006 2009 Case 7046 Illustration; Art education; Studies on Voltaire and the Eighteenth 5 rue Thomas Mann Monuments/ tomb Art criticism; Century, 2006 Contributor to Breakthrough, 75205 sculpture; Art theory; Better in France? The circulation of ideas Imperial War Museum London Paris Cedex 13 Scottish Art; Art & science; across the Channel in the 18th century, art collection hang, 2008 – 2012 France Empire; landscape gardens and Bucknell University Press, 2005 Race; parks Art & Nation : la fondation de la Royal William Hogarth, 1697-1764. +33157275508 Gender; Academy of Arts, 1768-1836, with I. Co-curatorship of the exhibition Sexuality; Baudino and J. Carré, 2004 presented in the Louvre Aesthetic movement; William Hogarth: Representing Nature's museum, October 2006-January Gothic Revival; Machines, co-edited with D. Bindman and 2007, in collaboration with P. Wagner, Manchester University Press, Olivier Meslay. 2001

Dr Orlando, Sophie post-1945 British art; Books; Paper Feminism Art criticism; Orlando, British Black Art, A Debate on I have curated the show Sonia Current research: Associate Professor, Villa Arson, Contemporary Conceptualism Art theory; Western Art History, Boyce: Conceptualism in Europe Nice Diaspora; Art History Paris, Dis Voir, 2016 Paper Tiger Whisky Soap Post-colonialism; Theatre (Dada Nice), Villa Researcher British Black Art Orlando (ed), , Thoughtful Arson, 30 Jan-30 April 2016 “Black Art and Modernism” (UAL, Disobedience, Villa Arson, 2017 Middlesex University) [email protected] Orlando and Grenier (ed) Art et Mondialisation, un anthologie, Paris, Centre [email protected] Pompidou, 2013 Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Susan Owens 16th and 17th century Books; Costume; Portraiture; Industrial Revolution; Jonathan Richardson by I am currently co-curating an exhibition British art; Documents; Drawing; Landscape; Modernism; The Ghost: A Cultural History (Tate Himself, , about and the visual arts Susanowensl[at]btinternet.com 18th century British art; Decorative/ applied arts; History painting; Neoclassicm; Publications, 2017) 2015 for the Watts Gallery (2018). 19th century British art; Furniture; Installation; Still Life; Neo-Romanticism; Independent scholar 20th century 1900-1945 Miniatures; Painting; Sporting art; New English Art Club; ‘Jane Austen: a life in portraits’, in Jane British Drawings, V&A, 2013 Other current research interests are: British art; Pastel; Performance; Genre painting; New Sculpture; Austen, Novelist in the World, ed. by representations of the British landscape; 01728 860951 20th century post-1945 Personal items; Marine painting; Norwich School; Kathryn Sutherland (Bodleian Publications, Amazing Rare Things: The Art self-portrait drawings by Jonathan British art; Photography; Prints and Topography & Performance art; 2017) of Natural History in the Age of Richardson; portraits of Jane Austen; printmaking; mapmaking; Pop Art; Discovery, Queen’s Gallery, Aubrey Beardsley; representations of Contemporary Sculpture; Sound; Caricature & satire; Popular Art; 2007 ghosts in British art; and the influence of Tapestries and textiles; Illustration; Pre-Raphaelitism; Jonathan Richardson by Himself (Courtauld old master drawings on British Video; Watercolour; Works Monuments/ tomb Romanticism; Gallery / Paul Holberton, 2015) Watercolours and Drawings draughtsmanship, 1600-1900. on paper; sculpture; St Ives School; from the Collection of Queen Scottish Colourists; The Art of Drawing: British Masters and Elizabeth The Queen Mother, Welsh Art; Surrealism; Methods Since 1600 (V&A, October 2013) Queen’s Gallery, 2005 Scottish Art; Victorian Art; Irish Art; regionalism; Unit One; Amazing Rare Things: The Art of Natural Vorticism; History in the Age of Discovery (Royal Empire; War Art; Collection Publications, 2007; co-authored Race; Women artists; with David Attenborough, Martin Clayton Diaspora; and Rea Alexandratos) Post colonialism; Patronage & Gender; Collecting; Watercolours and Drawings from the Sexuality: Art institutions; Collection of Queen Elizabeth The Queen Church art; Mother (Royal Collection Publications, Aesthetic movement; Royal patronage; 2005) Amateur artists; Country Houses; Bloomsbury; Art education; Bristol School; Art criticism; Camden Town Group; Art theory; Conceptual art; Art & science; Constructivism; Edwardian Art; Conservation/ Euston Road School; Technical art history; Folk Art; Learning and Glasgow School; participation; Gothic Revival; Group X;

Michael Ohajuru 16th and 17th century Documents; Portraiture; Landscape; Fryer, P. (1984) STAYING POWER: The : Black British Co-Convener of the Institute of British art; Installation; History painting; Still History of Black People in Britain, London, Art in Action 1960 to 1990, Commonwealth Studies Black British Fellow Institute of Commonwealth 18th century British Painting; Life; Pluto Press , London; History workshop series and network - Studies art; Pastel; Sporting art;Women 10th July 2015 to 24th January What’s Happening In Black British Independent Historian and Curator 19th century British Performance; artists; Dabydeen, D. (1987) Hogarth’s Blacks, 2016 History? (WHBBH) art; Photography; Genre painting; Marine Manchester, Manchester University Press http://BlackBritishHistory.com Michael[at]ohajuru.com 20th century 1900- Prints & printmaking; painting; Topography Eddie Chambers (2014). Black MAKING AFRICA : A @BlackBritHist 1945 British art; Sculpture; & mapmaking; Artists in British Art: A History Continent of Contemporary @michael1952 20th century post-1945 Tapestries & textiles; Caricature & satire; since the 1950s , London, J B Design, Guggenheim, Museum Working on celebrating the life of John British art; Video; Illustration; Tauris & Co Ltd Bilbao; 30th October to 21st Blanke - The black trumpeter to the courts http://about.me/michaelohajuru Works on paper Monuments/ tomb February , 2016 of Henry VII and Henry VIII sculpture; eds Bindman, D, & Gates Jr., H.L. (2014) Drawing Workshops and Web site - Who The Black presence in British Art Welsh Art; Scottish The Image of the Black in Western Art Vols West Africa: Word, Symbol, is John Blanke ? Art; Irish Art; I to X, Harvard, Harvard University Press. Song, British Library, London; Researching, developing and curating an Regionalism; 16th October 2015 to 16th exhibition – Who is John Blanke ? Empire; Race; Gender; February 2016 http://JohnBlanke.com Sexuality; @WhoIsJohnBlanke Learning & participation; Art education; Art criticism; Art theory; Art & science;

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Kerri Offord Costume; Documents; Portraiture; Fairy Tales and Fantasy: Children’s Book Looking at Landscape: Pastoral Curating and assisting in the project 19th century British art; Decorative/ applied arts; Landscape; Illustrations 1850-1920 from the Tillotson to present, 2012, Gallery management of Watts Studios, a new Watts Gallery – Artists’ Village 20th century 1900-1945 Painting; Genre painting; Hyde Collection (York Art Gallery, 1999) Oldham museum supported by the Heritage Lottery British art; Sculpture; Tapestries and Gender; Fund in Limnerslease, the home of the Watts Gallery – Artists’ Village textiles; ‘Cox and Birmingham’ in Sun, Wind, and Watts Studios – 3 new artists’ G F and Mary Watts. Areas of Down Lane Industrial Revolution; Rain: The Art of David Cox (Yale permanent galleries research include the work and practices of Compton Pre-Raphaelitism; University Press, 2008) compromising of the G F Watts Mary Watts, the painting techniques of G Guildford Romanticism; Studio, Mary Watts Gallery and F Watts, women Victorian artists and the Surrey St Ives School; ‘Edward Robert Hughes (1851-1914), Compton Gallery in the home of Arts and Crafts Movement. GU3 1DQ Victorian Art; Painter’, in Oxford Dictionary of National G F and Mary Watts Women artists; Biography (forthcoming) Additionally I have an interest in 01483 813 585 multisensory art, exhibitions and Patronage & interpretation. Collectionsofficer[at]wattsgallery.o Collecting; rg.uk Art institutions; Church art; Country Houses; Art criticism; Art theory;

Conservation/ Technical art history Victoria Osborne, Birmingham 19th century British art Drawing Victorian Art Fairy Tales and Fantasy: Children’s Book Enchanted Dreams: The Pre- Curatorial responsibility for Birmingham’s Museums Trust Painting Edwardian Art Illustrations 1850-1920 from the Tillotson Raphaelite Art of E.R. Hughes collections of paintings, sculpture and Birmingham Museum and Art Prints and printmaking Pre-Raphaelitism Hyde Collection (York Art Gallery, 1999) (Birmingham Museum & Art works on paper pre-1900. Gallery, Watercolour Gallery, 2015-16) Chamberlain Square, Works on paper ‘Cox and Birmingham’ in Sun, Wind, and Developing content for the capital Birmingham B3 3DH Rain: The Art of David Cox (Yale Organising curator for: redevelopment of Birmingham Museum & University Press, 2008) Art Gallery from 2019. Love Revealed: Simeon ‘Edward Robert Hughes (1851-1914), Solomon and the Pre- Co-curator for Victorian Radicals: From Painter’, in Oxford Dictionary of National Raphaelites (BMAG, Museum the Pre-Raphaelites to the Arts & Crafts Biography (forthcoming) Villa Stuck, Munich, and Movement (exhibition organised in reduced showing at Ben Uri partnership with the American Federation Gallery, London, 2005-6) of Arts), US tour, 2018-20.

Sun, Wind and Rain: The Art of David Cox (Yale Center for British Art & BMAG, 2008-9)

The Poetry of Drawing: Pre- Raphaelite Designs, Studies and Watercolours (BMAG & Art Gallery of New South Wales, , 2010-11)

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Kathleen Palmer 20th century 1900- Books; Drawing; Portraiture; Modernism; Women War Artists, Tate Publishing, Women War Artists, IWML Research interests: Diversity within 1945 British art; Installation; Landscape; Neo-Romanticism; London, 2011 April- Nov. 2011 official and unofficial war art, with kpalmer[at]iwm.org.uk Painting; History painting; New English Art Club; particular expertise on women war artists. 20th century post-1945 Pastel; Marine painting; ‘Women War Artists’, Despatches Transformed: Artists books and Contemporary art and conflict. Head of Art, Department of British art; Performance; Topography & Performance art; Magazine, 2011 bookworks Collections Photography; mapmaking; Conceptual art; IWML Current projects: Contemporary British Prints & printmaking; Monuments/ tomb Contributor to Art from the First World May – July 2010 Co-curating: Vision as Power - work by Imperial War Museum art; Sculpture; sculpture; Surrealism; War, Imperial War Museum, London, 2008 , for Imperial War Lambeth Road Sound; Unit One; Witness: Women War Artists, Museum London this Autumn. London Video; Welsh Art; Vorticism; IWMN Feb.- April 2009 Curating: Mark Neville, for IWML in SW1 6HZ Watercolour; Scottish Art; War Art; 2014 as part of IWM Contemporary Works on paper; Irish Art; Women artists; Contributor to Breakthrough, programme. 020 7416 5489 IWML art collection hang, 2008 Empire; Patronage & collecting; – 2012. Researching the Middle East in Race; Art institutions; contemporary art for Art Fund RENEW Gender; Art criticism; collecting project on Israel/Palestine. Sexuality; Art theory; Art & science; Ongoing: Leading on collection Bloomsbury; development strategy and public Camden Town Group; programming. Edwardian Art; Euston Road School; Developing contemporary commissions Glasgow School; through IWM Art Commissions Committee.

Andrew Parkinson 20th century 1900- Drawing; Landscape; Modernism; Neil Firth, Mel Gooding, Sir Nicholas The Pier Arts Centre Collection Collection development including research 1945 British art; Painting; Still Life; New Sculpture; Serota, Margaret Gardiner et al, An focussing on new acquisitions. on contemporary Northern European andrew.parkinson[at]pierartscentre. Photography; Marine painting; St Ives School; Unfolding Gift – The Pier Arts Centre New work by Christine Borland artists and small sculptural works. com 20th century post-1945 Prints & printmaking; Scottish Art; Unit One; Collection, 2010 2012. British art; Sculpture; New work by Jim Lambie 2011. Current temporary exhibitions include Curator Video; Patronage & collecting; Other recent solo exhibitions sculptural work by Nathan Coley; Watercolour; Art education; and projects by British artists contemporary British craft and Zoe Walker The Pier Arts Centre Works on paper; include – & Neil Bromwich. Learning & Roger Ackling,; Richard Victoria Street participation; Deacon and Bill Woodrow; Stromness Annie Cattrell; Ian Stephen; Orkney Wilhelmina Barns-Graham; KW16 3AA Adam Barker-Mill; Robin Gillanders; Ian Hamilton Finlay and Hannah Rickards.

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Christiana Payne 19th century British art; Drawing; Portraiture; Industrial Revolution; Silent Witnesses: Trees in British Art, 1760- Co-curator, with Janette Kerr: Co-curating, with Victoria Partridge: A Painting; Landscape; Pre-Raphaelitism; 1870 (Bristol: Sansom and Company, The Power of the Sea: Making Walk in the Woods: A Celebration of Trees Cjepayne[at]brookes.ac.uk Photography; Genre painting; Romanticism; forthcoming 2017) Waves in British Art, 1790-2014 in British Art (Higgins, Bedford, Prints and printmaking; Marine painting; Victorian Art; (Royal West of England September 2017-February 2018) Professor of Art History Watercolour; Topography & Art criticism; Rustic Simplicity: Scenes of Cottage Life in Academy, April- July 2014) Works on paper; mapmaking; Nineteenth-century British Art, Nottingham: Current research is on role of trees and Oxford Brookes University Djanogly Art Gallery/Lund Humphries, Co-curator, with Steve woodland in British , Gipsy Lane 1998 Jacobson and Gemma Brace: 1760-1870. Oxford Air: Visualising the Invisible in Where the Sea meets the Land: Artists on British Art, 1768-2017 (RWA, 01865 483582 the Coast in Nineteenth-century Britain, Bristol, June-September 2017). Bristol: Sansom and Company, 2007 Rustic Simplicity: Scenes of John Brett, Pre-Raphaelite Landscape Cottage Life in Nineteenth- Painter, New Haven and London: Yale century British Art, Nottingham: University Press, 2010 Djanogly Art Gallery and Penzance: Penlee House, 1998

With Ann Sumner, Objects of Affection: Pre-Raphaelite Portraits by John Brett, Birmingham: the Barber Institute of Fine Arts, University of Birmingham, 2010 (also shown at Fine Art Society, London and Fitzwilliam, Cambridge)

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Helen Pheby 20th century 1900- Sculpture; Sound; Conceptual art; Tony Cragg: A Rare Category of Objects, Since 2007 I have curated/led I curate major exhibitions by pre-eminent 1945 British art; Video; Works on paper; Art education; YSP, 2017, catalogue delivery of 53 exhibitions, 48 international artists, research and deliver helen.pheby[at]ysp.co.uk Art theory; A Place in Time, NIROX Sculpture projects and eight public realm commissions, lead on gallery presentations 20th century post-1945 Art & science; Foundation, South Africa, 2016 initiatives with 134 artists from and have established a new model of artist Curator British art; Learning and Caro in Yorkshire, YSP, 2015, ISBN 978-1- 23 countries and a combined participation; 908432-16-2 direct audience reach of over and graduate residencies. Major Yorkshire Sculpture Park Contemporary Henry Moore: Back to a Land, catalogue, eight million – all integrated exhibitions and commissions include West Bretton YSP, 2015, ISBN: 978-1-908432-14-8 with vibrant public and learning Thukral and Tagra, Katrina Palmer, Holly West Yorkshire Hester Reeve: Ymedaca, YSP, 2015, ISBN programmes. I initiated the Hendry, James Webb, Oscar Murillo, Ruth WF4 4LG 978-1-908432-19-3 Visiting Artist strand with Ewan and Chiharu Shiota (all 2018), Rana James Capper: Divisions, YSP, 2013, ISBN artists such as Haroon Gunn- Begum Curates the Arts Council 01924 832511 978-1-908432-02-5 Salie (2017), Nishat Awan Collection (2017), Tony Cragg (2017) and Essential Guide to Sculpture YSP, 2013, (2016) and Anton Burdakov ISBN 978-1-908432-13-1 (2015) as well as the Graduate (2014) punctuated with Joan Miró: Sculptor, YSP, 2012, ISBN 978- Award, fundamentally historical presentations of work by Henry 1-871480-98-6 developing the careers of Moore (2015), Anthony Caro (2015) and Sophie Ernst: HOME, YSP, 2012, ISBN Ayesha Tan Jones (2017), Joan Miró (2012). I have pioneered 978-1-871480-99-3 William Darrell (2016), Luke innovative approaches to sharing art Layered Land: Andy Goldsworthy at Hart (2016) and others. I beyond the traditional exhibition model, Yorkshire Sculpture Park, Tate Papers established the Live Art element such as Art by Email (2017) with artists No.17, Spring 2012, ISSN 1753-9854 in partnership with the Live Art Rebecca Chesney: Diligent Observation, Development Agency (London), from MENA countries including Mai Al YSP, 2011, ISBN: 978-1-871480-88-7 supporting artists including Shazly, Azar Othman and Barış Seyitvan. Richard William Wheater: Them and Us, Jordan McKenzie (2013), Eloise With very low cost, the exhibition YSP, 2010, ISBN: 978-1-871480-76-4 Fornieles (2012) and Florence generated 62 media articles, AVE £273k Henry Moore and Landscape, YSP, 2011, Peake (2012). I have curated and PR value £681k: ‘the show proves that ISBN 978-1-871480-92-4 – compiler and significant group shows thoughts and ideas can cross borders even editorDavid Nash, Yorkshire Sculpture including works by Joseph Park, 2010 Beuys, Camilla Løw, Cerith when their progenitors cannot. And what ‘Contemporary Art: An Immaterial Wyn Evans, Yelena Popova, in our world could be more important? Practice’ book chapter in Experiencing Mona Hatoum, Sophie Calle, What better chance of peace in the long Materiality in the Museum, Routledge, UK, and Robert term than in the wider acceptance that a 2009 Filliou. shared understanding between nations can Nigel Hall, Yorkshire Sculpture Park, 2008 bring?’ The Times Andy Goldsworthy, Yorkshire Sculpture Beyond the Institution I was co-

Park, 2007 curator of the Kyiv Sculpture Project (2012); an exhibition of Book chapter: ‘Contemporary Art: An contemporary practice in Immaterial Practice?’ for inclusion in relation to prehistoric artefacts Experiencing Materiality in the Museum, in the UNESCO Cradle of Routledge, UK, 2009. Edited by Sandra Humankind, South Africa and Dudley PhD am currently leading on new 'Making Art Public', Arts Professional commissions for Journal, Issue 14, 12 March 2007, ISSN flagship store. 1474-385X p.5 Carlos Garaicoa: Cities, Gardens, Memory, Barbara Hepworth (archive YSP, 2005, ISBN 1-871480-48-1 display), 2011

EDITOR: Co-curator: Dhaka Art Summit catalogue, copy editor, David Nash, Yorkshire Samdani Art Foundation, Bangladesh, 2016, Sculpture Park, 2010 ISBN 9-780692-618-813 Fiona Banner: WpWpWp, The Vanity Press, Co-curator: London, 2014 – co-editor, ISBN 978-1- Andy Goldsworthy, Yorkshire 907631-55-9 Sculpture Park, 2007 Jordan McKenzie: Carl An(t)dre, YSP, 2013, ISBN 1-908432-08-X Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Dr Barry Plummer 16th and 17th century Drawing; Portraiture; Neoclassicm; Drawn from Wales (Contributor), 2005 Writing The Essence of the Eye: the Life British art; Painting; Landscape; Neo-Romanticism; and Work of Evan Walters. barryplummer[at]btinternet.com Pastel; History painting; New English Art Club; Evan Walters: Moments of Vision (Ed.), 18th century British Prints & printmaking; Still Life; Pop Art; 2011 Team member of the ‘As Seen’ research Swansea Metropolitan University art; Watercolour; Sporting art; Popular Art; project. This is a joint research and Glynn Vivian Art Gallery Works on paper; Genre painting; Pre-Raphaelitism; programme, funded by WIRED, between 19th century British Marine painting; Romanticism; Swansea Metropolitan University, Cardiff 01792 481000 art; St Ives School; Metropolitan University and the National Welsh Art; Surrealism; Museum and Galleries of Wales, Cardiff. 01792 516900 20th century 1900- Regionalism; Victorian Art; 1945 British art; Unit One; Researching 20th century British artists Empire; Vorticism; who have experimented with the 20th century post-1945 Race; War Art; distinction between central and peripheral British art; Gender; Women artists; vision. Sexuality;; Patronage & collecting; Researching the Old Master pictures in the Aesthetic movement; Art institutions; Richard Glynn Vivian Bequest. Amateur artists; Church art; Bloomsbury; Royal patronage; Camden Town Group; Country Houses; Constructivism; Art education; Edwardian Art; Art criticism; Euston Road School; Art theory; Folk Art; Art & science;

Industrial Revolution; Learning & Modernism; participation;

Dr Laura Popoviciu 16th to 19th century Costume; Documents; Portraiture; Neoclassicm; British art; Drawing; Landscape; Neo-Romanticism; Government Art Collection Miniatures; Painting; History painting; Pre-Raphaelitism; Pastel; Photography; Prints Still Life; Romanticism; Queen’s Yard, 179a Tottenham and printmaking; Sporting art; Victorian Art; Court Road, London, W1T 7PA Sculpture; Tapestries and Genre painting; Patronage & textiles; Marine painting; Collecting; Tel: 020 7211 2438 Watercolour; Works on Topography & Art institutions; laura.popoviciu[at]culture.gov.uk paper; mapmaking; Royal patronage; Caricature & satire; Country Houses; Illustration; Art criticism; Monuments/ tomb Art theory; sculpture; Art & science

Welsh Art; Scottish Art; Irish Art; regionalism;

Empire;

Edwardian Art;

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Dr Dorothy Price 20th century 1900-1945 Books; Race; Modernism; Published articles on the work of a variety I currently lead the Transnational British art; Documents; Gender; Performance art; of black, Asian and diasporic artists in Modernisms Research Cluster within the Reader in History of Art, 20th century post-1945 Drawing; Sexuality;; Pop Art; Britain such as Frank Bowling, Hew Locke, History of Art Department at the School of Humanities British art Installation; Conceptual art; Surrealism; Sonia Boyce, Ingrid Pollard, Lubna University of Bristo. My research interests University of Bristol Painting; Constructivism; War Art; Chowdhary, Mohini Chandra, extend from German modernism to 9 Woodland Road Performance; Women artists; and more, include:'Re-trieving, Remapping questions of race, sexuality, gender and Bristol BS8 1TB Photography; Patronage & and Rewriting Histories of British Art: identity in 20th century and contemporary Prints and printmaking; Collecting; Lubaina Himid’s “Revenge”’ in A art. An abiding interest in the continued Tel (Direct): 0117 9546043 Sculpture; Art institutions; Companion to British Art: 1600 to the artistic dialogues between modernism and Sound; Art criticism; Present, Diana Arnold and David Peters contemporary art inform my art historical d.price[at]bristol.ac.uk Tapestries and textiles; Art theory; Corbett eds. (2013) and with Marsha thinking. Video; Meskimmon the co-edited volume Women, I am currently working on a number of Watercolour; The Arts and Globalization: Eccentric projects relating to German modernism, Works on paper; Experience (Manchester University Press, including a forthcoming exhibition for the 2013). ‘Non-synchronous Cartographies: Royal Academy of Art (Spring 2019) Frank Bowling’s Map paintings’ in Scott, and on a co-edited collection arising out of David (ed.) Small Axe: Journal of a major international conference Framing Caribbean Criticism, vol. 41, July 2013‘; the Critical Decade: After the Black Arts Testing the Limits: Dorothy Rowe in Movement held in Bristol in April 2016. I Conversation with Oreet Ashery‘ in have just been appointed as the new editor Meskimmon and Rowe, (eds.)Women, the of the internationally renowned research Arts and Globalization (MUP 2013); journal Art History (from 2017). ‘Biography and Spatial Experience in contemporary diasporic art’ in Arnold, D & Derevenski, J. Sofaer (eds.) Biographies and Space: Placing the Subject in Art and Architecture (2008); ‘Differencing the City: Urban Identities and the Spatial Imagination’ in Miles, M. & Hall, T. (eds.) Urban Futures: Critical Commentaries on Shaping the City (2003) and ‘Cultural Crossings: performing race and transgender in the work of moti roti , Art History, 26:2, Special Issue on Difference and Excess in Contemporary Art, (2003). Rosie Razzall 16th and 17th century Books; Documents; Portraiture; Neoclassicm; Canaletto and the Art of Venice, exh cat Canaletto and the Art of Venice, My work particularly focusses on 18th and British art; Drawing; Landscape; Romanticism; Queen's Gallery, 2017 Queen's Gallery, 2017 19th century works on paper, and has Curator of Prints and Drawings 18th century British art; Miniatures; Painting; History painting; Victorian Art; Queen Victoria in Paris: looked at the links between British art and Royal Collection Trust 19th century British art; Pastel; Prints and Genre painting; Women artists; Queen Victoria in Paris: Watercolours from Watercolours from the Royal the rest of Europe. Currently focussing on printmaking; Topography & Patronage & the Royal Collection, exh cat Compton Collection, Compton Verney etc the British drawings in the Royal Windsor Castle, SL4 1NJ Watercolour; Works on mapmaking; Collecting; Verney, 2016 2016 Collection including the 500+ drawings by paper; Caricature & satire; Art institutions; Capturing the Castle: the Sandbys, and exploring aspects of the [email protected] Illustration; Royal patronage; Watercolours of Windsor by assembly of the drawings collection by k Amateur artists; Country Houses; Paul and Thomas Sandby, George III Art criticism; Windsor Castle 2014

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Imogen Racz 20th century post-1945 Installation; Portraiture; Modernism; Imogen Racz, Art and the Home: Comfort, My recent book, Art and the Home: British art; Performance; Still Life; New Sculpture; Alienation and the Everyday (I. B. Tauris, Comfort, Alienation and the Everyday is a i.racz[at]coventry.ac.uk Personal items; Monuments/ tomb Performance art; 2015 thematic investigation into how post-war Photography; sculpture; Pop Art; British, American and European artists ‘Cornelia Parker’s Thirty Pieces of Silver’ Coventry University Sculpture; Surrealism; interpreted the abstract concepts that we in Jennifer Walden, ed., Art and Sound; Race; Women artists; have about the home, including enclosure, Destruction, (Newcastle: Cambridge School of Art and Design, Video; Gender; alienation, sentiment, female space, and Scholars Press, 2013), pp. 45-56 Coventry University Priory Street, Sexuality;; Art institutions; the unmade house. It focuses on sculptural Coventry CV1 5FB Art criticism; ‘’s Semi-detached and the practices made for the gallery, as they are Conceptual art; Art theory; Art of Making’, Journal of Visual Art spatial, are of the world yet speak beyond Art & science; Practice, (2012), 10 (3), 231-245 it, and reference cultural and emotional memories. 'Sculptural Vessels across the Great Divide: Tony Cragg’s Laibe and the Metaphors of My current research is on the installations Clay', Journal of Visual Art Practice (2009), of the sculptor and photographer Helen 8 (3), 215-228 Chadwick. This forms part of a larger, ongoing investigation into 1980s British Contemporary Crafts, (Oxford and New sculptural practices, placing them into their York: Berg, 2009) social, cultural and artistic contexts. Main threads running through my research are: Making, display and encounter Our emotional relationships to things The relationship of art to its cultural and social frameworks.

Anna Rhodes 18th century British art Drawing; Painting; Prints & Landscape; Industrial Research interest in eighteenth-century printmaking; Watercolour; Revolution; landscapes of Derbyshire. Currently Anna.rhodes[at]Derbyshire.gov.uk Works on paper working on a Paul Mellon Centre digital project called ‘Depicting Derbyshire’. I Assistant Collections Officer was recently awarded an Art Fund ‘New Collecting Award’ to purchase eighteenth- Buxton Museum and Art Gallery, century views of Derbyshire on paper and Terrace Road, Buxton, SK17 6DA ceramics. 01629 533542

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Angeria Rigamonti di Cutò 19th century British art; Books; Documents; Self-portraiture Modernism; Staging the Modernist Self: The Self- Modernist self-portraiture; Francis 20th century 1900-1945 Drawing; Installation; Portraiture; Performance art; Portraits of , Visual Culture Marshall; art writing; Doris Zinkeisens Angeria.Rigamonti [at]gmail.com British art; Painting; Landscape; Pop Art; in Britain, Autumn 2012 war art. 20th century post-1945 Performance; History painting; Popular Art; Independent Art Historian British art Video; Watercolour; Works Still Life; War Art; Sombreness, Crime & Modernity in the art on paper; Illustration; Women artists; of James Pryde, British Art Journal, 2012- Scottish Art; Patronage & 13 Irish Art; Collecting; Race; Art institutions; Kenneth Clark: Looking for Civilisation, Gender; Art criticism; Studio International, 2014 Sexuality; Bloomsbury; Constructivism; Edwardian Art;

Diane Roe late19th century British Books; Documents; Portraiture; Introduction to Sir Alfred Munnings; All exhibitions at The Sir Alfred Researching the life and work of Lionel art; Drawing; Landscape; Richard Green exhibition November 2012; Munnings Art , Dedham 2005- Edwards R.I. With a view to publication. dianepatroe[at]aol.com 20th century 1900- Painting; Still Life; 2012; instrumental in 2013 The work will place Edwards' work in a 1945 with par British Personal items; Prints Sporting art;; Speaker at first academic symposium on the exhibitions: Cornwall and wider cultural context in terms of British art; Sculpture; Watercolour; Illustration; life and work of Sir Alfred Munnings, landscape painting art historical practice 20th century post-1945 Works on paper sculpture NSLM, Middleburg, VA British art Edwardian Art;

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Dr Pauline Rose 19th century British art; Books; Documents; Portraiture; Industrial Revolution; Forthcoming I am currently researching the work of 20th century 1900-1945 Drawing; Landscape; Modernism; British women sculptors c1890 – 1945. Professor of Art History, The Arts British art; Decorative/ applied arts; Monuments/ tomb Neoclassicm; British Women Sculptors c1890 – 1945. This project will consider relevant University Bournemouth 20th century post-1945 Painting; sculpture; Neo-Romanticism; (Approximately 2019) contemporary theorists, women sculptors’ British art Photography; Gender; New English Art Club; training, representations of them through Sculpture; Aesthetic movement; New Sculpture; Published text and imagery, exhibiting and reviews, 01202 Bloomsbury; Pre-Raphaelitism; the overlaps between ‘fine’ and 687459 Camden Town Group; Romanticism; Two Essays: Henry Moore: American ‘decorative’ sculpture, the statuette, the Edwardian Art; St Ives School; Patrons and Commissions; Henry Moore in memorial and ecclesiastical work. prose5[at]btinternet.com Euston Road School; Victorian Art; New York, in Tate Britain’s online research War Art; project Henry Moore: Sculptural Process Women artists; and Public Identity (September 2015) (http://www.tate.org.uk/art/research- Patronage & publications/henry-moore) Collecting; Art institutions; Henry Moore in America: Art, Business and Church art; the Special Relationship. I. B. Tauris, 2013 Country Houses; Art education; Henry Moore in America: The Role of Art criticism; Journalism and Photography in Rebecca Art theory; Peabody (ed) Anglo-American Exchange in Postwar Sculpture, 1945 – 1975, 2011, The J. Paul Getty Museum, Los Angeles, on www.gettypublications.org.

Photography and Sculpture: Portraying Henry Moore in Veronica Bogdan (ed) The Artist’s Portrait and Self-Portrait, 2010, Moscow Academy of Fine Arts, Russia

Henry Moore in Dallas, The Sculpture Journal, Vol. 17.1, 2008, Liverpool University Press & The Public Monuments and Sculpture Association

The Landscape in the Studio, in Peter Symons: Dissonance, 2008, The Arts Institute at Bournemouth (now AUB)

Man-Made Landscapes: Reassessing . Issue 1, Visual Culture in Britain, 2000, Ashgate Publishing

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Emma Roodhouse 16th and 17th century Drawing; Portraiture; Neo-Romanticism; Constable at Christchurch Art Curator for Colchester & Ipswich British art; Decorative/ applied arts; Landscape; New English Art Club; Mansion, 2013 Museums with responsibility for the fine emma.roodhouse[at]colchester.gov. Furniture; History painting; New Sculpture; and decorative collections, ranging from uk 18th century British Installation; Still Life; Romanticism; New East Anglian Painting, 15th century to the present day fine art. art; Painting; Topography & Victorian Art; 2012-2013 The strengths of the collections are in Art Curator Pastel; mapmaking; Women artists; Suffolk artists Thomas Gainsborough and 19th century British Photography; Caricature & satire; The Class Of… Artists from John Constable, as well as the artists Colchester & Ipswich Museum art; Prints & printmaking; Illustration; Patronage & collecting; Ipswich Art School, 2011 associated with the East Anglian School of Service Sculpture; Monuments/ tomb Country Houses; Painting and Drawing in the twentieth 20th century 1900- Video; sculpture; Art criticism; Saatchi collection at Ipswich century. Ipswich Museum 1945 British art; Watercolour; Art theory; Art School, 2010-2011 High Street Works on paper; Suffolk art; I also curate the temporary exhibition Ipswich 20th century post-1945 Learning & 17 in Print, contemporary East programme at Ipswich Art School Gallery, IP1 3QH British art; Aesthetic movement; participation; Anglian prints, Colchester focused on modern and contemporary art. Amateur artists; Castle, 2009 01473 433548 Industrial Modernism; Neoclassicm

Christa Roodt 16th and 17th century Documents; Drawing; Portraiture; My research seeks to reconfigure the British art; Decorative/ applied arts; Landscape; importance of provenance in establishing Glasgow Univ. 18th century British art; Painting; History painting; the authenticity of works of art. My 19th century British art; Pastel; Photography; Prints Still Life; interest spans ancient to Avant-Garde School of Culture and Creative 20th century 1900-1945 and printmaking; Constructivism; European Art. My aim is to map the types Arts British art; Sculpture; Edwardian Art; of evidence to be prioritized and to 319 Alexander Stone Bldg 20th century post-1945 Watercolour; Works on Glasgow School; promote the use of evidence that can make 16 University Gardens British art paper; up for legal and ethical deficits prevailing University of Glasgow in the practice of authentication and the Glasgow attribution of cultural value. The target G12 8QL audience is provenance researchers and adjudicators in disputes concerning value Direct line: +44 (0)141 330 6713 and authenticity, but anyone interested in approaches and research methods to Christa.Roodt[at]glasgow.ac.uk protect against fake provenance and misleading narrative could benefit from proposed adjustments to policy frameworks and guidelines that prompt and empower art market participants to undertake crosschecks to protect themselves against the risk of dubious attribution and forgery. Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Luisa Santos 20th century 1900- Books; Portraiture; Modernism; I am an independent Curator (MA in 1945 British art; Documents; Landscape; Neoclassicm; Curator: Air Print for Curating Contemporary Art, Royal luisa.santos[at]network.rca.ac.uk Drawing; Still Life; Containers, exhibition for College of Art, London) and a PhD 20th century post-1945 Installation; Genre painting; New English Art Club; Liverpool Biennial, Liverpool, Researcher. My current work includes Humboldt University (PhD) and British art; Painting; Marine painting; St Ives School; 2012; curating a collective exhibition for CAM – FCT – Fundação para a Ciência e Performance; Topography & Unit One; Curator: I decided I am not a Gulbenkian Foundation (Lisbon) and the Tecnologia (PhD scholarship) Personal items; mapmaking; Vorticism; relational artist, exhibition, Museum of Contemporary Art in Roskilde, Photography; sculpture; War Art; RTC, Lisbon, 2012; named A Galinha da Vizinha. The title 00351918326041 Prints & printmaking; Curator: Montras / Shop refers to a Portuguese expression (with Sculpture; Welsh Art; Patronage & collecting; windows, exhibition in shop equivalent in English – The grass is always Sound; Scottish Art; Art institutions; windows, Alegro, Lisbon, 2012; greener…) that refers to the idea that other Tapestries & textiles; Irish Art; Art education; Curator: Outdoors, exhibition in people's circumstances seem more Video; Regionalism; Art criticism; billboards, Lisbon and Porto, desirable than one's own, but in reality are Watercolour; Art theory; 2012; often not. We tend to assume that social Works on paper; Aesthetic movement; Art & science; Co-curator: 2 Degrees, series of behaviour is connected to geographic Amateur artists; events and talks, Teatro Maria location, arguably, where someone lives Bloomsbury; Learning & Matos, Lisboa, 2011; reveals what someone is. Human Bristol School; participation; Curator: Geography of Home, geography considers the impact of the Camden Town Group; film programme, Lisbon, 2010; physical environment on and in general its Conceptual art; Curator: Life A Users Manual, relations to, human beings. This approach Constructivism; exhibition, RTC, Lisbon, 2010; specifically deals with the manmade, Edwardian Art; Curator: Of this tale I cannot hence the relation to culture, which stands Euston Road School; guarantee a single story, as a complement to nature. Folk Art; exhibition, seminars and events, In academic terms, I am in the final year of Glasgow School; RCA, London, 2008; my PhD thesis on the combination of art, Gothic Revival; Curator, “Pawell Althamer in culture studies and project management for Group X; conversation with Polly social change, in the frame of the CCCPM Stapler”, talk organised with programme (SEgroup and Humboldt- CCA RCA students for The Viadrina School of Governance). World as a Stage, Tate Modern, London, 2007; Co-curator (with Clare Grafik): Gesture: Object and Subject, exhibition, Axisweb, 2007; Curator: An AZ of Doubts (1 day event and exhibition), Serpentine Gallery, London, 2007

20th century 1900- Drawing Portraiture; Isabel Seligman 1945 British art; Prints and printmaking Landscape; Bridget Riley Art Foundation 20th century post-1945 Works on paper Still Life; Exhibition Curator British art; Illustration; Race; Department of Prints and Drawings Gender; The British Museum Sexuality; Great Russell Street, London Bloomsbury; WC1B 3DG Conceptual art; Modernism; T (UK +44) 020 7323 8925 Pop Art; [email protected] Surrealism; Women artists; Art institutions; Art education; Art criticism; Art theory; art history; Learning & participation; Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Jane Sellars 19th century British Drawing; Women artists; Atkinson Grimshaw: Painter of Moonlight, Atkinson Grimshaw: Painter of Previously: Education Officer at the BA MA FMA art; Painting; Victorian art; contributor and editor, Harrogate Borough Moonlight, Mercer Art Gallery, Walker Art Gallery, Liverpool, 1980-1989, Photography; Collecting; Council, 2011 2011 and Guildhall Art Gallery, where I curated Women’s Works, 1988, a jane.sellars[at]harrogate.gov.uk 20th century 1900- Prints & printmaking; Portraiture; 2011-2012 pioneering exhibition about women artists. 1945 British art; Landscape; William Powell Frith: Painting the I was Director of the Brontë Parsonage Curator of Art History painting; Victorian Age, contributor, Yale University Liza Dracup: Chasing the Museum, 1989-1996, and wrote The Art of 20th century post-1945 Still life; Press, 2006 Gloaming, Mercer Art Gallery, the Brontës, (with Christine Alexander), The Mercer Art Gallery British art; Genre painting; 2011 and Guildhall Art Gallery, Cambridge University Press, 1995, and Swan Road Aesthetic movement; Writers’ Lives: Charlotte Brontë, British 2011-2012 Writers’ Lives: Charlotte Brontë, British Harrogate Edwardian art; Library Publishing, 1997 Library Publishing, 1997. From 1996 to NG1 2SA Pre-Raphaelites; 2001 I was Principal Curator of Harewood North Yorkshire The Art of the Brontës, (with Christine House, Leeds, and I am now Curator of Alexander), Cambridge University Press, Art for Harrogate, North Yorkshire, and 01423 556182 1995 run the Mercer Art Gallery. Current work: In November we will be Women’s Works, National Museums showing Frank Holl: Emerging from the Liverpool, 1988 Shadows, the first ever major exhibition devoted to the Victorian social realist Frank Holl, in partnership with the Watts Gallery, Surrey. Mark Bills is editing a book to which I have contributed an essay about Holl’s relationships to women, especially with his daughter and biographer, Mrs A M Reynolds.

For 2014 I am working on a major exhibition which is a celebration of art and Yorkshire to coincide with the Tour de France in Yorkshire and a show of Frank Brangwyn’s First World War posters.

Dr Samuel Shaw 19th century British Books; Portraiture; Industrial Revolution; ‘British Artists and Balzac at the turn of the My current work explores the relationship art; Documents; Landscape; Modernism; Twentieth Century’, English Literature in Retrospective, Cartwright Hall between British artists, the art market and samueljpshaw[at]gmail.com Drawing; Still Life; New English Art Club; Transition 1880-1920, 2013 Gallery Bradford, 2015 art publishing around the turn of the 20th century 1900- Painting; Genre painting; Victorian Art; (forthcoming) twentieth century, with a particular focus Yale Center for British Art 1945 British art; Prints & printmaking; Caricature & satire; Unit One; ‘“The new ideal shop”: Founding the Carfax on the artist William Rothenstein and the Sculpture; Illustration; Vorticism; Gallery, c.1898-1902’, The British Art artist-critic Charles John Holmes. I am Watercolour; Regionalism; War Art; Journal, Vol XIII, No.2, 2012 also working on the reception of French art Works on paper; Patronage & collecting; 20th century, including the ‘Barbizon Empire; Art institutions; ‘The Carfax Gallery and the Camden Town Boom’ and British artists’ interest in Race; Art education; Group’; Camden Town Group in Context, Daumier, Puvis de Chavannes and Rodin. Gender; Art criticism; Tate Online, 2012 Other specialisms include Anglo-Jewish Sexuality; Art theory; identity in British culture, c.1890-1920; I also review books regularly for paintings of interiors at the New English Aesthetic movement; www.edwardianculture.com Art Club; mural painting in Britain c.1880- Amateur artists; 1930; representations of the industrial Bloomsbury; landscape, c.1890-1920; and the market Camden Town Group; for Old Masters. Edwardian Art; In 2011 I co-founded the ‘Edwardian Euston Road School; Culture Network’, an online scholarly Glasgow School; resource for those studying British culture in the years 1895-1914.

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Kirsten Simister 20th century British art Painting; Portraiture; Living Paint: The Art of JD Fergusson, My specialism relates to previous work. 1900 -1945; Sculpture; Scottish Colourists; Mainstream, 2000 Since 2003 I have become more of a kirsten.simister[at]hullcc.gov.uk Watercolour; generalist owing to range of collection Works on paper; responsibility. Presently working on the Curator of Art acquisition of a 14th century Italian painting and a cross-service exhibition Ferens Art Gallery with Dutch 17th century focus. Queen Victoria Square The last collection’s display was Hull interdisciplinary and drew on the Ferens HU1 3RA collection of Pop Art

Colin Simpson 18th century British art; Drawing; Portraiture; Neo-Romanticism; Catalogues relevant to collections & Including: , As Curator of the Williamson I have 19th century British art; Decorative/ applied arts; Landscape; New English Art Club; temporary exhibitions Albert Lipczinski, Arthur responsibility for a general British art Colinsimpson[at]wirral.gov.uk 20th century 1900-1945 Painting; History painting; Popular Art; Ballard, Nicholas Horsfield, collection and specialist knowledge of the British art; 20th century Prints and printmaking; Still Life; Pre-Raphaelitism; George Jardine, Della Robbia Merseyside art scene over 250 years, Principle Exhibitions Officer, post-1945 British art Sculpture; Tapestries and Genre painting; Romanticism; Pottery covering a wide range of artists, the textile Wirral Museums Service textiles; Marine painting; Victorian Art; and pottery industries and craftspeople Watercolour; Works on Illustration; Patronage & Williamson Art Gallery & Museum paper; Aesthetic movement; Collecting; Slatey Road Amateur artists; Learning and Birkenhead Edwardian Art; participation; CH43 4UE Modernism; Neoclassicm; 0151 652 4177

Richard Slocombe 20th century 1900- Drawing; Landscape; Glasgow School; “Confusion reigns: Dazzle Camouflage, its Albert Adams (1929-2004), Specialist curator of First World War art 1945 British art; Decorative/ applied arts; History painting; Group X; origins, influences and effectiveness” in 2012 and of Graphic Art and War Publicity, rslocombe[at]iwm.org.uk Installation; Still Life; Modernism; ‘1917’, Centre Pompidou-Metz, Metz, 2012 with a particular interest in patronage of 20th century post-1945 Painting; Marine painting; Neo-Romanticism; Reg Butler - Maquette for the the arts in modern conflict and the use of Senior Curator, Art British art; Pastel; Illustration; New English Art Club; British Posters of the Second World War, Monument to the Unknown art as propaganda. Performance; Photography; Monuments/ tomb New Sculpture; Imperial War Museum, London, 2009 Political Prisoner (1951-52), Imperial War Museum London 21st century British art; Prints & printmaking; sculpture; Pop Art; 2012 Currently preparing Truth and Memory: Lambeth Road Sculpture; Popular Art; Contributor to Art from the First World British Art of the First World War a London Sound; Video; Watercolour; Empire; Scottish Colourists; War, Imperial War Museum, London, 2008 The Edge of Expression: the retrospective exhibition of 140 key WWI SE1 6HZ Works on paper; Race; Surrealism; ‘censorship’ of CRW Nevinson’s artworks drawn mainly from IWM art Gender; Unit One; ‘Uncommon valour’ in Despatches, Number ‘Paths of Glory’, 2011 collection. Concurrently developing and 020 7416 5212 Vorticism; 14, 2012 writing a revised new edition of British Art Bloomsbury; War Art; Re:vision-From The Crystal from the First World War. Camden Town Group; ‘The Story Behind the Picture – Paths of Palace to Lambeth Road, 2008– Also act as art adviser to the Regeneration Conceptual art; Patronage & collecting; Glory’ in Despatches, 2009 Team developing IWM’s new permanent Constructivism; Art institutions; Number 13, 2011 First World War Galleries, which open in Edwardian Art; Art criticism; Co-curated: June 2014. Assisting in the delivery of Euston Road School; Art theory; ‘The Fall and Rise of Keep Calm and Carry War Posters: Weapons of Mass IWM’s Centenary programme, this Folk Art; On’ in Despatches, Number 10, 2010 Communication, 2007-2008 includes liaison with member organisations over their related public programmes. Supervising an AHRC Collaborative Doctoral Award studentship researching IWM’s historic ‘War Publicity’ collection. The study concludes in 2014. First World War art and Graphic Art collection development, review and acquisition strategy.

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Susan Sloman 18th century British art; Drawing; Portraiture; Patronage & Articles in Burlington Magazine, Pickpocketing the Rich I am currently completing a book on a Painting; Landscape; Collecting; Connoisseur, British Art Journal etc, (Holburne Museum), private collection of British drawings and Susan_y_sloman[at]hotmail.com 19th century British art; Watercolour; Works on Art Gainsborough in Bath (YUP) Gainsborough’s Landscapes, completing Gainsborough in London for paper; Gainsborough in London, forthcoming. (Holburne Museum 2011) YUP. Independent Scholar Contributor to various exhibition cats including St Stephen’s House Sensation and Sensibility, YCBA 2005; Van Richmond Lane Dyck & Britain, Tate 2009; Bath BA1 5QW

Alison Smith 19th century British Costume; Portraiture; Glasgow School; Pre-Raphaelites: Victorian Avant-Garde, Pre-Raphaelites: Victorian art; Drawing; Landscape; Gothic Revival; Tate, 2012 Avant-Garde, Tate Britain, 2012 alison.smit[at]tate.org.uk Decorative/ applied arts; History painting; Industrial Revolution; 20th century 1900- Furniture; Still Life; Modernism; Watercolour, Tate, 2011 Watercolour, Lead Curator -British Art to 1900 1945 British art; Miniatures; Sporting art; Neoclassicm; Tate Britain, 2011 Painting; Genre painting; Neo-Romanticism; Millais, Tate, 2007 Tate Britain Pastel; Marine painting; New English Art Club; Millais, Tate Britain, 2007 Millbank Personal items; Topography & New Sculpture; London Photography; mapmaking; Norwich School The Pre-Raphaelite Vision: SW1P 4RG Prints & printmaking; Caricature & satire; Popular Art; Truth to Nature, Tate Britain, Sculpture; Illustration; Pre-Raphaelitism; 2004 Tapestries & textiles; Monuments/ tomb Romanticism; Watercolour; sculpture; Victorian Art; Exposed: The Victorian Nude, Works on paper; Welsh Art; War Art; Tate Britain, 2001 Scottish Art; Women artists; Irish Art; Patronage & collecting; Regionalism; Art institutions; Empire; Church art; Race; Royal patronage; Gender; Country Houses; Sexuality; Art education; Aesthetic movement; Art criticism; Amateur artists; Art theory; Bloomsbury; Art & science; Bristol School; Conservation/ technical Camden Town art history; Edwardian Art; Learning & Folk Art; participation;

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Dr Joanna Soden 19th century Scottish Books; Documents; Portraiture; Industrial Revolution; J Soden & V Keller, William Gillies The Body in the Library. Research into the development and Collections Curator (retired), art; Drawing; Landscape; Modernism; (Edinburgh, Canongate 1998); Anatomy and Art Teaching significance of the Library of the Royal Royal Scottish Academy 20th century 1900-1945 Installation; History painting; Neo-Romanticism; M Macdonald, J Soden, & others, Highland (Edinburgh, RSA 2005); Emma Scottish Academy with particular Scottish art; Painting; Still Life; Pop Art; Art from the Collections of the Royal Gillies. Potter and Muse reference to artists’ personal collections of [email protected] 20th century post-1945 Pastel; Sporting art; Pre-Raphaelitism; Scottish Academy. A Window to the West (Edinburgh, RSA 2006); books and studio artefacts. Scottish art; Personal items; Genre painting; Romanticism; (Edinburgh, RSA 2007); A Developed Vision. Also ongoing long-term research into the Photography; Prints and Marine painting; St Ives School; M Potter (ed), The Concept of the Master in Photography in the RSA history of art teaching in Scotland. printmaking; Topography & Scottish Colourists; Art Education in Britain and Ireland, 1770 Collections (Edinburgh 2007); I also have a particular interest in the Sculpture; mapmaking; Surrealism; to the Present (Aldershot, Ashgate 2013); Highland Art. Visual Responses themes of landscape, travel, and cultural Watercolour; Works on Caricature & satire; Victorian Art; Unpublished PhD: J Soden, Tradition, (Stornoway 2008); and many associations in Scottish art. paper; Illustration; Vorticism; Evolution, Opportunism. The Role of the others Monuments/ tomb War Art; Royal Scottish Academy in Art Education sculpture; Women artists; 1826-1910 (University of Aberdeen 2006)

Scottish Art; Patronage & regionalism; Collecting; Art institutions; Empire; Art education; Race; Art criticism; Diaspora; Art theory; Post colonialism; Art & science; Gender; Sexuality: Conservation/ Technical art history; Aesthetic movement; Learning and Celtic Revival; participation; Conceptual art; Edwardian Art; Glasgow School; Gothic Revival;

Sonia Solicari 19th century British Drawing; Portraiture; Industrial Revolution; ‘Towards a Neo-Victorian Interior’, Past in Butcher, Baker, Candlestick art; Decorative/ applied arts; Landscape; Modernism; Present: Revivals in Art and Architecture, Maker: 850 Years of London [email protected] Installation; History painting; Neo-Romanticism; The Courtauld Institute of Art, 2013 Livery Company Treasures, 20th century post-1945 Painting; Still Life; New Sculpture; Guildhall Art Gallery, 2013 Director British art; Performance; Genre painting; Performance art; ‘From Cottage to Kitsch: The Enduring Personal items; Illustration; Popular Art; Appeal of the Staffordshire Figure’, Journal Age of Elegance: 1890-1930, The Geffr Museum Photography; Pre-Raphaelitism; of the Decorative Arts Society, 2012 Guildhall Art Gallery, 2012 Prints & printmaking; Gender; Romanticism; Sculpture; Sexuality Victorian Art; ‘Potters and Painters’, Ceramic Review, Atkinson Grimshaw, Painter of Sound; Women artists; 2011 Moonlight, Guildhall Art Video; Aesthetic movement; Gallery, 2011-2012 Watercolour; Amateur artists; Patronage & collecting; ‘Aesthetic Ceramics’, in Stephen Calloway Works on paper; Edwardian Art; Art institutions; (ed.), The Cult of Beauty: The Aesthetic Sir John Gilbert: Art and Folk Art; Houses; Movement 1860–1900, V&A publications, Imagination in the Victorian Gothic Revival; Art education; 2011 Age, Guildhall Art Gallery, Art criticism; 2011 Art theory; ‘“With the Suspicion of a Grin”: Aestheticism and the use of Humour in Richard Slee: From Utility to British Ceramic Design’, Journal of the Futility, V&A, 2010-2011 Decorative Arts Society, 34, 2010 A Show of Emotion: Victorian ‘Ceramics at the V&A: Past, Present, Sentiment in Prints and Future’, The Victorian: The Magazine of the Drawings, V&A, 2006–2007 Victorian Society, 32, 2009 After Dark: Night Scenes from ‘Selling Sentiment: The Commodification the V&A’s Watercolour of Emotion in Victorian Visual Culture’, 19: Collection, V&A, 2005–2006 Interdisciplinary Studies in the Long Nineteenth Century, 4, 2007 Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Jenni Spencer-Davies 20th century 1900- Drawing; Portraiture; Conceptual art; Edited various exhibition catalogues on Women artists in Ireland in the Currently Curator of Glynn Vivian Art 1945 British art; Decorative/ applied arts; Landscape; Irish and Welsh artists 1980 to 2000. AIB Collection; Gallery (GVAG), preparing future jenni.spencer- Installation; History painting; Modernism; programmes and new displays of the davies[at]swansea.gov.uk 20th century post-1945 Painting; Still Life; Neo-Romanticism; Exhibitions relating to Welsh original Richard Glynn Vivian (RGV) British art; Photography; Genre painting; Popular Art; and Irish art/regionalism; Bequest, with archival rersearch. Curator Prints & printmaking; Romanticism; RGV travelled the world, and collected art Sculpture; Welsh Art; Surrealism; Richard Glynn Vivian Bequest throughout his life and during the period of Glynn Vivian Art Gallery Sound; Irish Art; Victorian Art; (19th century) Empire. Swansea Video; Regionalism; Women artists; Interest in modern and contemporary Watercolour; Welsh art, building upon 10 years 01792 516900 Works on paper; Empire; Patronage & collecting; exhibition programming in Dublin, Ireland Race; Art institutions; during the 1980s, and Cardiff in the 1990s, Gender; Art theory; and currently overseeing GVAG future Sexuality; programmes.

Dr Andrew Stephenson 19th century British Decorative/ applied arts; Portraiture; Performance art; ‘Fashioning a post-war reputation: Henry I am currently working on the role of art; Painting; Pastel; Landscape; Pop Art; Moore as a civic sculptor, c.1943-58’ fashion in late 19th century portraiture in A.P.Stephenson[at]uel.ac.uk Performance; Photography; History painting; Surrealism; commissioned essay for ‘Henry Moore: fashioning masculine identities. My work 20th century 1900- Prints & printmaking; Still Life; Victorian Art; Sculptural Process and Public Identity’, also includes examining the function of the University of East London 1945 British art; Sculpture; Watercolour; Monuments/ tomb Unit One; Tate Research website, edited by Jennifer art market in inter British modernism and Arts and Digital Industries Works on paper; sculpture; Vorticism; Mundy (2015). the role of museums and art galleries in 20th century post-1945 Irish Art; Empire; War Art; forging notions of responsible citizenship 4-6 University Way, London E16 British art; Race; Patronage & collecting; ‘New Ways of Modern Bohemia’: Edward in post-1945 Britain. 2RD Gender; Sexuality; Art institutions; Burra in London, Paris, Marseilles and Aesthetic movement; Art education; Harlem’, Tate Papers, on-line journal of 0208 223 3406 Bloomsbury; Art criticism; Tate Galleries, April 2013. [The 2012 Camden Town Group; Art theory; Rothenstein Lecture]. Edwardian Art; Euston Road School; ‘Introduction’ to Edwardian Art and its Group X; Legacies, and editor of special issue of Industrial Revolution; Visual Culture in Britain, vol. 14. no. 1, Modernism; March 2013, pp.3-20 [ISSN 1471-4787] Neo-Romanticism; New English Art Club; ‘Painting and Sculpture of a Decade ’54- New Sculpture ‘64’ Revisited’ in special issue of Art History entitled ‘British Art and the Cultural Field, 1939-69’, edited by David Peters Corbett and Lisa Tickner, vol. 35 no. 2, April 2012, pp. 420-441, Blackwell Publishing, [ISSN 0141-6790 print/ ISSN1467-8365 on-line]. Also published as a book of the same title.

‘From Conscription to the Depression: The Market for Modern British Art in London c. 1914-30’ in Charlotte Gould and Sophie Mesplède. eds., Marketing Art in the British Isles, 1700 to the Present, Ashgate Press, 2012, 57-67.

‘Questions of artistic identity, self- fashioning and social referencing in the work of the Camden Town Group, c.1905- 1914’, The Camden Town Group Online Research Project, Tate Britain / Getty, 2012

‘Wonderful pieces of stage-management’: Masculine fashioning, Race and Imperialism in J.S. Sargent’s British portraits, c.1897-1914’ in Julie Codell (ed.) Transculturation in British Art, 1770-1930, Ashgate Press, 2012, pp. 221-242 [ISBN Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre 978-1-4094-0977-9].

‘Strategies of Display and Modes of Consumption in London art galleries in the Inter-war years, c.1919-40’ in Pamela Fletcher and Anne Helmreich (eds.), The Rise of the Modern Art Market in London 1850s-1930s, Manchester University Press, 2011, pp. 98-125.[ISBN 978-07190-8460-7]

‘Edwardian Cosmopolitanism c.1901-1912’ in Michael Hatt and Morna O’Neill (eds), The Edwardian Sense: Art, Design and Performance in Britain 1901-10, Paul Mellon Centre for Studies in British Art, Yale Center for British Art. Studies in British Art 20/ Yale University Press, 2010, pp. 249-282.[ISBN978-0-300-16335-3]. Claire Stewart 19th century British art; Documents; Drawing; Portraiture; Pre-Raphaelitism; LS Lowry: The Art & the Artist I am responsible for The Lowry Painting; Landscape; Victorian Art; (2015 onwards – permanent Collection, around 400 works covering the claire.stewart[at]thelowry.com 20th century 1900-1945 Personal items; Regionalism; collection, & its predecessor full span of the artist’s career and the range British art; Works on paper Lowry Favourites); of his subject matter. The Lowry also Curator, The Lowry Collection houses an archive of associated material. 20th century post-1945 So you want to be an artist? From 2000-2007 I was Senior The Lowry British 2008 for younger visitors; Exhibitions Officer at National Museums Pier 8, Salford Quays A Lowry Summer 2012; Liverpool and prior to that, Keeper of Art M50 3AZ Unseen Lowry at Towneley Hall Art Gallery & Museum – 2013. a collection particularly strong in 19th 0161 876 2096 century British art where I curated exhibitions on artists including Myles Birket Foster and Philip Gilbert Hamerton.

Dr Greg Sullivan 17th century British Books; Portraiture; Neoclassicm; Biographical Dictionary of Sculptors in At Tate Britain: As curator of British Art 1750-1830, Tate art; Documents; Landscape; New Sculpture; Britain 1660-1851 (Yale UP and online Victorian Sculpture, 2014 Britain, I research all types of art produced greg.sullivan[at]tate.org.uk Drawing; History painting; Norwich School; database); (forthcoming) in Britain in this period. My special 18th century British Decorative/ applied arts; Still Life; Romanticism; research interests are in sculpture and in Curator 1750 - 1830, British Art art; Painting; Genre painting; Victorian Art; Sir Francis Chantrey and the Ashmolean Age of Innocence (with Rica history painting. My forthcoming articles Prints & printmaking; Marine painting; Women artists; Museum (Ashmolean 2013); Jones), 2013-2014 and book are on Francis Chantrey and the Tate Britain 19th century British Sculpture; Illustration; Patronage & collecting; (forthcoming) discourse of history in the early 19th Millbank art; Watercolour; Monuments/ tomb Art institutions; ‘Chantrey, Cunningham and the British century, and Chantrey and geological London Works on paper; sculpture; Church art; School of Sculpture’ in British School of Family Matters, 2012-2013 science in the same period. Other research SW1P 4RG Welsh Art; Royal patronage; Sculpture (Ashgate 2013); under hand relates to the Anglo-Flemish- Scottish Art; Country Houses; Turner: Works on Paper Irish family of sculptors, the Nosts, a Irish Art; Art education; ‘Chantrey, History, Geology’ in Re-thinking (collection display) dynasty who operated one of the longest Regionalism; Art criticism; Historical Distance (Palgrave 2013); lasting workshops in London and Dublin Empire; Art theory; Ashmolean Museum: in the 18th century. I have a long-standing Race; Art & science; Numerous other articles, chapters, reviews, Chantrey Wall, 2009 interest in British history painting, on Gender; Conservation/ technical and dictionary entries on British art, dating which I completed a PhD thesis in 1998. In Sexuality; art history; from 2002 to 2012 And other displays particular I am interested in how paintings Gothic Revival; Learning & of national history relate to the literary and Industrial Revolution; participation; material cultures of history over the long 18th century.

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Dr Angela Summerfield 18th century British Painting; Landscape; Pre-Raphaelitism; ‘Landscape painting & the role of memory: The Landscape of Memory, Re-examining the emotional and symbolic art; Pastel; Romanticism; an artist’s approach’ in Affecting NoFormat Gallery, London, nature lf landscape painting from the 18th amsummerfield[at]btinternet.com Photography; Regionalism; Perception: Art & Neuroscience, AXNS, 2012 century to the present. 19th century British art Prints and printmaking; Unit One; Oxford, 2013 Independent art historian and Sculpture; Aesthetic movement; War Art; Artists at War, Walker Art Preparing PhD for publication: public curator 20th century 1900- Watercolour; Bloomsbury; Sculpture in Twentieth Century Britain, Gallery, 1990 collections and the representation of 20th- 1945 British art; Works on paper; Patronage & Henry Moore Institute, 2003; century British art. Camden Town Group; Collecting; 20th century post-1945 Art institutions; Art Treasures of England, The Regional On-going research into the Sculptros’ British art Modernism; Church art; Collections, Royal Academy, 1998; Institute (19th century).

Neo-Romanticism; Art criticism; The Artist at War: Second World War New English Art Club; Art theory; Paintings and Drawings from the Walker New Sculpture; Art & science; Art Gallery's Collection, 1990;

Conservation/ ‘Carel Weight’, Royal Academy; Technical art history;

Dr Rachel Tait 19th century British Painting; Portraiture; Neo-Romanticism; Contributions/ articles on Graham Artist in Focus: Graham Currently looking for a publisher for an art; Photography; Landscape; Pre-Raphaelitism; Sutherland in: Sutherland, National Museum introductory book to the work of Graham Rachel.tait @dimbola.co.uk Prints & printmaking; Regionalism; Victorian Art; Tate Etc, 2012 Cardiff, 2011, and Oriel y Parc, Sutherland, aimed at the non-specialist 20th century 1900- Works on paper; Aesthetic movement; War Art; Art in America, 2011 2012 reader. Also beginning to develop an Exhibitions & Collections 1945 British art; Bloomsbury; Women artists; exhibition and publication for the Julia Coordinator Modernism; Graham Sutherland An Unfinished World, Margaret Cameron bicentenary (2015) 2011 which will consider JMC in a wide artistic Dimbola Museum & Galleries and social context. (Julia Margaret Cameron Trust) Companion Guide to the Welsh National Museum of Art, 2011 Dimbola Lodge Terrace Lane Freshwater Bay Isle of Wight PO40 9QE

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Sarah Thomas 18th century British Books; Portraiture; Industrial Revolution; ‘The Artist Travels: Augustus Earle at Sea’, The Encounter, 1802: Art of the The art history and museology of the art; Drawing; Landscape; Modernism; in Tricia Cusack (ed.), Framing the Ocean, Flinders and Baudin Voyages, British empire, the role and particularities sarah.thomas[at]bbk.ac.uk Painting; History painting; Neoclassicm; 1700 to Present - The Sea as Social Space Art Gallery of South Australia., of the itinerant artist, and the iconography 19th century British Pastel; Still Life; Neo-Romanticism; in Western Art, 2014 2002 of slavery. Birkbeck College art; Photography; Genre painting; Pre-Raphaelitism; Prints and printmaking; Marine painting; Romanticism; ‘Allegorizing Extinction: Humboldt, Dark Visions: The Etchings of Sculpture; Topography & Victorian Art; Darwin and the Valedictory Image’ in Fae Goya, Art Gallery of South Watercolour; mapmaking; Women artists; Brauer and Serena Keshavjee (eds), Australia, 1996 Works on paper; Caricature & satire; Picturing Evolution and Extinction, Illustration; Patronage & Cambridge University Press, 2013 Monuments/ tomb Collecting; sculpture; Art institutions; ‘Violence and Memory: Slavery in the Royal patronage; Museum’, in World Art and the Legacies of Empire; Art criticism; Colonial Violence, Daniel Rycroft (ed), Race; Art theory; Ashgate Publishing, 2013 Art & science; ‘The Spectre of Empire in the British Art Museum’, Museum History Journal, ‘Curating Empire’, vol. 6, no. 1, 2013

‘“On the Spot”: Travelling Artists and Abolitionism, 1770-1830’, Atlantic Studies, 2011, pp. 213-232.

‘Visualising Terra Australis: The Flinders and Baudin Expeditions’ in Alisa Bunbury (ed.), This Wondrous Land: Colonial Art on Paper, National Gallery of Victoria, 2011, pp. 26-37.

‘Slavery, a “Scandal to Christian Nations”. Charles Darwin, Augustus Earle, and the Compass of Morality’, in Jeanette Hoorn (ed), Reframing Darwin: Evolution and Art in Australia, 2009, pp. 26-37.

‘The Wanderer, the Slave and the Aboriginal: Augustus Earle in and Sydney in the 1820s’, in Jaynie Anderson (ed.), Crossing Cultures: Conflict, Migration and Convergence: The Proceedings of the 32nd International Congress in the History of Art, 2009, pp. 328-333.

The Encounter, 1802: Art of the Flinders and Baudin Voyages, Art Gallery of South Australia, 2002

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Zoe Thomas 19th century British art; Decorative/ applied arts; Gender; Modernism; Zoë Thomas is an Arts and Humanities 20th century 1900-1945 Furniture; Sexuality; New English Art Club; Research Council funded PhD student at Zoemariathomas[at]gmail.com British art; Painting; Victorian Art; Royal Holloway, University of London. 20th century German art Personal items; Aesthetic movement; Unit One; She is researching the social and cultural PhD Candidate (Bauhaus in particular) Photography; Prints and Amateur artists; Vorticism; experiences of women collectives in the printmaking; Bloomsbury; War Art; Arts and Crafts and Bauhaus Movements, Royal Holloway, University of Tapestries and textiles; Camden Town Group; Women artists; particularly in relation to material culture, London Folk Art; domesticity, exhibitions and gender. She Patronage & teaches Modern European History at Kings Collecting; College London. She is the Secretary for Art institutions; the Design History Society, the Organiser of the Bedford Centre for the History of Women and an Intern at the Victoria and Albert Museum.

Melanie Vandenbrouck 19th century British art; Drawing; Portraiture; Industrial Revolution; ‘The New Medallists’, with Marcy Leavitt The New Medallists (V&A, Curator of Art post-1800 are Royal 20th century 1900-1945 Decorative/ applied arts; Landscape; Modernism; Bourne, 2012 2012) Museums Greenwich. Mvandenbrouck[at]rmg.co.uk British art; Painting; History painting; New Sculpture; 20th century post-1945 Pastel; Genre painting; St Ives School; ‘Moore Rodin’, exhibition review, MBE at Chair of the RMG’s Contemporary Art Curator of Art British art Prints and printmaking; Marine painting; Victorian Art; Burlington Magazine, March 2013 Greenwich (18 September 2013 Forum Sculpture; Caricature & satire; War Art; -23 February 2014) Watercolour; Illustration; Women artists; Currently working on new hang of WWI Royal Museums Greenwich, Park Works on paper; Monuments/ tomb Patronage & and WWII art collection Row, Greenwich, London SE10 sculpture; Collecting; 9NF Empire; Art institutions; Race; Art education; Switchboard +44 (0) 208 858 4422 Gender; Sexuality; Aesthetic movement; Glasgow School;

Bernard Vere 1900-1945 British art; Documents; Portraiture; Industrial Revolution; ‘Enigma Variation: ’s Continuing to write and research on the 20th century post-1945 Drawing; Landscape; Modernism; “Marine Still-Lifes” and Giorgio de avant-garde in England. Recently giving a b.vere[at]sothebysinstitute.com British art; Decorative/ applied arts; Still Life; Neo-Romanticism; Chirico’. Visual Culture in Britain, Volume conference paper on the art criticism of T. Furniture; Sporting art; New English Art Club; 7, Issue 1, 2006 E. Hulme and also working on the Rebel Lecturer in Modern Art Painting; Marine painting; Pop Art; Art Centre. Sotheby’s Institute of Art, London Pastel; Monuments/ tomb Popular Art; ‘On the Wings of a Dove: Jacob Epstein’s Photography; sculpture; Scottish Colourists; Third Marble Doves, 1913-1915’ in 30 Bedford Sq Prints and printmaking; Surrealism; Understanding Art Objects: Thinking London Sculpture; Regionalism; Unit One; Through the Eye, ed. Tony Godfrey, 2009 WC1B 3EE Watercolour; Vorticism; 0207462 3226 Works on paper; Empire; War Art; ‘“The Most Wonderful and Complex City in Race; Women artists; the World”: London and the Camden Town Gender; Group’, Literary London, Volume 8, Issue Sexuality;; Patronage & 1, 2010 Collecting; Bloomsbury; Art institutions; ‘Oversights in Overseeing Modernism: A Camden Town Group; Church art; Symptomatic Reading of Alfred H Barr, Jr’s Constructivism; Art education; “ and Abstract Art” Chart’, Textual Edwardian Art; Art criticism; Practice, Volume 24, issue 2, 2010 Group X; Art theory; Art & science; Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Dr. Rebecca Virag 19th century British art Drawing; Portraiture; Modernism; Unpublished Ph.D. thesis (Courtauld 2008: The Magic of a Line: Currently cataloguing a collection of 20th century 1900- Painting; Landscape; New English Art Institute of Art, London) Drawings by Dame Laura Valentine cards at the Fitzwilliam Fitzwilliam Museum, Cambridge 1945 British art Pastel; History painting; Club; Images of inheritance: the influence of Knight, R.A., Library Print Museum, which were bequeathed by Dr. Personal items; Genre painting; Pre-Raphaelitism; eugenic ideas and socio-biological theory in Room, , J.W.L. Glaisher in 1928. The cards date 12 Canterbury Street, Cambridge Prints and printmaking; Caricature & satire; St Ives School; late-nineteenth century and early-twentieth London (July 1, 2008 - October from the early 1800s to the 1920s and CB4 3QF Watercolour; Illustration; Victorian Art; century British art, (c. 1890-1918). 31, 2008) include comic Valentines as well as Works on paper; Empire; Women artists; Examines works by , decorative examples. rv308[at]cam.ac.uk Race; Art & science; John and Frank Cadogan Gender; Cowper within the context of ideas of race Sexuality;; regeneration. Aesthetic movement; Edwardian Art; Gothic Revival;

Leon Wainwright 20th century post-1945 Painting, post- conceptual Black British; Pop art; Timed Out: Art and the Transnational Co-curator, with Reyahn King, British art practice Asian, African and Caribbean (Manchester University Press, (Director of Art Galleries, Leon.Wainwright[at]open.ac.uk Caribbean diasporas 2011) National Museums Liverpool) of ': Atlantic The Open University Wainwright, Leon (2012). Varieties of Fire': the first nationally-funded, Department of Art History,Walton Belatedness and Provincialism: major retrospective exhibition Hall, Milton Keynes, MK7 6AA Decolonisation and British Pop. Art History, of the -born painter. 35(2) pp. 442–461. www.liverpoolmuseums.org.uk/ walker/exhibitions/aubrey/ Wainwright, Leon (2010). Art (school) education and art history. In: Appignanesi, Richard ed. Beyond Cultural Diversity: the Case for Creativity. London: Third Text Publications, pp. 93–103.

Wainwright, Leon (2009). On being unique: world art and its British institutions. Visual Culture in Britain, 10(1) pp. 87–101.

Jonathan Waller 20th century 1900-1945 Books; Drawing; Portraiture; Industrial Revolution; Curated the Coventry University Commission to make 7 pictures on the British art; Installation; Landscape; Modernism; Drawing Prize 2010-16. theme of the ‘Seven Ages of Man’ from j.waller[at]coventry.ac.uk 20th century post-1945 Painting; History painting; Romanticism; Shakespeare’s play ‘As You Like It’ to British art Pastel; Prints and Still Life; New Sculpture; commemorate the 400th anniversary of his Coventry University, printmaking; Caricature & satire; Popular Art; death. Priory Street, Coventry, Sculpture; Works on paper; Illustration; War Art; CV1 5FB Folk Art; Church art; Organising conference called ‘The Cycle 02477657688 of Life in Art, Literature and Science’ for 1.7.16 at Coventry University. Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Lara Wardle 20th century 1900-1945 Drawing; Portraiture; Modernism; Rose Wylie: big boys sit in the front Rose Wylie: big boys sit in the Director, Jerwood Collection, Modern & Jerwood Foundation and Jerwood British art; Painting; Landscape; Neoclassicm; (Jerwood Gallery, Hastings, 2012); Gillian front (Jerwood Gallery, Contemporary British art. Also currently Collection 20th century post-1945 Pastel; History painting; Neo-Romanticism; Ayres: Paintings from the 50s (Jerwood Hastings, 2012); Gillian Ayres: curating In Focus Wilhelmina Barns- Jerwood Ltd, 7 St Stephen’s Mews, British art Watercolour; Works on Still Life; New English Art Club; Gallery, 2012); Coast (London Art Fair, Paintings from the 50s (Jerwood Graham exhibition (Jerwood Gallery, London, W2 5QZ paper; New Sculpture; 2016) Gallery, 2012); William Scott: Hastings 2018) and major Harold Gilman lara[at]jerwood.org Empire; Pop Art; Divided Figure (Jerwood exhibition (Djanogly Gallery, Nottingham, Race; Popular Art; Gallery, Hastings, 2013); 2018-2019) @larawardle_art Gender; Romanticism; Jerwood Collection: Revealed Sexuality;; St Ives School; (Jerwood Gallery, Hastings, Surrealism;; 2014); In Focus: Edward Burra Bloomsbury; Unit One; – A Rye View (Jerwood Gallery, Camden Town Group; Vorticism; Hastings, 2015); Jerwood Conceptual art; War Art; Collection: Revisiting the Constructivism; Women artists; Painting Prize (Jerwood Edwardian Art; Gallery, Hastings, 2015); Euston Road School; Patronage & Jerwood Collection: Coast Collecting; (London Art Fair, 2016); In Art institutions; Focus: John Piper – An Eye for Art education; the Modern (Jerwood Gallery, Art criticism; Hastings, 2016) Art theory;

Hannah Williamson 19th century British Painting; Scottish Art; Pre-Raphaelitism; Currently working on two displays: one of art; Edwardian Art; Victorian Art; Manchester City Galleries’ collection of h.williamson[at]manchester.gov.uk Victorian Scottish painting, and the other from the museum collection of notable Curator Victorian philanthropist Thomas Horsfall.

Manchester City Galleries

Areas of Interest/ Research Name Relevant Curated Exhibitions/ Relevant Books/ Publications Summary of current work & Contact Details Displays Period Medium Genre Dr Hope Wolf 20th and 21st Century Literature and the Visual Modernism Sussex Modernism: Retreat and Research project on the life and work of Lecturer in British Modernism Arts Life Writing See: http://www.sussex.ac.uk/profiles/3719 Rebellion, , Grace Pailthorpe and Reuben Mednikoff. Surrealism 93 London (2017). [email protected] Psychoanalysis Research project on Sussex Modernism: Critical Theory (Forthcoming) Grace Pailthorpe artists and writers who lived in Sussex in School of English and Reuben Mednikoff, De La the twentieth century, including: David University of Sussex Warr Pavilion, Bexhill (2018). Jones, Eric Gill, Virginia Woolf, Duncan Arts B Grant, Vanessa Bell, Edward James, Lee Falmer Miller, Roland Penrose, Edith Brighton Rimmington, Grace Pailthorpe, Reuben BN1 9QN Mednikoff, John Banting, Peggy Angus, , Serge Chermayeff, Edward Wadsworth, Edward Burra, Keith Vaughan, Ivon Hitchens, Henry James, Gluck, W.B. Yeats and Ezra Pound.

The poetry, paintings and craftwork of David Jones.

Mike Wyeld 19th Century to today Sound, Audio, Sound Sound Installation, Performance art; New Formations (multiple issues) LOVED, Provincetown Mass, As Sound Designer my work has been Design, Sound Installation, Sound for Film and Sound/Pop Art; TV TECH June-July 2015, heard globally, at the Victoria and Albert Sound Designer and Instructor Sound Art, Television, History of Popular Art; Various Technical journals Patarei, Estonia, April 2016, Museum in London, as well as the Boston Sound for Games Sound, Sound Formats Sound Art education; VICE Magazine Creat Space, Helsinki Finland, Museum of Fine Art, The New Museum in Royal College of Art, Sound Art criticism; MTV July 2016, New York and more. Royal College of Art, Kensington Sound Learning and BBC I teach at the Royal College of Art where I Gore, participation; Channel 4 Amnesty Presents BENT!, work run the sound studio. I’m a Fellow of the London, including Mike Wyeld, Higher Education Academy in Teaching SW7 2EU December 2016 Art & Design.

07759510452 www.mikewyeld.com or 0207590 4444 or 0207590 4530 mike.wyeld[at]rca.ac.uk