DR. KATIE FAULKNER 7 Haltonchesters, Bancroft, Milton Keynes, MK13 0PE. 01908 312132 or 07584307448 E-mail: [email protected]
EDUCATION The Courtauld Institute of Art, London. Ph.D. in History of Art 2013 Thesis: Dress, Drapery and the Body in the New Sculpture Movement, 1880-1914. Funded by the Arts and Humanities Research Council.
The Courtauld Institute of Art, London MA in History of Art. Special Option: ‘The Aesthetic Body.’ 2009 Dissertation: Metamorphoses in the Sculpture of G.F. Watts: Clytie (1868-78). Christian H. Thum Scholar.
University College London BA in History of Art with Material Studies 2007 Dissertation: The Methods and Materials of Victorian Women Artists
TEACHING EXPERIENCE The University of Warwick, Coventry Course taught: Sculpture: techniques, materials and display 2013 -
Arcadia University, London. Courses taught: London City of Art: A history of the art museum in the capital Imagining London in Visual Culture and Literature 2013 -
The Courtauld Institute of Art, London Widening Participation Academic Coordinator 2012- Lecturer: Body Politics: Victorian Art and the Metropolis (BA3); The Aesthetic Body (MA), Sculpture in the City (BA1) 2011- Gallery Educator 2010-
CURATORIAL AND RESEARCH EXPERIENCE The Courtauld Gallery, London. Curatorial Assistant: Life, Legend, Landscape: Victorian Watercolours 2010-11
The Courtauld Institute of Art, London. Associate Scholar: Photographic Images of the Artists’ Studio 2009
Arts in Milton Keynes Curator: Bill Billings, Artist for Milton Keynes 2008-2009
RELATED EXPERIENCE The Open Library of Humanities Section Editor: Art History (https://www.openlibhums.org/) 2014 The Courtauld Institute of Art, London Editor-in-chief of immediations (http://immediations.co.uk/) The Courtauld Institute of Art Journal of Postgraduate Research Conference Organiser: Courtauld Institute of Art Postgraduate Symposium. DR. KATIE FAULKNER PAGE 2
LANGUAGES English – Native speaker French – Proficient reading level German – Basic knowledge
MEMBERSHIPS
The Edwardian Cultural Network The British Art Discussion Group The Association of Art Historians
PUBLICATIONS Grace Made Manifest: Hamo Thornycroft’s Artemis (1880) and the Healthy and Artistic Dress Union.’ The Sculpture Journal (in press, Nov 2014).
‘Aesthetic Metamorphosis: G.F. Watts’ Clytie (1868-1878).’ Immediations (in press, December 2014). ‘
‘A Good Soldier: Gilbert Bayes and the Equestrian Statuette’, Nineteenth-Century Contexts 36 (2014): 7-21. (http://www.tandfonline.com/eprint/MgRv4ymYsqrmf3qCQj4K/full#.VEdjwIvF9Gg)
ʻPatterns of Femininity: ornamenting and abstracting the female body in the work of Sir George Frampton.ʼ Obrist, Sculpture and Abstraction: Papers and Proceedings. Leeds: Henry Moore Institute, 2010. (http://www.henry- moore.org/hmi/online-papers/papers/katherine-faulkner) George Frampton: New Sculpture and Art Nouveau.ʼ Art Nouveau Sculpture: Obrist and His Contemporaries: Papers and Proceedings. Leeds: Henry Moore Institute, 2010. (http://www.henry-moore.org/hmi/online-papers/papers/katherine- faulkner2)
REVIEWS: ʻWilliam Morris Textiles.ʼ The Art Newspaper. Issue 248. July-August 2013. ‘A Collection of Images and Echoes: Vanessa Ryan’s Thinking without Thinking.ʼ Journal of Victorian Culture 18 (2013): 298-300. (http://dx.doi.org/10.1080/13555502.2013.797688) ʻDickens and the Sentimental Tradition.ʼ The History of Emotions Blog. Posted 21 January 2013. (http://emotionsblog.history.qmul.ac.uk/?p=2248) ʻFacing Beauty.ʼ Immediations vol. 3, no. 1 (2012). 135-37. ʻArt Meets Commerce: The Manchester Art Treasures Exhibition of 1857. ʹ Art History 35 (2012): 851-53. (http://onlinelibrary.wiley.com/doi/10.1111/j.1467-8365.2012.00922.x/abstract)
ʻLucien Pissarro in England: The Eragny Press 1895-1914. ʹ The Burlington Magazine, May 2011.
OTHER: Renaissance Impressions: In Focus Guide for the Royal Academy Education Department, 2014.
Contributor to teachers’ resources for the following exhibitions at the Courtauld Gallery: Becoming Picasso (2013), Peter Lely: a lyrical vision (2012); Toulouse-Lautrec and Jane Avril: Beyond the Moulin rouge (2011) and Michelangelo’s Dream (2010). DR. KATIE FAULKNER PAGE 3
Editor of immediations, vol. 2, nos 3 (2010) and 4 (2011) and vol. 3 no.1 (2012).
PAPERS GIVEN ʻThe Good Soldier? Chivalric costume and conduct in Gilbert Bayesʼ Edwardian Statuettes.ʼ Beyond the Garden Party: Rethinking Edwardian Culture. Durham and York Universities, April 2013. ʻ”A Gordian shape of dazzling hue”: Colour and artifice in George Framptonʼs Lamia (1900).ʼ Polychromy and its Environments: New Perspectives on Colour and The Display of Nineteenth- Century Sculpture. Henry Moore Institute, Leeds, June 2012. ʻ”A house of yesterday, not of today”: British Art at the 1900 Paris Exposition Universelle.ʼ “The Device of Bringing them All Together”: international and imperial exhibitions, 1851-1924. Tate Britain, London, June 2012. ʻMetamorphosis in Sculpture and Sexuality in the Nineteenth Century: G.F. Wattsʼs Clytie 1868 - 78.ʼ Desiring Statues: Statuary, Sexuality, History, University of Exeter, April 2012. ʻNew Sculpture, Old England: British sculpture on display at the 1900 Exposition Universelleʼ, British Art as International Art, 1851 to 1960. British Art Research Group, University of East Anglia, April 2012. ʻAn Edwardian Knight: Gilbert Bayesʼs Equestrian Statuettesʼ, Courtauld Institute of Art Postgraduate Symposium, March 2012. ʻQuestioning The Concise Dictionary of Dress: space, experience, and language.ʼ Intersections: Architecture and Poetry, Courtauld Institute of Art, June 2011. ʻDomestic Dreams and Utopian Idylls: Medieval Dress in the work of William Reynolds- Stephens.ʼ Historians of British Art Session, Radical-Neo: The Past in the Present in British Art and Design, CAA 99th Annual Conference, New York, February 2011. ʻAlfred Gilbert and the Logic of the Fold.ʼ Modern and Contemporary Research Seminar, Courtauld Institute of Art, December, 2010. ʻGeorge Frampton: New Sculpture and Art Nouveau.ʼ Henry Moore Institute, Leeds, June 2010 ʻPatterns of Femininity: Ornamenting and Abstracting the female body in the work of Sir George Frampton.ʼ Henry Moore Institute, Leeds, June 2010 ʻThe Creative Power of The World: Ruskinian Beauty versus Darwinian Aesthetics in Rossettiʼs Venus Verticordia.ʼ AAH Postgraduate Symposium, University of York, November 2009. ʻHenry Holiday: An Artistʼs Album.ʼ Associate Scholarsʼ Workshop, The Courtauld Institute of Art, May 2009. ʻThe Tale of Rupert Potter and Mr. Millais the Popular Painter.ʼ Associate Scholarsʼ Workshop, The Courtauld Institute of Art, March 2009.