Ph.D., The Courtauld Institute of Art (University of London). MA, The Courtauld Institute of Art. BA, New College, Oxford.

Contact details

The Courtauld Institute of Art

Somerset House

Strand

London WC2R 0RN

 

+44 (0)20 7848 2804

julian.stallabrass@courtauld.ac.uk





Julian Stallabrass is a lecturer, writer, curator and photographer. He lectures in modern and contemporary art, including political aspects of the globalised contemporary art world, postwar British art, the history of photography and new media art. He is the author of Gargantua: Manufactured Mass Culture, Verso, London 1996; the co-editor of Ground Control: Technology and Utopia, Black Dog Publishing, London 1997, Occupational Hazard: Critical Writing on Recent British Art, Black Dog Publishing, London 1998, and Locus Solus, a book about the Newcastle-based artist-led curatorial organisation Locus+; Paris Pictured, Royal Academy of Arts, London 2002; Internet Art: The Online Clash of Culture and Commerce, Tate Gallery Publishing, London 2003; and Art Incorporated: The Story of Contemporary Art, Oxford University Press, 2004, republished as Contemporary Art: A Very Short Introduction in 2006. He also writes art criticism for many publications including Tate, Photoworks, Art Monthly, and the New Statesman. In 2001 he curated an exhibition at Tate Britain entitled Art and Money Online. He curated the 2008 Brighton Photo Biennial. He is an editorial board member of Art History, New Left Review and Third Text and on the advisory board of Visual Culture in Britain. His photography has been exhibited and published internationally.


 

research interests

 

  • The globalisation of contemporary art
  • History of photography
  • New media
  • The relations between art and visual mass culture
  • The politics of modern and contemporary art

Courses taught in 2010-11


  • 2nd year period course: ‘The History of New Media’
  • MA course: ‘Aestheticising Politics? The Political in Globalised Contemporary Art


Titles of PhD theses supervised


Ongoing

 

  • Exhibiting the Everyday: Post-war Photography and the Art Museum
  • Performativity in Modern Art
  • Globalisation of the Contemporary Art Scene in Japan and Korea
  • Dissident Conceptualisms: Art, Media and the Cold War (1965-1981)
    The Contours of Identity: British Landscape Painting in the Cold War, 1945 – 63
  • Distributed Aesthetics in the East Asian Net Creations
  • From the street to the studio and back again: the rise of fine art photography in post-war India
  • Human Resources: Artistic Labour and Critique in American and European Art of the 1990s, from ‘Project Art’ to ‘Tactical Media’
  • Is that all there is? The place of early scientific photography in contemporary photographic art
  • The People v the State: Architecture in Mexico from Modernism to Contemporary Practices

     

Completed

  • Photo-phobia and photo-philia : the neglect and accommodation of photography in British art institutions in the postmodern era
  • From the globalisation of the movement (1968) to the movement against gobalisation (2001) : social movements, photography, representation in the late twentieth century
  • Discrete Analogies: The Use Of Digital Imaging Technology In Contemporary Art Photography
  • Value Added: Contemporary Art in a Global Financial Marketplace
  • Scale in contemporary sculpture : the enlargement, the miniaturisation, the life-size
  • Negative Aesthetics: The Late Art of East and West German Photography, After 1968

 

Selected Recent Publications

(for a full list, see Online Texts)

Forthcoming:

‘Can Art History Digest Net Art?’, in Dieter Daniels / Gunther Reisinger, eds., Netpioneers 1.0 - Archiving, Representing and Contextualising Early Netbased Art, Sternberg Press, Berlin, 2010.

‘Jeff Wall and Museum Photography’, New Left Review.

Published:

 

Cover of High Art Lite: British Art in the 1990s




Art Incorporated: The Story of Contemporary Art, Oxford University Press, 2004 (229 pages). Republished in a modified form as Contemporary Art: A Very Short Introduction, Oxford University Press, 2006. Slovenian edition: Sobodna Umetnost: Zelo Kratek Uvod, Krtina Publishing House, Ljubljana 2007. Greek edition: TO BHMA Publishers, Athens 2007. Turkish edition: Sanat A.Ş.: Çağdaş Sanat Ve Bienaller, Iletişim, Istanbul 2009. Editions to appear in Chinese, French and Korean.

‘In Conversation: Julian Stallabrass and Ashley Gilbertson’, Journal of Visual Culture, vol. 8, no. 3, December 2009, pp. 349-57.

‘The Fracturing of Globalisation’, in Jelle Bouwhis/ Ingrid Commandeur/ Gijs Frieling/ Domenik Ruyters/ Margit Schavemaker/ Christel Vesters, eds., Now is the Time: Art and Theory in the 21st Century, NAi Publishers, Rotterdam 2009, pp. 63-74.

‘Obama on Flickr’, Journal of Visual Culture, vol. 8, no. 2, August 2009, pp. 196-201.

Preface to Philip Jones Griffiths, Recollections, Trolley, London 2008, n.p.

‘Conservatism and Class Difference in Twentieth-Century British Art’, in Chris Stephens, ed., The History of British Art, 1870-Now, Tate Britain/ Yale Center for British Art/ Tate Publishing, London 2008, pp. 120-51.

‘Rearranging Corpses, Curatorially’, Photoworks, October-April 2008-9, pp. 4-9.

‘The Power and Impotence of Images’, in Memory of Fire: The War of Images and Images of War, Photoworks/ Brighton Photo Biennial, Brighton 2008, pp. 4-9.

‘The Politics of the Political Catalogue Essay’, in Villa Lituania: Nomeda & Gediminas Urbonas, Lithuanian Pavilion, 52nd International Art Exhibition, La Biennale di Venezia, Sternberg Press, Berlin 2008, pp. 68-78.

With Yves Alain-Bois, Guy Brett and Margaret Iversen, ‘An Interview with Mark Wallinger’, October, 123, Winter 2008, pp. 180-204.
 
‘Broomberg and Chanarin, Fig.’ in Adam Broomberg and Oliver Chanarin, Fig., Photoworks/ Steidl, Brighton/ Göttingen 2007, n.p.

‘What’s in a Face? Blankness and Significance in Contemporary Art Photography’, October, no. 122, Fall 2007, pp. 71-90.

‘Spectacle and Terror’, New Left Review, new series, no. 37, January-February 2006, pp. 87-106.

Online texts


Click here for list



Other activities


Consulting Editor for The International Literary Quarterly.
Editorial board of Art History.
Advisory board of Visual Culture in Britain.
Editorial board of Third Text.
Editorial board of New Left Review.

Photographic Projects


 

 

Keywords


Contemporary art; History of Photography; New media; Politics; Modern art; New media; Economics; Art market; Biennials; Globalisation