2009-10


  • Possibility and Instability in the Paintings of Evelyn de Morgan

  • Plant Forms in Edward Burne-Jones: Beauty, Nature and the Grotesque

  • Alfred Gilbert’s Clarence Tomb (1892-1928): Pathology and Form

  • Serpentine Motion: the Photographic Attitudes of Sarah Bernhardt

  • The Ecclesiological Late Cambridge Camden Society and Frederic Leighton’s ‘The Wise and Foolish Virgins’ in the Church of St Michael and All Angels at Lyndhurst: the Artist working in a Gothic Revival Church of the Early 1860s

  • A Forgotten Legacy: Iconoclasm and the Church Murals of Hans Feibusch

  • The Allgemeine Deutsche Kunstausstellung of 1946 in Dresden: Reconstructing Modern German Art

  • Wolf Suschitzky and the Language of Émigré Street Photography

  • Between Reason and History: Wladyslaw Strzeminski’s Series of Collages ‘To My Friends the Jews’

  • Kokoschka’s ‘Atomic Power (Circus)’: Political Allegories and Apocalypse, 1941-1950

  • Hannah Höch: the ‘Totentanz Triptych’ of 1943 in ‘Inner Emigration’

  • Irmgard Burchard (1908-1964): Zürich, London and the Recognition of Cultural Activism

  • Manifestos for the Future: Resurrecting the Modern in Twenty-first-century Contemporary Art

  • Landscape, Ruins and Trauma in the Work of Sophie Ristelhueber and Simon Norfolk

  • Taking Shape: Reconsidering Oskar Hansen’s Open Form

  • ‘Ce salon à prétentions révolutionnaires’: the Impressionist Exhibition of 1877

  • Depictions of Mealtime in Mid-Nineteenth-century French Painting

  • “Dieu sait si les mendiants de M. Pelez auraient besoin d’un petit sou!”: the Critical Response to the Salon Paintings of Fernand Pelez in the 1880s

  • The Representation of Trees in the Provençal Paintings of Cézanne and van Gogh

  • Alfred Sisley: New Perspectives on Old Monuments

  • Beauty and Likeness: Conveying Status in Portraiture at the Exposition Universelle, 1855

  • Laying it on the Line: Experimenting with an Aesthetic Hang at the Parisian Salon c. 1872-1883

  • Raymond Tripier and the Acquisitions of Modern Art at the Musée des Beaux-Arts de Lyons (1901 to 1914)

  • Graphic and Photographic Representations of the Dnieperdam: Indications of Cultural Change and Artistic Diversity during the First Five Year Plan

  • The Soviet Enigma: Coded Visions of Nature

  • From Classical Greece to Versailles: the Impact of the Mythological and Historical Past on the Artists of the World of Art Pre-1914

  • Ancient Greece and the Ballet Russes

  • Alexandra Exter’s Place in the Russian Avant-garde: Duality and Eclecticism

  • Transcending the Futurist Path: Kazimir Malevich’s Suprematist Dialogue with Italian Futurism

  • Building Up and Breaking Down: Ida Applebroog’s ‘Monalisa’

  • :Video Visualising Subjectivity: the Feminine Body in Representation

  • Speroglyphs: the Subterranean Subtexts of Nancy Spero’s ‘Artemis, Acrobats, Divas and Dancers’

  • Sophie, Sarah and Sigmund: On Intervening at the Freud Museum

  • ‘Becoming-Horse’: the Transgressive Corporeality of Horse and Human in the Work of Théodore Géricault

  • Multiple Meanings and the Multilayered Life in Barron Storey’s ‘The Marat/Sade Journals’ and ‘Life after Black’

  • Paul Delaroche’s Cromwell and Charles I: Wounded Bodies -Ruptured Histories

  • Body of Horror: the Phallic Fallacy in Selected Works of Sir Charles Bell (1774-1842)

  • Mind the G[a]p: Rauschenberg’s ‘Combines’ in France (1959-1964) and Denis Roche’s Poetic Endeavour

  • There’s no Place like Home: High-rises, Heidegger and the Difficulties of Dwelling

  • René Magritte’s Comic Enterprise: Making the ‘Popular’ Unpopular in the Période Vache

  • Writing Bodies; Rolling ‘Truth’: the Images and Texts of Hans Bellmer and Unica Zürn, 1953-1970

  • Double Death, the Thing not yet Dead: a Critical Consideration of Thing Theory in Contemporary Taxidermic Art

  • John Latham, Didactic Expressionist: Art, Language and Intention in Communication

  • Miming Paint, Painting Mime: Setting the Subject in the Surface in David Hockney’s ‘Bigger Trees near Water’ and Associable Landscapes

  • Replacing God: Masson, Bataille, and ‘Acéphale’

  • A Closed Case? Collecting, Containment and the Multiple Frame in the Box Art of Joseph Cornell

  • The Box will kill the Book: an Exploration of the ‘Box’ in Literature and Art

  • Krytyka Polityczna: What Future Left?

  • From the Avant-garde to the End of History? Mediating Social, Political and Economic Contexts in Chinese Contemporary Art, 1989 and 2009

  • 'The Tyranny of Real Time’: Truth, Perception and the Gulf War

  • Two Moves in the ‘Battle for Realism’: John Berger’s ‘Looking Forward’ (1952) and David Sylvester’s ‘Recent Trends in Realistic Painting’ (1952)

  • The Hayward Gallery and the Rise of the Contemporary Art Exhibition in the Institutional Field 1968-1974

  • Satire and Social Anxiety in British Art of the 1920s: From Wyndham Lewis’s ‘Tyros’ to Edward Burra’s ‘Two Sisters’

  • Bacon, de Kooning, and the Figure under Abstraction

  • This New Concrete Art: The Street in British Art from 1949-69

  • Picturing the Everyday: Mass Observation’s Worktown Paintings

  • A Phenomenological Perspective on Barbara Hepworth: Maurice Merleau-Ponty, Figure and Landscape

  • David Hockney’s ‘Joiners’: on Reflexivity and Narcissism in the Scopic Field

  • The Posthumous Life of Henri Gaudier-Brzeska

  • Performing the ‘Perfect Day’/Staging an In(ter)vention: the Contemporary Wedding in Contemporary Art


2008-09


  • Aubrey Beardsley Illustrations to ‘The Rape of the Lock’: a Sensory Engagement

  • A Youth relating Tales to Ladies (1870)

  • Metamorphosis in the Sculpture of G. F. Watts: ‘Clytie’ (1868-1878)

  • The Artworks of Simeon Solomon in Relation to his Jewish Identity

  • Mind and Body in Edward Burne-Jones’s ‘Briar Rose’ Series (1870-1890)

  • Swinburne’s Permeable Forms: the Art of Frederick Sandys in the 1860s

  • Conceptualizing the Depths of Consciousness: Edward Burne-Jones and ‘The Depths of the Sea’ (1886 and 1887)

  • The Seascapes of Henry Moore: Modes of Verisimilitude and the Decorative

  • The Child Prints of Arthur Boyd Houghton: Interventions in Social, Scientific and Political Discourse

  • Court Artist of the Welfare State: Feliks Topolski, the Cavalcade of the Commonwealth and the Citizen Artist

  • Documenting Exile: Georg Mayer-Marton 1897-1960

  • Yosl Bergner in Australia: Jews, Aborigines and Diaspora Aesthetics

  • The Eye of the Exile: Wolfgang Suschitsky, Photography and Film 1935-1945

  • Art, Exile, and Visual Perception: Rudolf Arnheim’s Psychology of Art 1941-1954

  • ‘Der Spitzel’: the MI5 File on John Heartfield, 1933-1952

  • Partisan Neutrality: the War Cartoons of Louis Raemaekers

  • An Unbroken Link: Rudolf Belling’s Ties to his Homeland and Abstract Experiments during Exile in Turkey in the Context of German Post-war Politics and Remigration

  • Picturing Modernism: British Photographers Mark Oliver Dell and John Havinden turn the Lens on the New Architecture

  • El Lissitzky and Architecture: to what Extent was Lissitzky an Architect?

  • Kazimir Malevich: Painting the Peasants

  • Hearts opened to the ‘Scarlet Seeds of War’: Graphic Works of Natalia Goncharova and Olga Rozanova

  • Friedrich Kiesler’s ‘Internationale Ausstellung Neuer Theatertechnik’ in the Context of Russian Art

  • Russians in Zurich: the 1929 Russische Ausstellung

  • Kazimir Malevich and Le Corbusier: Towards a New Companion

  • Art, Design and Gender in Textile Production: Russia, Germany and France c. 1925

  • From ‘Baba’ to ‘Comrade’ and Back?: Depictions of the New Soviet Woman in Socialist Realist Painting 1927-1937

  • A Russian Welcome in Paris: Sonia and Robert Delaunay’s Artistic Exchange with Russian Artists in the Parisian, German and American Avant-Garde, 1909-1914

  • “Almost No-Time”: the Temporality of Photography

  • Drawing from Life: Vietnamese Artists / the American War

  • Contouring in the Dark: a Reconsideration of the Corporeal Dynamic in Filmic Montage

  • Consuming Delusions: Art and responses to the September 11th World trade Centre Attacks

  • Objectivity and Claims of Truth: Artists’ Responses to the Conflicts in Afghanistan and Iraq

  • Seeing Voices and Hearing Faces?: on Ethics, Alterity and (Mis)Recognition in the Work of Silvia Kolbowski and Krzysztof Wodizcko

  • Painting the Town Red: Red Grooms and Post-war American Art

  • Jean-Léon Gérôme: his Orientalism and the Questioning of Identities

  • The Represented Body and the Corporeal Turn: a Phenomenological Investigation of Action and Sensory Experience in Gustave Caillebotte’s Male Figures

  • The Group Portraits of Henri Fantin-Latour: the Making of the Modern Homage

  • Restructuring the Gaze: Homosocial Relations and Masculine Subjectivity in Walter Sickert’s ‘L’Affaire de Camden Town’

  • A Gentleman’s Agreement: Conventions of Dress and the Male-Male Gaze in Haussmann’s Paris

  • A Primitive Nature: Recognition and Interpretation of the Body of Gustave Courbet

  • Francis Bacon and the ‘Informe’

  • The Numinous Landscape: Taskscape and Symbolism in Works by Paul Nash, Barbara Hepworth and Graham Sutherland

  • Michael Kidner: the Genesis of Colour

  • ‘Laboratory of the Invisible’: Signals Gallery, London (1964-1966)

  • The People and the Land: Josef Herman, Peter Lanyon and the British Mining Industry in the Post-War Era

  • David Hockney and Bhupen Khakhar: Figuration and Identity in British and Indian Modernisms

  • John Bratby, Male Identity and ‘The Family’ in the 1950s

  • The Independent Group’s ‘Anthropology of Ourselves’

  • Thematizing ‘La Frontera’ in Popular Culture: Guillermo Gómez-Peña and the Allegorical Impulse

  • The Politics of the Black Archive

  • Finding Contemporary Photography’s Dialectic by Following Modernism’s trajectory from 1939 to 2009

  • Re-Imagining the Bombshell: Visualising Women in the War on Terror

  • Finding Meaning in Documentary Photography: Luc Delahaye’s ‘History’ Series

  • Light in Halifax: Daniel Buren and the Nova Scotia College of Art and Design

  • Punk, Provocation and Perestroika: Women in Soviet Rock Culture, 1983-1993

  • Retreat to the Country: Documenting Conceptualist Art Practices in the Environs of Moscow, 1964-1983

  • Revolutionary Motherland or Death! Imaging Communism on the Final Frontier: Socialist Ethiopia, 1974-1991

  • Resurrecting Malevich: Soviet, Post-Soviet and Contemporary

  • A Stranger at the Door: Three Works by Jeff Wall, Mircea Cantor, and Artur Zmijewski

  • Russian Criminal Tattoos: a Carnival of Signs

  • Maja Bajević: a Counterpoint to ‘Altermodernity’: Probing the Limitations of Bourriaud’s ‘Altermodern’ Theory through a reading of Selected Works by Maja Bajević

2007-08


  • The Late Drawings of Simeon Solomon: Depicting the Perverse and Obscure

  • George Clausen’s Peasant Imagery: the Evolution of his Style 1875-1901

  • The Isolated Female Figure in the Landscape Paintings of John Atkinson Grimshaw

  • Embellishing the Chronicle: Aubrey Beardsley’s ‘Le Morte d’Arthur’

  • The Collaboration of William Burges and the Third Marquis of Bute at Cardiff Castle 1869-81

  • Albert Moore and the Science of Beauty

  • The 1894 Fair Women Exhibition at the Grafton Galleries: Femininity and Power in England at the Fin-de-Siecle

  • Erich Kahn: the Exile Notebooks and Discourses of Classical Psychoanalysis in Post-War London

  • Technologies of Seeing: Optics, Image, Communication and the Future in Naum Gabo, Industry and Science Fiction

  • The Female Gaze in Tamara de Lempicka’s 1920s Nudes

  • The Beautiful Subject: Fernand Léger’s Depiction of Women in the Early 1920s

  • Literary and Visual Dreams of Scheherezade: Early Twentieth-century French Appropriations of the ‘One Thousand and One Nights; by J.C.Mardrus, Leon Bakst and Paul Poiret

  • Cubism, Mass Culture, and the Popularization of Diego Rivera’s Modern Art

  • Pablo Picasso’s ‘Translation’ of Balzac’s ‘Le Chef-d’Oeuvre Inconnu’

  • History Painting in Question: Horace Vernet’s Retrospective at the Exposition Universelle of 1855

  • The Construction of French Identity in the Public Mural Works of Puvis de Chavannes 1861-1878

  • Images of Christ c. 1860-1880

  • Visual Literacy: Images of French Writers c. 1840-1880

  • The World on Display: French Universalism and the Exposition Universelle des Beaux-Arts of 1855

  • Manet as Maître: La Leçon de Musique, Portrait de Mlle E.G. and the Salon of 1870

  • Working with History: Images of the Paris Commune in Soviet Visual Arts and Culture during the Civil War and the First Five Year Plan

  • Moscow/New York: Russo-American Cultural Exchange in the 1920s

  • The Reception of Russian Architecture in France 1917-32

  • Société Anonyme: Katherine S Dreier and the Russian Avant-Garde

  • Performing Mayakovsky

  • Rationalism, Constructivism and Functionalism – United by the Search for a New Architecture: Architectural Movements at the Vkhutemas and the Bauhaus 1920-1932

  • Diego Rivera’s ‘May Day, Moscow’: How Soviet Propaganda and the Russian Avant-garde Infiltrated the Art of a Mexican Nationalist

  • Glenn Ligon revisits Warhol: Presence and Absence in Painting, the Archive, and Video

  • Reconsidering Yoko Ono and the Bed in (1969) Surrealist Spectacle and the Uncanny Sibling

  • The Representation of Protest and the Politics of Defeat: a Comparison between Jeremy Deller’s ‘The Battle of Orgreave’ and Mark Wallinger’s ‘State Britain’

  • Matt Mullican: Performance, Painting and Post-Surrealism

  • Inhabiting the Spaces of Our Own Body: Tactility and Theatricality in Ernesto Neto’s Nave Installations

  • Common Ground: Graphic Novel Reactions to and Representations of September 11

  • Reading De Chirico through Duchamp: Seriality’s Challenge to Modernism

  • Uncanny Dialectics: Dismemberment in Magritte c. 1925-1930

  • A Separation of Spirit: the Ecstatic Imagery of St Teresa of Avila and Georges Bataille

  • Covert Exposure: Self, Sexuality, and the Process of Picturing in Early Works by David Hockney and Jasper Johns

  • Representations of the ‘British Character’ at the Festival of Britain (1951) and the Brussels Expo (1958)

  • ‘Time She Stopped’: Physical and Temporal Stasis in Samuel Beckett’s ‘Rockaby’ and Francis Bacon’s Paintings from the 1960s

  • The Emergence and Development of ‘Cool’ in British Pop Art 1949-1961

  • Gender Performance and Consumerism in Eduardo Paolozzi’s ‘Bunk’ Series

  • A ‘Unity of Image’: Representations of the West of Ireland as Nationalist Symbols 1916-46

  • A Conscious Ambivalence about the Act of Making Permanent Art Objects: Curating Non-traditional and Anti-gallery Art Forms, 1968-1970

  • Ancient Myth in Modern Painting: Classical Themes in Paintings by David Jones (1941-43) and Ceri Richards (1947-49)

    Action, Destruction and the Spectator in the Works of William Green, Gustav Metzger and John Latham 1958-1966

  • Perversion-Philosophy in Pierre Molinier’s Atelier-Boudoir

  • Through the Language of Idealistic Childhood: Illustration and Ideology in Ilya Kabakov’s 10 Character Albums

  • Alina Szapocznikow: the Ecstatic Carnival of Forms

  • The Parallax Effect: Heterotopian Spaces in 1096s Paris

  • The Chair: a State of Flawed Perfection – Maarten Baas and Martino Gamper

  • Equipo Crónica: Anti-Francoism and Beyond

  • Black and White, Life and Death: the Photography of Mario Giacomelli

  • The AES + F Group: Russian Nietzscheans after Postmodernity?

  • Spaces of Protest: Representation and Memory in Northern Ireland from 1968 to the Present


2006-07


  • Visual Ambiguity as Religious Experience in Francis Frith’s ‘The Holy Bible’
    Portraiture in England, 1880-1900

  • Frederick Leighton’s Illustrations for the Dalziel Bible: CORPORUM TENUS CURIOSUS ANIMI SENSUS NON EXPRESSISSE, ‘Still he too only cared for the physical form, and did not express the sensations of the mind’

  • A Balance between the Interior and the Exterior: Expressions of the Subjective, the Objective and the Nature of Experience in the Painting of Walter Sickert and Philip Wilson Steer, 1886-1906

  • The Liverpool Medici: Frederick Leyland and Victorian Art Patronage

  • Hubert Herkomer’s Vision of Rural England: Industry, Modernity and Tradition

    The Complimentarity of the Conscious and the Unconscious in Hilma Af Klint’s Abstraction

  • George Grosz: between Germany and France

  • Immersion and Detachment: an Alternative reading of Paul Klee’s Late Pictorial Process

  • Through Hell or High Water: Autobiographical Myth-making in the Work of Oskar Kokoschka, 1912-1915

  • From Sea to Shining Sea: America’s Artistic Engagement with International Politics in the 1930s

  • Distasteful: an Investigation of Food’s Subversive Function in Four Surrealist Works

  • The Modernist as Aristocrat: Geometric Art and Conservative Politics in the Work of T.E.Hulme, Wyndham Lewis and Edward Wadsworth, c.1914

  • Reading ‘Minotaure’: an Active Interpretation of Text and Image in Numbers Five and Seven

  • L’Illustrazione Italiana: Reproducing Ritual in Mussolini’s Italy, 1930-1940

  • A Disquieting Beauty: ‘Femmes à Leur Toilette’ by Pablo Picasso

  • Merging the Past with the Present: John Piper’s ‘A Retrospect of Churches (1964)

  • Painting in the Parisian Park, 1860-1880

  • Henri Gervex’s ‘Retour du Bal’ in 1879

  • The Beggar Philosopher in Nineteenth-century French Art

  • The Life and Work of Eva Gonzales

  • French Floral Still-life in the 1860s

  • Gérôme’s Vision of Egypt’s Histories, 1857-1880

  • Carolus Duran: the Salon Portraits and their Criticism from 1869 to 1879

  • A Question of Sport: Representations of Sport in France c.1848-1880

  • Notions of the Collaborative in the Work of David Wojnarowicz

  • Silvia Kolbowski: Memories of Hi/stories or Derisive-Inadequate Ethico-Political Failures

  • Aesthetic Terrorism: Art Remains Politics

  • School is a Place to Perform: the Art and Pedagogy of Judy Chicago’s Women’s Art Program at Fresno State College 1970-1971

  • Vija Celmins’ War Works, 1964-1968

  • Karen Kilimnik: Feminism and Art History

  • The Art of Teaching: the Pedagogical Impulse in the Work of Hans Haacke, 1959-2005

  • Thomas Hirschhorn: ”Artist, Worker, Soldier” – Writing as a Practice

  • Suggestions for the Understanding of Athens: Mapping the Theoretical Construction of the 1st Athens Biennial

  • The Artistic and Cultural Entrepreneurialism of Takashi Murakami

  • The Keith Haring Cut-up: the Motion Line in Keith Haring’s Art and Thought

  • On the Socialist-Utopian Spectacle and the Semiology of the Ruin: Art, Politics and Urbanism in Contemporary Cuba

  • Tabaimo: a case Study of New Contemporary Art from Japan

  • The Effects of the 2001 Economic Crash on Artist Collectives in Argentina

  • Audiences and September 11th Artworks: the Limits of Representation

  • Beautifying Dereliction: Robert Polidori’s ‘After the Flood’

  • Crucifixions Ancient and Modern: Obscenity and Profane Ritual in the Art of Francis Bacon, Gilbert and George, and Jake and Dinos Chapman

  • Giulio Turcato: the Politics of Abstraction in Postwar Italy

  • Ensembles: Art under the Sign of Sarkozy

  • Karlheinz Stockhausen and Gérard Fromanger: Politics and Reproduction in the Ballet ‘Hymnen’, Amiens 1970

  • Mirror Mirror: Five Women Artists and the Fairy Tale

  • Monuments/Models: Gustav Metzger’s Destruction and Creation

  • Addressing and Undressing Sex and Crime at the Louvre

  • Mirrors at the Mouth of the Singapore River: the Spectacular Politics of Recognition and Art from Contemporary Singapore