Associate Scholars 2012-13
The Associate Scholars group is made up of, predominantly, early-career researchers based at The Courtauld in conjunction with distinguished Visiting Professors. Postdoctoral Fellows working on a range of topics and Visiting Lecturers and Visiting Professors teaching courses at The Courtauld form the core membership of this group. The Associate Scholars meet at least once a term giving an opportunity for the members to offer presentations and share knowledge about their research.
The 2012-2013 Associate Scholars are listed below.
Meredith A. Brown
Meredith A. Brown holds a BA in studio art and art history from Stanford University (2003) and an MA (2007) and PhD (2012) in art history from The Courtauld. Her doctoral research, supervised by Professor Mignon Nixon, explored the ways in which A.I.R. Gallery, the first women's cooperative gallery in the United States, used feminist and other activist strategies to become the leading institutional space for women artists in the 1970s. Meredith has taught at The Courtauld, Stanford University, and the Solomon R. Guggenheim Museum; lectured and published widely; and curated exhibitions of contemporary art at the Iris & B. Gerald Cantor Centre for Visual Arts at Stanford and Tiger Strikes Asteroid, a cooperative gallery in Philadelphia. Her research interests include the intersection of feminist politics and pedagogy, representations of labour and bureaucracy, and artistic collaboration in postwar art and art institutions. She was the 2013 Andrew W. Mellon Research Forum Postdoctoral Fellow (Activities Coordinator) at The Courtauld. Her project there examines various aspects of collaboration and collectivity and their influence on both the production of art and the writing of its histories.
Charlotte de Mille
Sarah Guérin received her PhD from the University of Toronto in July 2009 for a dissertation entitled ‘Tears of Compunction’: French Gothic Ivories in Devotional Practice. Prior to arriving at the Courtauld, she was a Mellon Postdoctoral Fellow in the Department of Art History and Archaeology at Columbia University, and also held the Hanns Swarzenski and Brigitte Horney Swarzenski Fellowship at the Metropolitan Museum of Art. An expert in medieval ivories and associated with the Gothic Ivories Project, Sarah’s publications have appeared in the Journal of Medieval History and West 86th. While at the Courtauld, in addition to teaching courses on medieval art, Sarah is working on a number of projects, including a book manuscript entitled Ivory Palaces: Gothic Sculptures at Church and Court and a catalogue for the Gulbenkian Museum, Lisbon.
Melena Hope completed her PhD, entitled 'Painted Domestic Chapels and Oratories in the Households of Fifteenth-Century France,' at The Courtauld Institute of Art in 2009, where she also undertook a two-year post-doctoral fellowship. She is a visiting lecturer at The Courtauld Institute of Art and Head of Art History at Morley College. While her specific interests centre around religious wall paintings in domestic and other 'private' settings, she is more broadly interested in the function and audience of devotional art, the relationship between artworks of different media (especially the interplay between works of art and their architectural settings), and artistic culture in Northern Europe in the fourteenth and fifteenth centuries. In 2012-13 she is teaching a course on Power, Piety and Prestige: Art at the Courts of France c. 1340-1420.
In spring 2013, Vanja Malloy is teaching Beyond Black: Contemporary Art in Britain Now. She is currently completing a doctoral thesis with Gavin Parkinson titled: 'Rethinking Alexander Calder: Astronomy, Modern Physics, Postmodernism and Play'.
William McManus has done graduate studies in art history at Johns Hopkins and Princeton Universities. His dissertation at Princeton deals with the art and films of Andy Warhol (ca. 1961-68). His is the first full length study to take Warhol’s painting, media projects and films together as an organic whole, and to place Warhol’s project within a social and psychoanalytic context of the neoliberal aesthetics that emerged from this moment. Prior to arriving at the Courtauld, McManus taught lecture and seminar courses at Vassar College, Stanford University and the Rhode Island School of Design, both in the departments of art and of media studies and the humanities centres more generally. His current research, loosely titled ‘Inside Postmodernism’ focuses on performance and projected works of the 1970s as they elaborate new models of historical experience. McManus has most recently given public lectures on these subjects at the Freie Universität Berlin, and at The Courtauld. His writing has appeared in the Art Journal and the Brooklyn Rail; an essay on Warhol’s painting and commodity relations is forthcoming in the journal Amerikastudien.
Katrin Seyler received her PhD in History of Art from The University of Birmingham in July 2012. Her AHRC-funded doctoral research explored how early-modern journeymen image-makers acquired and organized knowledge. From this research, the concept of a "Republic of Tools" emerged as a framework for the analysis of non-scholarly traditions of thought which shaped the pan-European artisan community of the seventeenth and eighteenth centuries. As Andrew W. Mellon Research Forum Postdoctoral Fellow for 2013, Katrin is developing the idea of the "Republic of Tools" by investigating how it was affected by crises and trauma, such as war, revolution and internal conflicts. At The Courtauld, Katrin is also teaching a second-year course on the evaluation of texts composed by early-modern artists, and supports the Andrew W. Mellon-funded M.A. "Visualising Knowledge in the Early Modern Netherlands".
After studies in Architecture and Urban planning at the Technical University Stuttgart Iris Wien studied Art history, Philosophy and Sociology in Bonn, Bochum and Berlin. She received her PhD from the Freie Universität Berlin with a dissertation entitled Joshua Reynolds: Mythos und Metapher (Munich : Wilhelm Fink Verlag, 2009). She was predoctoral fellow of the Studienstiftung des Deutschen Volkes. Her work was also supported by research grants from the Freie Universität Berlin and the DAAD Bonn. From 2006 to 2012 she held a position as Assistant Professor at the Art Historical Department of the Johann Wolfgang Goethe Universität Frankfurt. She has published on British Art of the eighteenth and nineteenth century as well as on contemporary art. Her publications include „Transparenz der Unschuld. Ein Blick auf englische Kinderbildnisse des 18. Jahrhunderts“, in: Die Entdeckung der Kindheit: das englische Kinderporträt und seine europäische Nachfolge / exh. cat. Städel Museum, 20. Apr. – 15. July 2007, ed. by Mirjam Neumeister, Köln : Dumont, 2007, and “Naturalising tradition: why learning from the masters?”, in: Learning from the Masters: The teaching of Art History in Art Schools, from the eighteenth century to the present, ed. by Matthew Potter, Farnham : Ashgate (forthcoming). While at the Courtauld she is working on her project “The Elements of Drawing: Reflections on the status of graphic marks in visual theory in 19th-century England” and preparing a book publication about “Art Criticism in the light of the Exhibition Culture in 19th Century London”.