Academic Year 2013-14


Simon Chaplin
Dr Simon Chaplin
Dr Simon Chaplin
Head of the Wellcome Library, Wellcome Collection

Simon Chaplin is a curator-turned-library director. His background is in the history of science and medicine. As Senior Curator at the Royal College of Surgeons of England he led the redisplay of the Hunterian Museum, leading to its short-listing for the Gulbenkian Prize in 2006. Since joining the Wellcome Library he has led a major programme of digitisation and the physical development of the library, including co-curation of the Reading Room, a new hybrid exhibition/library public space due to open in 2014. His research interests include the history of anatomy and cultures of medical collecting and display from the eighteenth century to the present.


photo of S Hollis Clayson
Professor Susan Hollis Clayson
Professor Susan Hollis Clayson

Bergen Evans Professor in the Humanities; Professor of Art History & (by courtesy) of History; and Director, Alice Kaplan Institute for the Humanities, Northwestern University.

Hollis Clayson studies the art of 19th-century Europe. Her many essays and two monographs, Painted Love: Prostitution in French Art of the Impressionist Era and Paris in Despair: Art and Everyday Life Under Siege (1870-71), examine the intertwining of social and aesthetic practices in Paris. She has published recently on cosmopolitanism in the transatlantic arts community and the haunted interior. Her book in progress is Electric Paris: The Visual Cultures of the City of Light in the Era of Thomas Edison; also the title of her 2013 exhibition at the Clark Art Institute (MA). In 2013-14, she will be the Samuel H. Kress Professor at CASVA (National Gallery, Washington DC).


neil cox
Professor Neil Cox

Professor Neil Cox

Professor of Modern and Contemporary Art at the University of Edinburgh

Neil Cox's interests lie at the intersection of modern artistic practices and theoretical and philosophical discourses. His recent work has been on Picasso, especially the awkward work after 1940, and on Georges Braque. The Braque pieces have drawn on existential phenomenology, especially Heidegger. His long-term project focuses on surrealist conceptions of history that will draw upon theories of violence and sovereignty. Although twentieth-century art in France has been the focus of most of his publications, he has also written at length about a French sixteenth-century painting and is interested in the invention of Paleolithic art as a symptom of modern historical consciousness. Neil is Director of the ARTIST ROOMS Research Partnership, which is dedicated to research on a major collection of contemporary art acquired from Anthony d'Offay and now owned jointly by Tate and the National Galleries of Scotland.


mark hallett
Professor Mark Hallett

Professor Mark Hallett

Director of Studies, The Paul Mellon Centre for Studies in British Art

Professor Mark Hallett was appointed Director of Studies at the Paul Mellon Centre for Studies in British Art in October 2012, having worked for many years at the University of York, where he was Head of the History of Art department 2007 to 2012. His published research has focused on British art between 1650 and 1850. His publications include The Spectacle of Difference: Graphic Satire in the Age of Hogarth (Yale University Press, 1999); Hogarth (Phaidon Press, 2000); Eighteenth Century York: Culture, Space and Society (edited with Jane Rendall, Borthwick Institute, 2003); Hogarth, (exhibition catalogue, co-authored with Christine Riding, Tate Publishing, 2006); William Etty: Art and Controversy (exhibition catalogue co-edited with Sarah Burnage and Laura Turner, Philip Wilson Publishers, 2011); and Faces in a Library: Sir Joshua Reynolds's 'Streatham Worthies' (The Watson Gordon Lecture 2011, National Galleries of Scotland, 2012). His forthcoming book Reynolds: Portraiture in Action is due to be published by Yale University Press in spring 2014. Professor Hallett has been involved in curating numerous exhibitions, including Hogarth at Tate Britain in 2007, and is due to co-curate an exhibition on Joshua Reynolds’ paintings at the Wallace Collection in 2015. He was the principal investigator on the major AHRC-supported research project Court, Country, City: British Art 1660-1735, which ran from 2009 to 2012.


sandy nairne
Sandy Nairne
Sandy Nairne

Director, National Portrait Gallery

Sandy Nairne is Director of The National Portrait Gallery, London, a post he has held since 2002. Prior to that he was Director: Programmes at Tate, and was closely involved in the formation of Tate Modern, the re-building of Tate Britain, and Tate’s international, national, learning and digital programmes. He has researched and written on modern British Sculpture (British Sculpture in the 20th Century, with Nicholas Serota, Whitechapel, 1981), contemporary art (State of the Art, Channel 4 television and Illuminations, 1987), curating (Thinking About Exhibitions, with Bruce Ferguson and Reesa Greenberg, Routledge, 1996), portraiture (The Portrait Now, 2006, and The 21st Century Portrait, National Portrait Gallery, London) and art theft (Art Theft and the Case of the Stolen Turners, Reaktion, 2011). Sandy Nairne is Chairman of The Fabric Advisory Committee at St Paul’s Cathedral and the Maggie’s Art Group, supporting the Maggie’s cancer care centres.



marcia pointon
Professor Marcia Pointon

Professor Marcia Pointon

Professor Emeritus in History of Art, The University of Manchester; and Honorary Research Fellow, The Courtauld Institute of Art

Marcia Pointon’s research is concentrated in the two areas or portraiture and the material culture of precious stones in both of which she has worked for many years. She is responsible (with Vicci Coltman of the University of Edinburgh) for a forthcoming Colloquium at the Clark Art Institute on Portraiture and Materiality that will explore the relationship between materials and their representation in portrait acts. Emerging from her work on portraiture and on funerary art (in particular mourning jewellery) she has been researching death masks with a focus on the eighteenth and nineteenth centuries: this work is currently being revised and will be published in The Art Bulletin in 2014. She is currently also researching and writing a commissioned work titled Diamond for Reaktion Books. This will address not only the mineralogical properties of diamonds and their geopolitical history as the most valued of gemstones across a wide variety of cultures but will look more widely at, for example, the use of diamond imagery in paintings as well as in advertising and film, and the significance of the characteristic octahedron whether in Medieval vaulting, in playing cards or in abstract art.


philippe senechal
Professor Philippe Sénéchal
Professor Philippe Sénéchal

Directeur des études et de la recherché, Institut national d'histoire de l'art (INHA), Paris

Philippe Sénéchal studies Italian Renaissance sculpture and decorative arts. He recently wrote a monograph and co-curated an exhibition on Giovan Francesco Rustici, a leading figure in Florentine and French sculpture active in the first half of the 16th century, and published essays on terracottas and bronze sculpture, e.g. in the exhibition catalogue, The Springtime of the Renaissance: Sculpture and the Arts in Florence 1400-1460 (Florence, Museo Nazionale del Bargello; Paris, Musée du Louvre, 2013-2014). He is now working on a long-term project on leather artifacts in Renaissance Italy, especially cuir bouilli objects. This study in material and social culture will examine the production of these sophisticated, mainly black, embossed objects, which were particularly fashionable between 1450 and 1570. They will be seen as relief sculptures of a special kind, as precious containers for even more precious goods, as meeting points between different crafts and as emblematic, highly personal objects.

EX-OFFICIO:

Professor Deborah Swallow
Director, The Courtauld Institute of Art

Professor Caroline Arscott
Head of Research, The Courtauld Institute of Art

Dr Maria Mileeva
Early Career Lecturer with Special Responsibility for Research Administration

 

 

Academic Year 2012-13


photo of S Hollis Clayson
Professor Susan Hollis Clayson
Professor Susan Hollis Clayson

Bergen Evans Professor in the Humanities; Professor of Art History & (by courtesy) of History; and Director, Alice Kaplan Institute for the Humanities, Northwestern University.

Hollis Clayson studies the art of 19th-century Europe. Her many essays and two monographs, Painted Love: Prostitution in French Art of the Impressionist Era and Paris in Despair: Art and Everyday Life Under Siege (1870-71), examine the intertwining of social and aesthetic practices in Paris. She has published recently on cosmopolitanism in the transatlantic arts community and the haunted interior. Her book in progress is Electric Paris: The Visual Cultures of the City of Light in the Era of Thomas Edison; also the title of her 2013 exhibition at the Clark Art Institute (MA). In 2013-14, she will be the Samuel H. Kress Professor at CASVA (National Gallery, Washington DC).


neil cox
Professor Neil Cox

Professor Neil Cox

Graduate Director, Department of Art History & Theory, University of Essex

Neil Cox is Professor of Modern and Contemporary Art at the University of Edinburgh. His interests lie at the intersection of modern artistic practices and theoretical and philosophical discourses. His recent work has been on Picasso, especially the awkward work after 1940, and on Georges Braque. The Braque pieces have drawn on existential phenomenology, especially Heidegger. His long-term project focuses on surrealist conceptions of history that will draw upon theories of violence and sovereignty. Although twentieth-century art in France has been the focus of most of his publications, he has also written at length about a French sixteenth-century painting and is interested in the invention of Paleolithic art as a symptom of modern historical consciousness. Neil is Director of the ARTIST ROOMS Research Partnership, which is dedicated to research on a major collection of contemporary art acquired from Anthony d'Offay and now owned jointly by Tate and the National Galleries of Scotland.


mark hallett
Professor Mark Hallett

Professor Mark Hallett

Director of Studies, The Paul Mellon Centre for Studies in British Art

Professor Mark Hallett was appointed Director of Studies at the Paul Mellon Centre for Studies in British Art in October 2012, having worked for many years at the University of York, where he was Head of the History of Art department 2007 to 2012. His published research has focused on British art between 1650 and 1850. His publications include The Spectacle of Difference: Graphic Satire in the Age of Hogarth (Yale University Press, 1999); Hogarth (Phaidon Press, 2000); Eighteenth Century York: Culture, Space and Society (edited with Jane Rendall, Borthwick Institute, 2003); Hogarth, (exhibition catalogue, co-authored with Christine Riding, Tate Publishing, 2006); William Etty: Art and Controversy (exhibition catalogue co-edited with Sarah Burnage and Laura Turner, Philip Wilson Publishers, 2011); and Faces in a Library: Sir Joshua Reynolds's 'Streatham Worthies' (The Watson Gordon Lecture 2011, National Galleries of Scotland, 2012). His forthcoming book Reynolds: Portraiture in Action is due to be published by Yale University Press in spring 2014. Professor Hallett has been involved in curating numerous exhibitions, including Hogarth at Tate Britain in 2007, and is due to co-curate an exhibition on Joshua Reynolds’ paintings at the Wallace Collection in 2015. He was the principal investigator on the major AHRC-supported research project Court, Country, City: British Art 1660-1735, which ran from 2009 to 2012.


Professor Lynda Nead

Pevsner Professor of History of Art, School of History of Art, Film and Visual Media, Birkbeck College


marcia pointon
Professor Marcia Pointon

Professor Marcia Pointon

Professor Emeritus in History of Art, The University of Manchester; and Honorary Research Fellow, The Courtauld Institute of Art

Marcia Pointon’s research is concentrated in the two areas or portraiture and the material culture of precious stones in both of which she has worked for many years. She is responsible (with Vicci Coltman of the University of Edinburgh) for a forthcoming Colloquium at the Clark Art Institute on Portraiture and Materiality that will explore the relationship between materials and their representation in portrait acts. Emerging from her work on portraiture and on funerary art (in particular mourning jewellery) she has been researching death masks with a focus on the eighteenth and nineteenth centuries: this work is currently being revised and will be published in The Art Bulletin in 2014. She is currently also researching and writing a commissioned work titled Diamond for Reaktion Books. This will address not only the mineralogical properties of diamonds and their geopolitical history as the most valued of gemstones across a wide variety of cultures but will look more widely at, for example, the use of diamond imagery in paintings as well as in advertising and film, and the significance of the characteristic octahedron whether in Medieval vaulting, in playing cards or in abstract art.


philippe senechal
Professor Philippe Sénéchal
Professor Philippe Sénéchal

Directeur des études et de la recherché, Institut national d'histoire de l'art (INHA), Paris

Philippe Sénéchal studies Italian Renaissance sculpture and decorative arts. He recently wrote a monograph and co-curated an exhibition on Giovan Francesco Rustici, a leading figure in Florentine and French sculpture active in the first half of the 16th century, and published essays on terracottas and bronze sculpture, e.g. in the exhibition catalogue, The Springtime of the Renaissance: Sculpture and the Arts in Florence 1400-1460 (Florence, Museo Nazionale del Bargello; Paris, Musée du Louvre, 2013-2014). He is now working on a long-term project on leather artifacts in Renaissance Italy, especially cuir bouilli objects. This study in material and social culture will examine the production of these sophisticated, mainly black, embossed objects, which were particularly fashionable between 1450 and 1570. They will be seen as relief sculptures of a special kind, as precious containers for even more precious goods, as meeting points between different crafts and as emblematic, highly personal objects.


EX-OFFICIO:

Professor Deborah Swallow
Director, The Courtauld Institute of Art

Professor Caroline Arscott
Head of Research, The Courtauld Institute of Art



Academic Year 2011-12


Dr Philippe Bordes

Directeur des études et la recherche, Institut National d'Histoire de l'Art (Paris)

Dr Neil Cox

Department of Art History & Theory, University of Essex

Professor Thomas Gaehtgens
Director, Getty Research Institute (Los Angeles)

Professor Richard Gameson

Department of History, Durham University

Professor Mark Hallett

Department of History of Art, University of York

Professor David Joselit

Department of the History of Art, Yale University (New Haven)

Professor Lynda Nead

Department of History of Art and Screen Media, Birkbeck College (London)

Professor Alessandro Nova

Director, Kunsthistorisches Institut/Max-Planck Gesellschaft (Florence)

Dr Timothy Plaut


EX-OFFICIO:

Professor Deborah Swallow
Director, The Courtauld Institute of Art

Professor Caroline Arscott

Head of Research, The Courtauld Institute of Art



Academic Year 2010-11


Dr Brian Allen

Director, The Paul Mellon Centre (London)

Dr Philippe Bordes

Directeur des études et la recherche, Institut National d'Histoire de l'Art (Paris)

Dr Neil Cox

Department of Art History & Theory, University of Essex

Professor Thomas Gaehtgens
Director, Getty Research Institute (Los Angeles)

Professor Richard Gameson

Department of History, Durham University

Professor Mark Hallett

Department of History of Art, University of York

Professor David Joselit

Department of the History of Art, Yale University (New Haven)

Professor Lynda Nead

Department of History of Art and Screen Media, Birkbeck College (London)

Professor Alessandro Nova

Director, Kunsthistorisches Institut/Max-Planck Gesellschaft (Florence)

Dr Timothy Plaut

Dr Charles Saumarez-Smith

Secretary and Chief Executive, Royal Academy (London)



EX-OFFICIO:

Professor Deborah Swallow
Director, The Courtauld Institute of Art

Professor Caroline Arscott

Head of Research, The Courtauld Institute of Art



Academic Year 2009-2010


Dr Brian Allen

Director, The Paul Mellon Centre (London)

Dr Philippe Bordes

Directeur des études et la recherche, Institut National d'Histoire de l'Art (Paris)

Dr Neil Cox

Department of Art History & Theory, University of Essex

Professor Thomas Gaehtgens
Director, Getty Research Institute (Los Angeles)

Professor Richard Gameson

Department of History, Durham University

Professor Mark Hallett

Department of History of Art, University of York

Professor David Joselit

Department of the History of Art, Yale University (New Haven)

Gillian Malpass

Publisher, Art and Architecture, Yale University Press (London)

Professor Lynda Nead

Department of History of Art and Screen Media, Birkbeck College (London)

Professor Alessandro Nova

Director, Kunsthistorisches Institut/Max-Planck Gesellschaft (Florence)

Dr Timothy Plaut

Dr Ashok Roy

Director of Scientific Research, National Gallery (London)

Dr Charles Saumarez-Smith

Secretary and Chief Executive, Royal Academy (London)



EX-OFFICIO:

Professor Deborah Swallow
Director, The Courtauld Institute of Art

Professor Caroline Arscott

Head of Research, The Courtauld Institute of Art

 


Academic Year 2008-2009

Dr Brian Allen

Director, The Paul Mellon Centre (London)

Dr Philippe Bordes

Directeur des études et la recherche, Institut National d'Histoire de l'Art (Paris)

Dr Neil Cox

Department of Art History & Theory, University of Essex

Professor Thomas Gaehtgens
Director, Getty Research Institute (Los Angeles)

Professor Richard Gameson

Department of History, Durham University

Professor Tamar Garb

Department of the History of Art, University College London

Professor Mark Hallett

Department of History of Art, University of York

Professor David Joselit

Department of the History of Art, Yale University (New Haven)

Gillian Malpass

Publisher, Art and Architecture, Yale University Press (London)

Professor Alessandro Nova

Director, Kunsthistorisches Institut/Max-Planck Gesellschaft (Florence)

Dr Timothy Plaut

Professor Adrian Rifkin
Department of Art, Goldsmiths, University of London

Dr Ashok Roy

Director of Scientific Research, National Gallery (London)

Dr Charles Saumarez-Smith

Secretary and Chief Executive, Royal Academy (London)



EX-OFFICIO:

Professor Deborah Swallow
Director, Courtauld Institute of Art

Professor Patricia Rubin
Deputy Director and Head of the Research Forum, Courtauld Institute of Art

Professor David Solkin
Chair of Research Committee, Courtauld Institute of Art


Academic Year 2007-2008


Dr Brian Allen
Director, The Paul Mellon Centre (London)

Dr Paul Binski
Department of the History of Art, University of Cambridge

Professor Thomas Crow
Institute of Fine Arts, New York University

Professor Thomas Gaehtgens
Director, Getty Research Institute (Los Angeles)

Professor Tamar Garb
Department of History of Art, University College London

Dr David Lomas
Department of Art History and Archaeology, University of Manchester

Gillian Malpass
Editorial Director (Art and Architecture), Yale University Press (London)

Professor Robert Nelson
Department of Art History, University of Chicago

Professor Adrian Rifkin
Department of Art, Goldsmiths, University of London

Ashok Roy
Director of Scientific Research, National Gallery (London)

Professor Neil Rudenstine
Chairman of the Board, ARTstor, The Andrew W. Mellon Foundation (New York)

Dr Charles Saumarez-Smith
Secretary and Chief Executive, Royal Academy (London)


EX-OFFICIO:

Professor Deborah Swallow
Director, Courtauld Institute of Art

Professor Patricia Rubin
Deputy Director and Head of the Research Forum, Courtauld Institute of Art